Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score

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Sing-Stimme, 4. Sing-Stimme, 1. Instrument, Anderes Instrument, Basso Continuo. Wrappers, in marbled paper slipcase. Line-cut of the Paris, [] edition. Collection FacsiMusic. Line-cut of the Foucault edition, Paris, c. Cantata for soprano, bass and continuo. Text by Louis Fusellier. Two cantatas, one for soprano and violin, the other for bass and violin. Municipale, Lyon, ms Fm ].

Introduction by Jean Saint-Arroman. Partitura autografa in facsimile. Saggio introduttivo a cura di Paolo Cattelan. Oblong, 29 x 22 cm, cxiv, pp. Line-cut of the autograph score. Introduction in It. Line-cut of the Cologne, edition. One of the richest tablatures of the time, consisting of solo lute works and vocal pieces in staff notation with lute accompaniment in French tablature. Preludes, fantasias, madrigals, chansons, airs de cour, passamezzi, gaillards, allemandes, branles, voltas, Polish dances, courantes, etc.

Some unica. With a short set of instructions on lute playing. Catholisch Gesang-Buch. Graz, Line-cut of the Graz, edition. Hymnological introduction and comparative study of 6 later editions issued between by Walter Lipphardt. Handsome binding in decorative paper. Edizione dei libretti. Saggio introduttivo a cura di Piero Weiss. Oblong, 29 x 23 cm, 2 vols, lxxxviii, pp. The text of the libretto is based on Voltaire's drama-writing style bent to political propaganda, while the score corresponds to the theatrical revision of the vocal registers.

The most important features of this Morte di Cesare are both the conservation of the manuscript of the version of Jacobinical and the variants used—by the authors themselves—for the creation of the first performance in the second Republic of Venice, the democratica one, at Teatro La Fenice, in Commentary in It-Eng. Dramma musicale in drei Akten. Text von Francesco Maria Raffaelini?

Halftone of the manuscript score. Hardbound, with slipcase in decorative paper. A Facsimile of the London Edition. Approximately songs, each adorned with a beautiful engraving, by various composers, chiefly for high voice with figured bass; most have part for flute printed at end. Printed as the original on recto pages. Introduction: Greta Haenen.

Peer, Line-cut of the Berlin, edition. In Telemann began, with Geteuer Music-Meister, a trend in musical editions published by installments that catered to both professional and amateur musicians. Musikalisches Allerley is the leadingserial and one of the first of such from Berlin, offering the newest works for keyboard instruments and songs with keyboard accompaniment. Beautifully bound in white linen. Storia, testo, musica a cura di Carolyn Gianturco.

Oblong, 30 x 23 cm, l, pp. Line-cut of the Strasbourg, edition. Setting of Te deum laudamus. Line-cut of the Stuttgart, edition. Hardbound in marbled paper. Line-cut of the Stuttgart, n. Written for soprano, alto, tenor, bass and continuo, only the continuo part for organ reproduced here survive. Faksimile-Edition Rara, 2. Line-cut of the rare Strasbourg, print.

Line-cut of the Leipzig, partbook edition discantus, altus, tenor, bassus, quinta vox, sexta vox, septima vox, octava vox with motets by 58 composers. Bach is known to have used it for the Thomanerchor while he was Thomaskantor. This particular exemplar contains contemporary ms entries. Hardbound, with decorative paper boards and matching slipcase. Passaggiate principalmente per la viola bastarda, ma anco per ogni sorte di stromenti e di voci, Venezia Archivum Musicum: Strumentalismo Italiano, Florence, Oblong, 24 x 17 cm, xvii, 94 pp.

Includes facsimile of contemporary ms copy transmitting passaggiate. Wrappers in decorative paper. Line-cut of the Walsh edition, London, Introduction in It by Mario Baroni. Northman for London, Introduction by Lowell Lindgren. The collection features 7 cantatas for soprano, 6 for alto and 2 duets, with violin or bc. Oblong, 22 x 16 cm, pp. Line-cut of the Paris, c. O be Joyfull in God, Facsimile Full Score. Xerographic reprint of the London, score. Introduction by Robert Bruce. Line-cut of the London, editions.

Contains a rich selection of songs, duets, and cantatas. Here all They Active Fires Diffuse. Cambridge, Originally Published by I. Walsh, Printed Score. Introduction by Robert J. Bodleian Lib. Halftone of three mss sources. Victoria Sveco-Saxonica. Line-cut of the Gregor Ritzsch edition, Leipzig, Choral-Bog Udgivet i facsimile af Samfundet Dansk Kirkesang med en oversigt over koralbogens melodier ved Henrik Glahn. Copenhagen, Oblong, 24 x 19 cm, facs, v, vi pp. Beautiful line-cut of the earliest and one of the most celebrated songbooks from Denmark, compiled by the court organist Breitendich.

Notated with a single melody and figured bass, the collection consists of songs. Afterword in Danish. Concordance table with Kingos Graduale of and summary in Ger. Handsome binding with coverboards in decorative paper. Avant propos de Yolande de Brosssard. Eingeleitet von Harald Heckmann. Dictionarium Musicum, 1. Hilversum, Halftone of the second edition, Paris, Cloth also available in wrappers. Livre premier. Faksimile nach dem Autograph herausgegeben von Bruno Grusnick.

Uppsala, Vok. Cassel, []. Halftone of the single surviving full score in the hand of the composer. Edited by Peter Wollny. This source represents the only known set of original performance material for a work by Buxtehude. Together with a new critical edition. Edited by Michael Belotti. Critical Facsimiles, 6. New York. Includes apparatus listing all editorial emendations. Faksimile der autographen Tabulatur. Herausgegeben von Bruno Grusnick. Uppsala, ]. Autographus Musicus, 3. Bandhagen, Consists of 6 numbers, each for chorus and various instrumental combinations. Loose sheets in protective folder.

Firenze Musica Drammatica, 4. Line-cut of Florence, edition full score. Credited as being the first Italian opera performed outside of Italy. Composta in musica. Line-cut of the Giorgio Marescotti edition, Florence Laid paper with handsome binding in cloth. Archivum Musicum: Musica Drammatica, 5. Line-cut of the Florence, edition. Together with a reproduction of the entire libretto, published in the same year. Introduction in It by Piero Mioli. A Facsimile of the Florence, Edition. Musik der Dresdener Hofkapelle, [12]. This facsimile offers an excellent compendium of the methods of Zelenka when adapting and embellishing the music of another composer.

Only the 1st act and part of the 2nd have been preserved from Pomone, and the prologue and 1st act of Les Peines. Includes reproductions of the libretti. Preface in Fr-Eng. Municipale, Lyon]. Oblong, 31 x 22 cm, 84, pp. Cantate pour basse avec deux violons et continuo. Oblong, 25 x 19 cm, 33 pp.

Line-cut of the Ballard edition, Paris Cantata for bass, 2 vln and continuo. Livre second, Paroles de M. Livre II]. Scored for bass, vln and continuo. Text by M. Introduction by James R. French Opera in the 17th and 18th Centuries, Stuyvesant, Line-cut of a ms prepared c. Oblong, 27 x 20 cm, pp. Line-cut of the Christophe Ballard short score, Paris, edition. Laid paper, with wrappers in hand-made marbled paper. Municipale, Toulouse]. Faksimile-Edition Kammermusik des Barock, 4. Hardbound, with boards in decorative paper.

Faksimile-Edition Canto e Continuo, 7. Livre second. Introduction by Antonia L. The full orchestral score reproduced in line-cut facsimile dates from and reflects Campra's revision from a five-part to a four-part string texture. To provide scholars and performers with complete access to the original work, an appendix to the edition offers a transcription of the original fifth part the quinte de violon as well as several other sections of the original, which Danchet and Campra subsequently revised. Line-cut Gardano edition, Venice, Wrappers, with slipcase. Faksimile-Edition Capricornus, Line-cut of the Gerjard edition, Nuremberg, Partbook format: vox prima, vox secunda, vox tertia, bassus pro organo.

Wrappers, with slipcase in marbled paper. Stuttgart RISM C Faksimile-Edition Capricornus, 3. Wrappers, in portfolio covered with decorative paper. Faksimile-Edition Capricornus, 9. VM1 ].

Étude Opus 25 No. 1 in A♭ Major

Faksimile-Edition Capricornus, 8. Line-cut of the Endter edition, Stuttgart, Faksimile-Edition Capricornus, 7. Oblong, 30 x 20 cm, 11 partbooks, c. Line-cut of the Bencard edition, Frankfurt, Line-cut of the Nuremberg, edition. In einem singenden Schaw-Spiel vorgestellet. Faksimile-Edition Capricornus, 4. Libretto only. Faksimile-Edition Capricornus, 5.

Oblong, 28 x 20 cm, 4 partbooks, c. Line-cut of Ammon edition, Frankfurt, Hardbound, with slipcase in marbled paper. Instrumenten gesezt. Instrumentum primum]. Line-cut of the Nuremburg, edition. Only the Violino I part survives. Oblong, 28 x 19 cm, 3 partbooks, 28 pp. Line-cut of the Frankfurt, edition. Faksimile-Edition Capricornus, 2. Oblong, 29 x 20 cm, 8 partbooks, pp.

