Lieder and Art Song for Beginners/Intermediates
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Richard Tarleton
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Originally posted by ferneyhoughgeliebte View Post... and, after Schubert's night of dreams, what better way to wake up than this:
https://www.youtube.com/watch?v=DYfn3jFtR5I
Many thanks Ferney for posting this link of Janet Baker and Gerald Moore's interpretation of Morgen. I'd never heard it before. It is sublime imho.
I wish this forum had a "like" facility. This link (and your post) would get 100 from me
Best Wishes,
Tevot
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From the British repertoire I have also enjoyed performing (and therefore recommend):-
Quilter: Go, Lovely Rose; Love's Philosophy (and a good deal else besides);
Vaughan Williams: Silent Noon, The Water Mill (I have at different times sung and played this: I much prefer the latter as it's such a pig to memorise!);
Geoffrey Bush: It Was a Lover and his Lass and To Elektra (a ravishing song!);
Holst: Humbert Wolfe Songs (try Persephone, The Floral Bandit and Betelgeuse in Philip Langridge's fine recording);
Frank Bridge: Go not, Happy Day and Love Went A-Riding (both excellently recorded by Pears and Britten) - also the late and little known Tagore songs (I'm fond of Day after Day);
Walton: the Facade settings in which the texts are actually sung (Old Sir Faulk is great fun for the pianist in particular).
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Originally posted by LeMartinPecheur View Post
Non-English speakers are in with a chance of getting a translation into their own language, at least for the more popular repertoire. Sometimes it'll be a singing translation, sometimes literal.
Another thing that I feel many people overlook is that the 'accompaniment' (not a word I like) is as important as the voice in the best song repertoire. I remember Roger Vignoles saying that very occasionally after a recital the singer had been taken out to dinner by whoever was hosting them, and he was left to fend for himself. This was a long time ago, and I doubt if it's still true - I certainly hope not!
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Originally posted by rauschwerk View PostFrank Bridge: Go not, Happy Day .
But we should make room for the finest English composer in this genre:
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Richard Tarleton
Originally posted by ferneyhoughgeliebte View Post
But we should make room for the finest English composer in this genre:
(Thought to refer to the Duke of Alencon, aka the Frog, QE1's unsuccessful suitor, the tune also being that of JD's The Frog Galliard.
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On the question of language and comprehension, I have serious problems with singers who cannot pronounce French.
This may be because, although nowhere near bilingual, I learned French songs in early childhood from a native speaker. But it worries me much less when an English singer malforms a German word. Anyone feel the same way?
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Originally posted by rauschwerk View PostFrom the British repertoire I have also enjoyed performing (and therefore recommend):-
Quilter: Go, Lovely Rose; Love's Philosophy (and a good deal else besides);
Vaughan Williams: Silent Noon, The Water Mill (I have at different times sung and played this: I much prefer the latter as it's such a pig to memorise!);
Geoffrey Bush: It Was a Lover and his Lass and To Elektra (a ravishing song!);
Holst: Humbert Wolfe Songs (try Persephone, The Floral Bandit and Betelgeuse in Philip Langridge's fine recording);
Frank Bridge: Go not, Happy Day and Love Went A-Riding (both excellently recorded by Pears and Britten) - also the late and little known Tagore songs (I'm fond of Day after Day);
Walton: the Facade settings in which the texts are actually sung (Old Sir Faulk is great fun for the pianist in particular).
I also recommend any number of songs by Ivor Gurney.
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Originally posted by Mary Chambers View PostThese are extremely early works of Britten. He was fourteen years old when he wrote them. Although I agree they are appealing, they are quite derivative. Much better to go for the Serenade for Tenor, Horn and Strings or the rather less accessible Nocturne, both very beautiful orchestral settings of English poetry. Winter Words is a subtle voice/piano setting of poems by Thomas Hardy. Or, to back to French, his Rimbaud cycle Les Illuminations (voice and orchestra) is very exciting.
I don't recommend recordings. I only have Britten's own, with Pears, which are definitive. Otherwise I like live performances if possible, and I know the music so well that it is in any case permanently in my head.
For example,if I may be so bold as to recommend
Seven Sonnets of Michelangelo; The Holy Sonnets of John Donne; Winter Words
Justin Lavender (tenor)Julian Milford (piano) on Carlon Classics (if it's still available,maybe there are second hand copies out there)
Very different,but valid (IMO)interpretations.
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Originally posted by EdgeleyRob View Post
I also recommend any number of songs by Ivor Gurney.
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Originally posted by greenilex View PostOn the question of language and comprehension, I have serious problems with singers who cannot pronounce French.
This may be because, although nowhere near bilingual, I learned French songs in early childhood from a native speaker. But it worries me much less when an English singer malforms a German word. Anyone feel the same way?
I was also brought up with genuine French. My German was taught by a Viennese teacher.
I've always found French an unfriendly language for singing, whereas I love German. I think English singers are more likely to mispronounce French, but they are much better than they used to be.
I'd be grateful if people who give links would give us a clue what they are.
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Originally posted by EdgeleyRob View PostYou are right of course Mary but I do enjoy hearing other versions,even though it is difficult trying not to compare them with Britten/Pears.
For example,if I may be so bold as to recommend
Seven Sonnets of Michelangelo; The Holy Sonnets of John Donne; Winter Words
Justin Lavender (tenor)Julian Milford (piano) on Carlon Classics (if it's still available,maybe there are second hand copies out there)
Very different,but valid (IMO)interpretations.
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Originally posted by Mary Chambers View PostI was also brought up with genuine French. My German was taught by a Viennese teacher.
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Originally posted by greenilex View PostBut it worries me much less when an English singer malforms a German word. Anyone feel the same way?
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Originally posted by rauschwerk View PostGurney's music, I confess, doesn't float my boat even though I played some of his songs last year with a soprano I love working with. I have had some fun with Warlock - the roistering Captain Stratton's Fancy and My Own Country spring to mind. When I play the latter I think of the lanes around Eynsford where Warlock lived and roistered, and where I used to ride my bike as a teenager. He had this habit of writing piano parts with loads of notes playable Andante, and then marking them Allegro Vivace or some such. Roister Doister is a typical example: great fun for the singer but crazy for the pianist.
Not sure they are all suited to the female voice though.
The 5 Elizabethan songs are the pick I think
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