Western Music History

U66000 Introduction to Western Music History Week 2 ? 3 Part A: Recapitulation from last week 1. Read the subchapter “Choral Music” from A History of Western Music, 9th ed. (New York, London: Norton, 2014), pp. 643-650, and listen to Fanny Hensel’spartsong “Lockung” from her op. 3 Gartenlieder, and to Felix Mendelssohn Bartholdy’spartsong “Der JägerAbschied” op. 50 no. 2 (both available on Naxos). • Why might Fanny Hensel’s set of six songs be called Gartenlieder (garden songs)? What does this tell you about the musicians she wanted to sing her music? • Can you spot any “romantic” ideas in the text and the setting of both part songs (“romantic” in the early-19th-century sense, not in the sentimental contemporary sense)? • What makes the text of Mendelssohn’s partsong particularly suitable for an all-male ensemble? • Describe the form of both partsongs. Do you remember the technical term? Why would the composers have chosen this particular form? Lockung Hörst du nicht die Bäume rauschen Draußen durch die stille Rund? Lockts dich nicht, hinabzulauschen Von dem Söller in den Grund, Wo die vielen Bäche gehen Wunderbar im Mondenschein Wo die stillen Schlösser sehen In den Fluß vom hohen Stein? Kennst du noch die irren Lieder Aus der alten, schönen Zeit? Sie erwachen alle wieder Nachts in Waldeseinsamkeit, Wenn die Bäume träumend lauschen Und der Flieder duftet schwül Und im Fluß die Nixen rauschen - Komm herab, hier ist‘s so kühl. Enticement Can’t you hear the forest rush outside through the quiet round? Aren’t you tempted to listen from the balcony to the ground where the many brooks flow wondrously in moonlight - where the silent castles look into the river from the high rock? Do you remember the mad tunes from former, beautiful times? They all awoke again at night, in the loneliness of the forest, when the dreaming trees are listening and the lilac has a sultry scent and in the river the mermaids murmur: come downward, here it is so cool. Der Jäger Abschied Wer hat dich, du schöner Wald, Aufgebaut so hoch da droben? Wohl den Meister will ich loben, Solang noch mein‘ Stimme erschallt: Lebe wohl, Lebe wohl, du schöner Wald! Tief die Welt verworren schallt, Oben einsam Rehe grasen. Und wir ziehen fort und blasen, Daß es tausendfach verhallt: Lebe wohl, Lebe wohl, du schöner Wald! Was wir still gelobt im Wald, Wollen‘s draußen ehrlich halten, Ewig bleiben treu die Alten, Bis das letzte Lied verhallt: Lebe wohl, Schirm‘ dich Gott, du deutscher Wald! Huntsmen’s Farewell Who has, beautiful forest, built you up high there? Well, I will praise the master as long as my voice can resound: Farewell, farewell, you beautiful forest! Down there the world resounds in chaos, up there lonely deer graze. And we go away and blow [our hunting horns] so that a thousand echoes resound: Farewell, farewell, you beautiful forest! What we have sworn quietly in the forest we will keep steadfastly out there, we will remain true and the old, until the last song has faded: Farewell, God bless you, you German forest! 2. By using the library catalogue and / or going to our Brookes library, search for books about Franz Schubert, and more particularly about his songs (often called “lieder”). • Give the author, title, place and year of publication of the oldest and the most recent Schubert biographies in our library. • Give the author, title, place and year of publication of three publications that deal specifically with Schubert’s songs. • Have a quick browse through these three books (but please don’t take them from the library, and put them back into place after you used them). Which one did you find most interesting at first sight, and why? B. Preparation for next week 1. Read the following entries on Grove Online (www.oxfordmusiconline.com) (Chris has shown you how to do this; if in doubt consult the slides from the library induction): • Simon Maguire and Elizabeth Forbes. “Norma.”The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. Oxford University Press. Web. 30 Sep. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/O903486>. • William Ashbrook. “Lucia di Lammermoor.”The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. Oxford University Press. Web. 30 Sep. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/O004252>. Question: Italian opera often isn’t considered to be part of the ‘Romantic’ movement. However, can you spot ‘romantic’ elements in the setting and plots of these two operas? 