Pars secunda]. Nationale de France, Paris]. Faksimile-Edition Capricornus, 6. Oblong, 28 x 20 cm, 10 partbooks, c. Line-cut of J. Portfolio in marbled paper. Stimmen wie auch 4. Faksimile-Edition Capricornus, 1. Line-cut of the Nuremberg, [] edition. Wrappers, in portfolio. Contains English ballads on various subjects and occasions.

Laid paper, beautifully bound in white linen. Faksimile-Edition Theoretica, 4 Suttgart, Oblong, 22 x 17 cm, 48; 74 pp. Line-cut of the Augsburg and editions. Ars cantandi—after a brief introduction on fundamentals and solmisation—includes an appendix of keyboard pieces preamboli, intermezzi, versetti, toccate, tastate, variazioni, fughe. Hardbound in decorative paper. Primo mazzetto di fiori musicalmente colti dal Giardino Bellerofonteo.

Venezia Archivum Musicum: La Cantata Barocca, Faksimile-Edition Schermar-Bibliothek Ulm, 9. Line-cut of the Agostino Tradate edition, Milan, Huntingdon, []. Stradella] Il novello Giasone. Partitura in facsimile ed edizione dei libretti. A cura di Nicola Usula. Drammaturgia Musicale Veneta, 3. Oblong, 30 x 23 cm, 2 vols, cxcii, pp. Line-cut reproduction of the Naples copy. Line-cut of the Antonio Pifarri edition, Bologna, Wrappers, with slipcase with marbled paper.

A cura di Bonifacio Baroffio. Line-cut of the Naples, edition. Introduction, bibliography and index. A cura di Francesco Luisi. Partitura in facsimile, ed. Drammaturgia Musicale Veneta, 5. Oblong, 30 x 23 cm, xc, pp. Presented for the first time during the carnival at the Venetian theater of St.

In spite of the importance of the work—a collaboration between a not-so-prolific yet widely appreciated librettist and one of the most popular composers of that epoch, there has never been a complete study of the musical and literary sources. The commentary to this new Drammaturgia Musicale Veneta volume finally fills this lacuna, reproducing the oldest and most complete manuscript score of Tito preserved in the Biblioteca Nazionale Marciana together with a critical edition of the libretto and a comparative study of the three other musical sources that have survived.

Volume 1. Vm1 Volume Halftone of the autograph. Del metallo ricercari a due voci per sonare, e cantare. Venedig, Giacomo Vincenti Faksimile-Edition Canto e Continuo, 9. Line-cut of the Milan, edition. Contains 6 settings a1, 18 a2, 10 a3, 15 a4, and 2 a5. Wrappers in decorative paper with slipcover. Paris, Basel, Line-cut of the Paris, editions. For haute-contre, violin, bc. Ring binder. Collection Facsimiles, D1. Gland, Saggio introduttivo a cura de Anna Laura Belina. Oblong, 29 x 23 cm, 96, pp.

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Line-cut of the Naples, ms. Line-cut of the score. Paris s. Oblong, 31 x 22 cm, 44, 48 pp. On y a joint le verset qui dat nivem, du pseaume lauda Jerusalem, Oblong, 31 x 22 cm, xiv, 34 pp. Line-cut of the Chr. Ballard edition, Paris, Set for voice s , flutes, and continuo. Pseaume Benedixisti Domine terram tuam Paris, Line-cut of the Christophe Ballard edition, Paris, Set for voice s , flutes, and continuo on psalm Set for voice s , flutes, oboes, and continuo. Cantiques spirituels.

Lyon, Line-cut of the Ballard edition, Paris printed in choirbook format , together with critical edition. Faksimile-Edition Canto e Continuo, 4. Sixteen cantatas a1, five a2, and two a3. Alfabeto notation. Bamberg, Includes 93 homophonic settings a4, neatly notated in choirbook format. Complete transcription of all the 4-voice settings arranged by liturgical year.

A rare print containing 19 madrigals for five voices. Warsaw, Line-cut of the Crakow, edition.

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Derey was a Dominican from Crakow. Historical introduction in Pol by Tadeusz Maciejewski. Wherein is Contained Musicall Harmonie of 3. Parts, to be Sung and Plaid with the Lute and Viols. Table-book format. Up to 4 voices in staff notation with lute accompaniment in French tablature. Edited by Diana Poulton. Line-cut of the Humfrey Lownes edition London, , in table book format. French tablature. Ex-library copy. Line-cut of the Thomas Este edition London, , in table book format.

Line-cut of the Thomas Adams edition, London, , in table book format. Line-cut of the London, edition, in table book format. Pieces for voices with lute accompaniment in French tablature. Line-cut of the Christophe Ballard edition, Paris Three of the motets can be performed by double choir.

