1. Chapter 16
Romantic Songs

2. Moritz von Schwind: Schubertiade,1868
The Salon
Informal concerts in homes where piano was now a common instrument
Industrial Revolution created large middle class
Family members and children performed
Some upper-class families hired musicians
Salon concerts often followed by dessert, coffee and tea, and conversation
Salon concerts included solo piano works and art songs
Moritz von Schwind: Schubertiade,1868

3. The Art Song
In Germany and Austria became known by German word for song(s) lied (lieder)
Musical setting of a poem for solo voice and piano accompaniment
All strophes (verses) sung to same music
Strophic form
All verses sung to new music
Through-composed form
Varies repeated melodies with new melodies for verses
Modified strophic form

4. Franz Schubert (1797-1828) Born and lived in Vienna area
Unsystematic musical training
Violin lessons from father
Piano lessons from older brother
Court Chapel choir member
School orchestra violinist, conductor
Composed first symphony in 1813
Trained to be a primary school teacher and taught briefly at father’s school
Left teaching to make a living composing and taking music students
Adult life marked with ill health and poverty including a serious illness in 1822 requiring a hospital stay
Died in 1828 and buried near Beethoven as he wished

5. Schubert’s Music
Prolific, composed about one thousand works between 1811 and 1828
9 symphonies
50 chamber works and piano sonatas
Several short piano pieces
Operas and operettas
Six masses and other religious works
Approximately 100 choral works
Best remembered for 600+ lieder
Two song cycles (set of related lieder)

6. Listening Guide: “Erlkönig” (“King of the Elves”) Franz Schubert
Lied
Solo voice and piano
Fast tempo
Through-composed
Lied based on a dramatic poem by Goethe
Legend contends that anyone touched by the Elf King dies
Father and son are travelling on horseback
Son sees the Elf King and is scared, asks father for help
Father discounts son’s fear and repeated pleas
At the end of journey (and lied), son is dead in father’s arms
Lied
Solo voice and piano
Fast tempo
Through-composed
Lied based on a dramatic poem by Goethe
Legend contends that anyone touched by the Elf King dies
Father and son are travelling on horseback
Son sees the Elf King and is scared, asks father for help
Father discounts son’s fear and repeated pleas
At the end of journey (and lied), son is dead in father’s arms
Listening Guide Excerpt from
CD 1, track 36, pp

7. Listening Guide: “Erlkönig” (“King of the Elves”) Franz Schubert
Pitch range, dynamics, and style varied for dramatic effect
Piano introduction sets the mood with pounding of horse’s hooves
Listen:
Soloist performs four roles
Narrator, medium range, steady
Father, low range
Son, high range, loud, terrified
Elf king, high range , soft, gentle
Schubert varies pitch range, dynamics, and style for dramatic effect
Listen to as piano introduction sets the mood with incessant pounding of horse’s hooves
Soloist must perform four roles
Narrator, medium range, steady
Father, low range - Listen
Son, high range, loud, terrified - Listen
Elf king, high range , soft, gentle – Listen
Listening Guide Excerpt
Hear the entire lied CD 1, track 36

8. Robert and Clara Schumann
Robert Schumann
German
Prominence as composer, also pianist
Best known for lieder and song cycles
Composed orchestral works, string quartets, and solo piano pieces
Robert helped Clara with orchestration of her piano concerto
Both musicians professionally active with large family (8 children)
Robert suffered from depression, attempted suicide, and was placed in an asylum and died at age 46
Clara Schumann
Prominence as concert pianist, also composer
One of first women to tour internationally
Composed lieder, piano music, and chamber music
Relationship began with Robert as piano student of Clara’s father
Clara became interpreter of Robert’s music
Relationship evolved into love and marriage, over the objections of Clara’s father
Clara continued her performance career and died at age 76

9. Listening Guide Excerpt from CD 4, tracks 9-10, pp. 174-175
Listening Guide: “Im wunderschönen Monat Mai” (“In the Wonderfully Lovely Month of May”) Robert Schumann
Solo voice and piano accompaniment
Strophic form
In song cycle, “Dichterliebe” (“A Poet’s Love”) – composed in the year he married Clara
Uses rubato
Means “robbed” time
Fluctuations of tempo occur
Translation for First Verse
In the wonderfully lovely month of May,
When all the buds are burgeoning,
Then in my heart did all love arise.
Solo voice and piano accompaniment
Strophic form
In song cycle, “Dichterliebe” (“A Poet’s Love”) – composed in the year he married Clara
Uses rubato
Means “robbed” time
Fluctuations of tempo occur
Text Translation
In the wonderfully lovely month of May,
When all the buds are burgeoning,
Then in my heart did all love arise.
Listening Guide Excerpt from CD 4, tracks 9-10, pp
Listen to the first verse:

10. Listening Guide Excerpt from CD 4, track 11, pp. 175-176
Listening Guide: “Leibst du um Schönheit” (“If You Love for Beauty’s Sake”) Clara Wieck Schumann
Solo voice and piano accompaniment
Primarily strophic form
Composed for Robert’s 31st birthday
Translation of First Two Verses
If you love for beauty’s sake, do not love me!
Love the sun, she had golden hair!
If you love for youth’s sake, do not love me!
Love the spring, who every year is young!
Solo voice and piano accompaniment
Primarily strophic form
Composed for Robert’s 31st birthday
Text Translation
If you love for beauty’s sake, do not love me!
Love the sun, she had golden hair!
Listening Guide Excerpt from CD 4, track 11, pp
Listen to the first two verses: