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Published: 04 July 2018

Song of the week: Die letzten Blumen starben (R. Schumann) - J. Banse, G. Johnson

 

In the spring of 1851, Robert Schumann wrote a series of seven songs based on poems by a young writer: Elisabeth Kulmann. A cycle in which we discover some scenes and experiences of the young poet through the prism of the German composer.

(Post by Alba Quinquillà, student of the Master's Degree in Lied - ESMUC)

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Published: 27 June 2018

Song of the week: Tears (I. Gurney) - B. Vázquez Canales, I. Aparisi

 

Isabelinas is the word that adjectives these songs. Written between 1913 and 1914. Its composer Ivor Gurney, musician and poet, decided to musicalize the poems of Shakespeare, Flechter and Nashe whose texts belonged to the English gold era, in which, the flourishing of the arts includes poetry, whose sole purpose It was the delight.

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Published: 20 June 2018

Song of the week: Abschied (H. Wolf) - H. Prey, L. Hokanson

 

According to Susan Youens, an author and musicologist, Hugo Wolf and Eduard Mörike would be like an “odd couple”. They would have disliked each other had they met, as Wolf indeed admitted in his letter to Melanie Köchert after reading a selection of Mörike letters saying, “A certain antiquated tone is all too prominent… I suspect we would not have gotten [...].

(Post by Al Dresden Ramos, student of the Master's Degree in Lied - ESMUC)

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Published: 13 June 2018

Song of the week: Warum willst du and're fragen? (C. Schumann) - A. S. von Otter, H. Grimaud

 

"This week I sat down a lot to compose and finally I succeeded with four poems by Rückert for my beloved Robert. I hope this would give him at least a little pleasure, which would make my wish come true".

The Marriage Diaries of Robert and Clara Schumann. January 1841

 

(Post by Mireia Tarragó, student of the Master's Degree in Lied - ESMUC)

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Published: 06 June 2018

Song of the week: Lotoren lorak (P. Sorozábal) - M. Arruabarrena, Cristian Mandeal (dir.)

 

There is no Lied without a poem. Stating the obvious, I know, but sometimes we forget it, and so do forget also how important knowing the poem is. If that "we" refers only to listeners, well, it is our problem; it’s up to us to enjoy a recital by just focusing on the music or instead, also immerse ourselves in the poem. But everything changes if the programmers or the artists forget about the poems, because they prevents us, the audience, from choosing.