Th MissMindh nach Faksimile-Edition Ulm, Line-cut of the Mindelheim, c. Mit einem Beitrag von Walter Blankenburg. Bern, Line-cut of the Berlin, Includes separate instrumental parts. Oblong, 20 x 16 cm, 5 partbooks, 20 pp. A rare source with 2 settings a5 in mensural notation, respectively by Johann Eccard and Paulus Emmelius. Harpsicord or Theorbo-Lute. A Masque by William Congreve. Introduction by Richard Platt. Line-cut of the printed score. Frankfurt, C. Egenolph Ex Ducali Typographia Campidonensi Line-cut of the Kempten, Theoretical work, organized in two parts, addressed to the music education of young boys; deals with notation, the church modes, simple vocal exercises, and exercises in solmization.

Wrappers, with slipcase covered in marbled paper. Contents: 15 settering for magnificat. Dokumentationen, Reprints, You must have paid membership or be a no cost-registered participant of the Musicalion web page. Register now! These participants also get access to their "intern"'-section. Musicalion Player Add new recording. Free sheet music for members. If you have fixed a notation mistake, then we would be grateful if you could inform us as such. Please indicate here which file and what have you improved.

View more. Era: Romantic Theme: 0-miscellaneous Series: Myrthen op. Similar compositions. Series: Masses, Theme: 0-miscellaneous. Series: Liederkreis Op. Series: Songs secular , Theme: 0-miscellaneous. Widmung Dedication op. Series: Songs: Myrten, Theme: 0-miscellaneous. Als die alte Mutter op. How will things turn out? Are you sure that your feelings will not change? Sweetly steadfast, the girl can envisage neither change, nor the end of something which seems eternal.

Lieder / peter schreier, norman shetler by Schumann, Robert, CD x 4 with melomaan - Ref

I do not yet know, she says, how things will change. Die Wiege der Freiheit, des Mutes ist dort. Farewell to the mountains high covered with snow; Farewell to the straths and green valleys below; Farewell to the forests and wild-hanging woods Farewell to the torrents and loud-pouring floods;. This is probably the least interesting song in the cycle from the psychological point of view. It is not a conventional love song and its placement in Myrten is also hard to justify.

The possible link between Mendelssohn, the Highlands and this song is touched on earlier in this booklet. What the composer does achieve on the other hand is a vocal melody which, in its progressions of I-IV-I-V, has something of the air of a genuine Scottish folksong.

The piano ritornello which is heard at the beginning of each verse, and also as a postlude, suggests hearty annoyance at having to leave rather, than nostalgia or tears in the eye. In fact this music has the rallying qualities of a communal song, and Schumann possibly envisaged this lied as less of a personal statement than as a rollicking drinking ditty.

Make sure that you go to the Lowlands; There, my boy, you may steal; Steal money and steal happiness And to the Highlands come home to me! One should not perhaps blame Gerhard and thus Schumann for not capturing the tone of independence and strength in these gleefully amoral words which flout all authority. Quite apart from the idea of bringing up a child to aspire to illegal activities, Burns is alone in his time for allowing his characters as he allowed himself to glory in the joys of parenthood out of wedlock.

The poet seems to have linked the joys of sex with the pleasures of fatherhood; his own illegitimate children were a matter of pride and affection for him in an age which very often treated them otherwise. This mother seems completely unworried about the illegitimacy of her son; instead she seems positively to relish the memory of his conception. It is a crucial detail like this which is lost, and had to be lost, in the German translation.

The poet himself disowned these words at first: they were published anonymously in the Museum. It was later said that these were originally Gaelic which Burns had merely rendered into low country dialect, but his own hand in this poem seems apparent in every delicious line. Schumann composes a charming strophic song — a little lullaby with ethnic touches.

Those winsome syncopations which leap upwards in fourths, fifths and then sixths in the vocal line seem to capture the lilt of Scottish speech; the composer may even have imagined that the dominant pedal which pervades the bass clef almost throughout evoked the drone of the pipes.

But on the whole the music cannot be said to cross over the borders of Biedermeier prettiness: the idea of a lullaby with the gently rocking movement of the cradle in D major is beautifully sustained, a highly effective foil to the manly bluster of the preceding song in B minor. Both simple and vocally challenging, this music contains delight a-plenty, as well as tenderness; but in this cosy atmosphere where Robert surely projects Clara and his own children, yet unborn, there is little trace of the wild northern culture that spawned these words, nor of the gloriously shameless hussy who sings them.

