"A cycle that can be compared to the great German Lieder cycles, such as Schubert's Winterreise or Schumann's Dichterliebe." This is what Alexis Roland-Manuel said about Tel jour telle nuit (Such a day such a night). I don't really like the comparisons between non-homogeneous things (cycles in different languages, poems and songs written 100 years later), but there's little doubt that Francis Poulenc's cycle is great and has elements in common with those mentioned by the musicologist.

"Mental note: find out more about August von Platen". Platen is the poet of just two lieder by Schubert and five by Brahms, they are such tormented verses that every time I listened to some, I was wondering what could have led the poet to write them. We've known one of the Schubert's lieder, Die Liebe hat gelogen, D. 751 (Love has lied); the other one is Du liebst mich nicht, D. 756 (You don't love me). Those of Brahms’ have similar topics: deceptions, pleas, I know you used to love me, why are you doing this to me... you get the idea, don't you?

You should jot down this date for your next journey in time: January 29, 1905. That day the Rückert-Lieder, the Kindertotenlieder and three lieder from Des Knaben Wunderhorn (Der Tamboursg'sell, Des Antonius von Padua Fischpredigt and Lied from Verfolgten in Turm) were premiered; Five more Wunderhorn-Lieder completed the programme. The composer, Gustav Mahler, conducted to three singers and members of the Vienna Opera Orchestra and the concert took place at the Kleine Musikvereinsaal.

S is for Schubert, of course. The most spoilt composer in Liederabend, the one I mention with any excuse whatsoever, the one who appears on drawings (him and his music) in a outstanding position on this web. Schubert, the apple of my eyes. Why Schubert? There are composers (and I'm talking generally now, not only referring to Art Song) that I liked immediately, as a revelation. Others I learned to love them. With some others, I hold a strange relationship because I like very much some of their works and very little [...]

Gedichte der Königin Maria Stuart is Robert Schumann's last cycle, composed in December 1852. These songs were virtually his last too as he only wrote two more. The story of Mary had already attracted Schiller's attention, who had written his drama based on the Queen’s last days, Maria Stuart, in 1800. It had also attracted Donizetti, who composed in 1835 his opera Maria Stuarda upon Schiller's work, and Schumann paid attention to some [...]