2. Listen to Scene 4 (Scena e Cavatina) from act 1 of Bellini’s Norma. This scene is divided into four sections (see below the divisions of the text). • Describe the sections in terms of their content, the treatment of the text, the interaction of the main character with the other characters, the relationship of the voice(s) to the orchestra, the function of the orchestra. • Think about the form of the individual sections: which sections are rather open and dynamic, which are rather closed and static? Is the form appropriate to the dramatic and emotional content? • The role of Norma was written for the famous soprano Giuditta Pasta. Judging from this scene, what were her strengths as a singer? Scena IV (Entra Norma in mezzo alle sue ministre. […].) NORMA Sediziose voci, voci di guerra Avvi chi alzarsi attenta Presso all'ara del Dio? V'ha chi presume Dettar responsi alla veggente Norma, E di Roma affrettarilfatoarcano? Ei non dipende, no, non dipende Da potere umano. OROVESO E fino a quandooppressi Ne vorraitu? Contaminate assai Non fur le patrieselve E i templiaviti Dall'aquilelatine? Omai di Brennooziosa Non puòstarsi la spada. UOMINI Si brandiscaunavolta! NORMA E infranta cada. Infranta, sì, se alcun di voi snudarla Anzi tempo pretende. Ancor non sono della nostra vendetta I dì maturi. Delle sicambre scuri Sono i pili romani ancor più forti. OROVESO E UOMINI E che t'annunzia il Dio? Parla! Quai sorti? NORMA Io ne' volumiarcanileggo del cielo, In pagine di morte Della superba Roma è scrittoilnome. Ella un giornomorrà, Ma non per voi. Morràpeivizisuoi, Qualconsuntamorrà. L'oraaspettate, l'ora fatal Checompiail gran decreto. Pace v'intimo … E ilsacrovischioiomieto. Scene IV (Norma enters with the other priests.) NORMA Are there those who dare To raise seditious voices, Warlike voices, before the altar of God? Who dares to question my inspired words, Seeking to hasten the ordained fate of Rome? That will not come through human efforts. OROVESO How long, then, must we remain oppressed By Rome? Have not the Roman eagles Sullied enough our native shores, Our ancestral temples? Brenno's sword Can remain no longer idle. ALL Let that sword, for once, be brandished! NORMA And broken, If one of you should draw it Before the destined time. Not yet Is the moment of our vengeance. The Roman spears are still Stronger than the Druids axes. ALL What command has God given you? What prophecy? NORMA In the secret books of Heaven, On a mortal page, I read The name of proud Rome. One day she shall die; but not at your hands. She will die, consumed By her own vices, Await that hour, That fatal hour decreed by God. And meanwhile, peace! I cut the sacred mistletoe. NORMA Casta Diva, cheinargenti Questesacreantichepiante, Al noi volgi il bel sembiante, Senza nube e senza vel! OROVESO E CORO Casta Diva, cheinargenti Questesacreantichepiante, Al noivolgiilbelsembiante, Senza nube e senza vel! NORMA Tempra, o Diva, Tempratu de' coriardenti, Tempraancora lo zeloaudace. Spargi in terra quella pace Cheregnartufainelciel. OROVESO E COR Diva, spargi in terra Quella pace cheregnar Tu fai nel ciel. NORMA and PRIESTESSES Chaste goddess, who dost bathe in silver light These ancient, hallowed trees, Turn thy fair face upon us, Unveiled and unclouded... Temper thou the burning hearts, The excessive zeal of thy people. Enfold the earth in that sweet peace Which, through Thee, reigns in heaven.... NORMA Fine al rito. E ilsacrobosco Siadisgombrodaiprofani. QuandoilNumeirato e fosco Chieggailsanguedei Romani, Dal druidicodelubro La mia voce tuonerà. OROVESO E CORO Tuoni, E un sol del popoloempio Non isfugga al giusto scempio; E primier da noi percosso Il Proconsole cadrà. NORMA Cadrà! Punirlo io posso. (Ma punirlo il cor non sa.) NORMA The holy rites are ended. From the sacred wood Let every unbeliever go. When God, in his dark anger, Shall demand the Romans' blood, Then from the Druid temple My voice will thunder forth. ALL Let it thunder, and not one of the cursed race Shall escape the holy slaughter. And first to fall before our wrath Shall be the Proconsul of Rome. NORMA Yes, he shall fall. I can punish him – (But my heart can never do it. NORMA (Ah! bello a me ritorna Del fidoamorprimiero, E controilmondointiero Difesa a tesarò. Ah! bello a me ritorna Del raggio tuo sereno E vita nel tuo seno E patria e cielo avrò.) OROVESO E CORO Sei lento, sì, sei lento, O giorno di vendetta, Ma iratoilDiot'affretta CheilTebrocondannò! NORMA (Ah! riediancoraqualeriallora, Quandoilcortidiediallora, Qualeriallor, ah, riedi a me!) OROVESO E CORO O giorno! O giorno, ilDiot'affretta CheilTebrocondannò! NORMA Ah! bring back to me The beauty of our first love. Then, against the world itself I shall be your defense. Ah! Bring back to me The peace and warmth of love, And in that love I shall find again Life, fatherland and heaven itself!) CHORUS But a wrathful god is hastening To condemn the power of Rome. NORMA (Ah, be once more as you were When first I gave my heart to you!) CHORUS But the wrathfuI day is near, Which will condemn the power of Rome.