Denn sieh! But let the strain be wild and deep And deprived of every joy! I tell thee, minstrel, I must weep, Or this heavy heart will be consumed! For see! It has been been nursed by sorrow, And ached for long in sleepless silence, And now it is doomed to know the worst, Let it break or let it be healed in song. The texts quickly became popular throughout Europe and were translated into various languages. This song is about the suppression of pent-up emotion; the singer seeks release in tears that can only be provoked by music. This plaint is sung by an anguished Saul and it is, in turn, a royal command for music of another kind that will bring forth the weeping that will assuage his pain.

The petition and its response are thus telescoped into a single song which occupies a central place in Myrten. It is undoubtedly the grandest number in the cycle, a halfway point in a work which celebrates the central role which music has played in the unfolding story of Robert and Clara. The composer has paid ample tribute to Clara throughout the cycle, but here he salutes his vocation the restorative powers of music itself: it is these which have enabled him to be tenacious enough to survive the long struggle to win her hand. The tortured opening — waves of quavers which descend the stave in what may seem to be chromatic disarray, but which are cleverly fashioned to make an elaborate six-bar upbeat to the appearance of the singer — strikes an immediately exotic note.

From the beginning we are aware that Schumann wishes to write a piece which consciously attempts to capture the Weltschmerz characteristic of Jewish music. He might well have visited a synagogue in Leipzig, a town with a famous cantorial tradition; it is difficult to believe that he evoked this tone without inside knowledge or aural reminiscences of some kind. With the change into E major the piano announces a new melody of ineffable sweetness: the little finger of the right hand pricks out the outlines of a tune which will be taken up by the singer.

Instead there is a change of direction which suddenly steers the piano writing into the calm waters of C major, a key which is established by gently rippling quavers; these are the seraphically neutral background on which the voice re-imposes itself in the mood of the previous aria. This time the singer is required to dig deeper into the lower registers of his voice, but this is music fit to calm the most fevered breast, and it makes the same haunting impression as before.

The literal translation given above can explain what the poem means line by line, but it can scarcely make sense unless one understands that it is the letter H embedded in the original German key-words which is the cause of all the word play. Schumann has something up his sleeve that few English poets would have understood.

The letter H is the musical letter in German for the musical note B natural for a German the letter B signifies B flat. The answer to the puzzle is blurted out in advance by the octave B naturals in semibreves with which the song opens. After this we have nothing less than an almost non-stop patter song which dances through the staves with twinkling glee. It is now time for the answer to the riddle to be given. Schumann had originally intended to set this word for four-part chorus, a thoroughly impractical touch from the point of view of performance. Instead he left the note B or H bare on the stave without a word attached to it.

This enables the singer to vocalise the note or hum it. This is a joke that can only be made in music and there is nothing else like it in the lieder repertoire. Most audiences, however, are none the wiser. Nun rasten hier, mein Gondolier. Ins Boot die Ruder! Now stay here, my gondolier, gently into the boat with your oar!

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Gently, gently! While I climb the balcony, you keep watch beneath. Oh, if we devoted ourselves to heaven as eagerly As we seek favours of fair women, we could be angels! Imprisonment or a duel could well be the result. Casanova was famously imprisoned in Venice in Here is the easy lilt of Irish laissez-faire, outrageously confident, and charming in its freely confessional tone. We begin with music of languid sensuality. A dotted figuration in the left hand connected to an off-beat crotchet in the right is a marvellous evocation of an oar pulling through the dark waters and then surfacing in the treble stave, all in a single gliding movement; above this a ghost of a curvaceous Italian serenade is nonchalantly traced, as if the pianist, an invisible companion on this journey, were allowing the fingers of his right hand idly to skim the surface of the lagoon.

With as much cheek as charm, and with the twinkling eye which goes together with the shrugged shoulder, the poet admits to the life of a wastrel. Singers sometimes allow themselves to end this song in a mood of dreamy reverie, as if all thought of mischief had been supplanted by the charm of sitting in the gondola and basking in the Venetian moonlight. Perhaps Schumann meant Florestan to be overpowered by Eusebius at this stage, but I doubt it: like the ditty which follows it, this should be an action song.

Nun rasten hier, mein Gondolier! O come now, while the moon Is still covered in clouds, Let us flee, my love, Across the lagoons! The little ritornello for piano which opens each verse and also serves as a postlude is a charming inspiration: fleet of foot, capricious, it is also deliciously feminine. The vocal melody is infectiously carefree, and the chords in alternating hands evoke the strum of an accompanying mandoline.

The modulation to B minor in the middle of the verses the song is strictly strophic and over in a trice adds a brief note of suspense that suggests intrigue and danger. The German version of the poem shows what a very good translator Freiligrath was. O come now, while the moon Is covered in clouds, Let us flee, my love, Across the lagoons!

