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Third post of the series written by the students of the Master in Lied of the ESMUC, their work for the module Genre Literature. Repertoire of the German Lied, given by pianist Viviana Salisi. For this week, Susanna Puig has chosen another great Lied, Waldesgespräch, that we'll hear performed by Dietrich Fischer-Dieskau and Gerald Moore. Thank you very much, Susanna!Waldesgespräch belongs to the cycle called Liederkreis, composed by R. A. Schumann (1840) about poems from J. K. B. von Eichendorff and based on the legendary figure of Lorelei. Lorelei is both the name of a cliff located along the river Rhine in Germany and also a German legend from the Romanticism mentioned [...]
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Second post of the series written by the students of the Master in Lied of the ESMUC, their work for the module Genre Literature. Repertoire of the German Lied, and it is given by pianist Viviana Salisi. We started the series last week with a gorgeous song chosen by Elena Mateo and this week we'll listen to a gorgeous song too, chosen by Guillem Martí.Mein schöner Stern, op. 101 n. 4, by Robert Schumann, is part of the Minnespiel op.101, a cycle based on poems by Friedrich Rückert that, like Spanisches Liederspiel, combines Lieder for vocal soloists with duets and two quartets. Two of the texts had previously been used by Schumann for the cycle Zwölf Gedichte by Friedrich Rückerts Liebesfrühling[...]
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One of the modules of the ESMUC Master's Degree in Lied is called Genre Literature. Repertoire of the German Lied, and it is given by pianist Viviana Salisi. In this module, a general overview of text-music relationship is given, including different composers, ages and styles, while the songs are grouped by subjects. My friend M, former student of the master's degree, thought that as the module’s final work, students could prepare a post for Liederabend's blog. That means, choosing a Lied, gathering information, writing the content in both languages and choosing a performance and an illustration. Both Viviana and I thought it was a fantastic idea. From the academic point of view, singers and pianists should address to their potential audience with words and not with music, as they usually do; From Liederabend's point of view, I liked the idea that the master's degree left [...]
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When I was organizing the Liederabend's alphabet, I realized that I had two words for one letter, and, alas, I couldn't do without any of them. If the name I wanted to represent an old-time pianist and the name I wanted to represent a present-day one share the same initial, there was only one solution left, to break the rules1, since discarding one wasn't an option. So, the letter M is for Gerald Moore and Malcolm Martineau. Gerald Moore represents to piano what Dietrich Fischer-Dieskau represents to voice. When we speak about lied and piano, his is the first name that comes up in the conversation, a name that we find in so many recordings with so many different singers. But If I'm drawing a parallel between them, it's not just because he's a great [...]
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Homer describes with a few lines Ganymede's story. We know more about him from other literary sources: Ganymede was a young boy, the son of King Tros. Zeus fell in love with him; "the loveliest born of the race of mortals" wouldn't have gone unnoticed by Zeus. The god, in the form of an eagle, abducted the boy and took him to Olympus. The position of cup-bearer was available, since Hebe had married Heracles (it seems that married goddesses shouldn't work), and all the gods were delighted that such dazzling beauty pours them nectar and ambrosia. All except Hera, Zeus' wife.
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