Once peace is declared she is ready to reward her victorious lover with every physical comfort. The implication of the translation is that if this wife sees her husband in battle it is from very close quarters, and that she is equally involved in the battle. It seems that translator and composer, transfixed by Ossianic myth, have been not been able to envisage a more genteel side to the modern Scottish warrior class.

But it is clear that the composer is intoxicated by the more violent picture; in his mind Friedrich Wieck is the enemy, of course, and he must have longed to see Clara land a deadly blow on her father — something which she could never bring herself to do. The music is a succession of trumpet motifs and aggressive little phrases which ascend the stave in dotted rhythms.

The most important of these is a left-hand tune incorporating a falling chromatic motif in the deeper regions of the bass clef which struts as if it were a charger pawing the ground, impatient to gallop into battle. The rumbustious eight-bar postlude a four-bar phrase mezzo forte, and then the same music forte is based on an expanded version of this material. What do I care about winter frost And whether it storms and snows outside? He gave these gloves as a gift to me, The colourful cloth, the silken dress; But he, in whose honour I wear it, Is far across the mountains!

This is the most autobiographical of all the Burns poems in Myrten. It relates to an episode in in which Burns returned to Ayrshire to find his erstwhile beloved Jean Armour driven from her home by her parents; she had re-established her liaison with the poet which had resulted in her pregnancy. He immediately set about arranging food and shelter for his Jean, and even bought her a mahogany bed. But there is a melancholic postlude to the story: twins were born to her but they died a few days after their birth. The four-bar prelude is a remarkably effective evocation of a hopeful question followed by a negative answer.

This juxtaposition of tension and release, like an intake of breath followed by a weary sigh, is an analogue for hopes raised, then dashed. We are made to hear an expectant glance which scans the horizon the rising figure in the opening two bars, and the modulation to the relative major and crestfallen disappointment when the lover is not visible the falling melody and the return to the home key.

The last thing we hear is a tiny staccato chord in the left hand separated from its fellows by two quaver rests. It had many shining sisters Who have all vanished, Vanished with my joys and sorrows In night and wind. Like mist, those tiny blue stars Have also vanished That smiled those joys and sorrows Into my heart.

Ah, my love itself Vanished like a mere breath of air! Old, solitary tear, Vanish now as well! Ach, meine Liebe selber Zerfloss wie eitel Hauch! The Burns song is in A minor, and this one in A major — although the constantly changing chromatic inflections of the music ensure that the Heine setting has a haunted minor-key feel to it. Such depictions of star-crossed lovers are part of the Myrten plan; they highlight, by contrast, the happiness of lovers like Robert and Clara who, like Tamino and Pamina, have passed through, and survived, all their tests and trials.

In contrast to the sheer aria which is Du bist wie eine Blume this is one of those pieces where Schumann abandons the idea of melody in favour of an arioso which follows the contours of speech. The first verse continues with another matched pair of world-weary sighs-in-music. The piano writing, in firm dotted crotchets, hugs the vocal line as if it were supporting someone grief-stricken and in need of solace. The six-bar postlude is quietly eloquent, phrased in such a manner as to suggest that the singer, having decided that it is time for the tear to be banished, sets about making it disappear with some determination.

There are four mini-cadences which fall into the home key of A major either in root position or first inversion , each one indicative of a slow movement of arm or hand, as if the tear were being wiped on a sleeve or the back of a hand. This music falls in stages from the higher reaches of the keyboard to its centre, the final cadence dwelling for a full three beats on the dominant chord, as if every effort were being made to dry a face stained with tears before exposing it to the scrutiny of the tonic chord.

Just as we reach the final resolution of A major, we hear a further A major chord, a staccato crotchet, which is like an after-shock and separate from what has gone before. It seems that the solitary tear remains to haunt the singer after all, and that there is no handkerchief in the world that can dry it. The song is very simple and completely strophic. The two-bar introduction announces the melody with which the singer begins and the accompaniment hugs it throughout, a feature which, in this case, reinforces the shipshape control the singer exerts over his entire existence.

The interlude between the two verses also serves as the postlude. With its prancing left-hand chords and grim determination this is among the trickiest of Schumann postludes. This common thread links this music to the idea of dancing in the streets, as well as the idea of gossip spreading like wildfire.

If there is hilarity in this music it might well be the laughter of derision; if this were the case we would imagine that the second verse is sung in defiance of the public amusement generated by the first. From the west, where the sun sets, Beckons all that delights me in slumber and dream: In the west lives the man who rewards me with love, Who pressed me and my little child to his heart! The accompaniment to the first verse of the song is as simple as that for a hymn tune, but Schumann endows this song with a dignity and emotional depth that are out of all proportion to the musical means.

There is something stoically grand about this tableau, as if this picture of abandoned love were meant to be photographed by a great film director against a background of appropriately craggy and dramatic Scottish scenery. The words suggest that the lover and father may be as far away as Ireland, or even America.

The piano writing blossoms into waving fronds of quaver arpeggios which seem to suggest arms stretched out in hope of clasping succour from the returning prodigal. We immediately realise that her expectations are doomed, and for this reason this delicately fragrant music seems all the more poignant.

I feel as if I should lay My hands upon your head, Praying that God preserve you So pure and fair and sweet. This may exaggerate its status in literary terms, but it has certainly inspired many composers — the poem is the perfect length to allow its verbal images to flower into musical lyricism, while the shy and epigrammatic nature of the verse discourages the pianistic overgrowth that might crush its slender stem. There is a symmetry between this song of a German flower as the cycle nears its end — a return to home ground as it were — and the exotic Indian lotus flower earlier in the work which signified curiosity for the outside world, and impatience for the honeymoon.

Both songs have been gratefully hummed through the ages by singers and non-singers alike because of their melodies. It surely does not matter if it seems that this glorious cantilena had been thought of first, and the words then made to fit it: as it turns out the marriage between music and text is not merely a marriage of convenience. On a throbbing bed of semiquavers, initially in a neutral A flat major, the bel canto melody with touches of fioritura — what else in a song with this title?

The music has the stately pace of prayer, but it is also tremulous with sublimated eroticism. We have seen elsewhere — in Widmung for example — that music poised between these two poles is something of a Schumannian speciality. These words, in this tessitura, and when beautifully sung, really do seem to evaporate into the ether and, in so doing, insinuate themselves into the secret places of the heart.

The subtle rise of the accompanying harmony at this point adds to the impression of music and emotion teetering on tremulous tiptoe. The piano writing, much of it an octave higher than before, has become fuller and more rapturous. The poet, too, is a specialist in the mixture of sex and religion, and the music waxes even more lyrical when warmed by this physical contact. It is also as if the composer were allowing a great Italian singer a cadenza at an important cadential point in an aria.

Singer and accompanist sink gracefully to their final shared cadence. This moves, almost crab-like, up the stave, as if scarcely daring to look beauty in the face whilst blinded by its radiance. As the piano eventually reaches the home key of A flat major after much subtle ado, we imagine that he might allow himself a tender embrace with his Clara, as if a dream were at last crowned with physical reality. I would also like to think that this song, with its indirect link to Schubert, was another of those covert tributes to his great predecessor that Schumann made in Myrten.

The poem comes from the lips of a male poet and, in performances of Myrten which are shared as they must be between a male and a female singer, ascribing it to the tenor seems the obvious thing to do. This music has a lighter, shyer and more perfumed quality than Lied der Suleika No IX , and it seems happily associated with the female voice.

Result List

Du bist wie eine Blume has the velvety depth of a magic carpet: the luxurious density of its pile, each bar of music closely woven, brings to mind an oriental rug of great opulence. The close-packed semiquaver accompaniment of Du bist wie eine Blume yields to piano writing that is suddenly airy and light. Left-hand quavers initiate gruppetti of delicate right-hand semiquavers phrased in threes.

Semiquaver rests in both hands make the writing seem even more transparent. On these rippling eddies of sound are superimposed fragments of piano melody, echoes of the vocal line like so many tender sighs. These scented greetings are part of a courtly love tradition and they betoken a gentleness where intimacy with a lover engenders more respect, rather than less.

This writing suggests contained passion — a conversation between two shy lovers represented here by voice and piano where each is hesitant to press their case for fear of being inconsiderate to the wishes of the other. But help is at hand: the piano writing suddenly stretches up into the higher reaches as if a newly opened window has allowed a shaft of spring sunlight to shine on the singer.

These contrasting thoughts entwine in voice and piano, and the optimistic and pessimist strands of the song are reconciled at the lingering cadence. The postlude recycles the spring-sunshine motif heard in the piano four bars earlier, this time an octave lower: illumination has been replaced by the calmer glow of enlightenment. The final piano flourish — a teasing little right-hand triplet in E flat major which rises as the left-hand arpeggio falls — is like rose-petals, and their scent, scattered in the breeze.

In summing up their achievement the creators here twinned in word and musical deed modestly acknowledge the shortcomings of their bridal gift. Schumann was not given to religious perorations, but there was something about his love for Clara which seemed to him sacred and awe-inspiring. He had no qualms about incorporating Ave Maria into the postlude of Widmung, and here, in the same key of A flat major, he unashamedly imagines the completion of the circle where the prayer which concludes the first song in the cycle has been answered with transfigured bliss.

The only other song in the cycle remotely like it is Lied der Braut No 2. Here there is a similar sense of time standing still as Schumann solemnly plights his troth: this is as near as we will ever get to hearing marriage vows set to music. Here we find ourselves in the solemn key of B flat minor. At this point all ceremony suddenly recedes; the lover and his bride seem caught in a shaft of musical sunlight which picks them out from all the others in the congregation, and from all other lovers.

No film director could have engineered a more perfect final close-up of the two stars of Myrten. Before fading from the screen and into immortality, two faces scan each other with that mixture of ardour and almost reverential tenderness that has been the keynote of the entire cycle. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Don't show me this message again. Myrthen, Op 25 composer. January to early April ; presented to Clara on their wedding day in September He told her that he had written 27 pages of music but he did not say what the music was. In her reply Clara expressed her bemused curiosity — was it a quartet, an overture or a symphony? The only thing she correctly guessed was that it was to be a wedding present. He later confessed to her his emergence as a composer of lieder, but the details of this present were kept secret from her, and even the publisher was sworn to secrecy.

The title page was printed in two colours to enable a design of green myrtles the German symbol of marriage to wreathe the lettering on the cover. Schumann was to present this volume, hot off the press, to Clara on the eve of their marriage in September An important part of their power is their inter-connectedness in terms of tonality: Schumannians will always scan this list in admiration and wonder. Graham Johnson piano. Gerald Finley baritone , Julius Drake piano. Why another Dichterliebe recording? Because Gerald Finley has simply one of the greatest voices of his generation, and is an artist at the peak of his powers.

He brings to this noble cycle the supreme musical understanding that characterizes all his The Myrthen Ensemble , Joseph Middleton piano. The Songmakers' Almanac. Christopher Maltman baritone , Graham Johnson piano. As with the Hyperion Schubert Song edition one struggles for new ways of expressi Ian Bostridge tenor , Graham Johnson piano.

Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden. You my soul, you my heart, You my rapture, O you my pain, You my world in which I live, My heaven you, to which I aspire, O you my grave, into which My grief forever I've consigned! You are repose, you are peace, You are bestowed on me from heaven. Your love for me gives me my worth, Your eyes transfigure me in mine, You raise me lovingly above myself, My guardian angel, my better self!

This is one of the most famous songs in the world, and with some justification. That Franz Liszt also made a celebrated solo piano transcription of it is testament to the memorable power of a melody that is unfailingly exhilarating. It is that rare thing, a piece that combines passion and tenderness, force and sweetness, a thrusting determination with an ability to yield.

And all in a relatively short song in which, as a pianist, one has the impression of sometimes following the singer humbly, and sometimes leading him or her on, whipping up the vocal line to greater fervour. For the pianist this means the ability to listen, but it also gives him the right to expect that on occasion he will be trusted to take the lead. Johann Wolfgang von Goethe Let me hold sway in the saddle! Stay in your huts and your tents! And I'll ride happily far away, With only the stars above me.

It is fitting that Goethe should make an appearance in a work which re-defined and re-shaped the idea of the song-cycle. A serious lieder composer in could not avoid this great poet, but Schumann is clearly diffident about engaging with Weimar. Perhaps he felt that Mendelssohn would disapprove. For that reason he avoids any of the famous Goethe lyrics and chooses one that had been ignored by everyone else Anton Rubinstein was to set it in a Russian translation in One can see why Schumann chose it as a means of introducing himself in fancy dress: it suited the international concept of Myrten and it enabled him to write a character piece in which an oriental disguise gave him an indefinable glamour.

This is the signature tune of a liberal thinker who is in thrall to no man, free to travel under the stars, contemplating the glories of the heavens as he does so. A snag is that this is one of the very few songs in Myrten where there is no love interest; but it is surely meant as a counterpoise to the following Der Nussbaum — the heroic man rides a horse under the desert skies while the girl, safely at home under the nut tree, dreams of her distant lover and the time when he will return to marry her.

At least the mood of Freisinn shows that the composer is determined to do just that. Another problem is that the music is not quite eastern enough to be different from other run of the mill horse-riding music. On the whole the Highland widow No 10 is a more original horsewoman than this Bedouin.

The most effective music is that for the second strophe where Schumann manages to conjure a mood of Koranic solemnity as jerky dotted rhythms are abandoned in favour of a rapt star-struck melody supported by a solemn chorale of crotchets. The music makes an attractive enough transition into the next great song, but it sounds rather too much like an item from Kinderszenen a relation of Wichtige Begebenheit perhaps with a text that has been added as an afterthought. Julius Mosen A nut tree blossoms outside the house, Fragrantly, Airily, It spreads its leafy boughs.

Many lovely blossoms it bears, Gentle Winds Come to caress them tenderly.

Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score
Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score

Related Zwei Venetianische Lieder No. 1 Op.25 No.17 - Score

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