Song of the week: Die Mainacht (Fanny Mendelssohn) - S. Mafi, M. Martineau
Le retour - René Magritte

The wunderschöne Monat Mai passed, and we are still locked down, except for a short daily walk in time and distance (not more than one hour, not farther than 1 km), so awkward and strange it is that I wouldn't call it a walk. If you live in a crowded place like Barcelona, you’ll understand what I’m saying; if you live in a place with less demographic pressure, I hope your daily walk is more enjoyable than ours. [...]

Song of the week: Sonne der Schlummerlosen (H. Wolf) - W. Dazeley, S. Kynoch
Full moon - Peder Severin Krøyer

George Gordon Noel Byron's poetry soon had some extensive dissemination in Germany; some translations were distributed, and he also had some protectors such as Goethe, Heine and Müller, who was also the poet's biographer. Despite all of this, Lied composers were barely interested in Lord Byron. The exception was Carl Loewe, who put into music about twenty of his poems, but apart from these, just a few scattered Lieder are found, the best known of which is Mein Herz ist schwer, the no. 15 of Robert Schumann's Myrten. The rest are hardly performed in song recitals [...]

Song of the week: Wiegenlied, D. 867  (F. Schubert) - W. Holzmair, I. Cooper
Mother and child (The Goodnight Hug) - Mary Cassatt

A poem whose stanzas all have the same regular structure seem suitable for a strophic song. Even more if it’s a lullaby. The composer will surely consider that five stanzas are long enough; or perhaps not, and he will put performers and audience to test by repeating six of the eight verses of each stanza. This is our Schubert! Either the 19th-century audience was more patient than we are or he thought he was more than capable of making a pure strophic song which lasted seven or eight minutes and flew by as they were two, as it's Wiegenlied, D 867 (He must have been pleased [...]

Song of the week: Versprich mir eins (N. Glanzberg) - U. Gfrerer, W. Merrill
NOM_QUADRE

At 3 years old, he asked his mother: “Why is music laughing? Why is music crying? This smart child went into the Würzburg Conservatory in 1922, at twelve, and at seventeen, after meeting Richard Strauss, he knew he wanted to become a conductor. Shortly afterwards, he was assistant conductor at the city's opera house, where he conducted Hugo Wolf's only opera, Der Corregidor, and when the theatre closed down he held the same position in Aachen, where he worked with Alban Berg and Belà Bartók.

Song of the week: Die Kartenlegerin (R. Schumann) - J. Banse, G. Johnson
Two on the aisle - Edward Hopper

For the past few weeks, many discussions have been held on social media about the cultural sector, so severely affected by lockdown measures for protecting us against the Covid-19 infection. I would say that the scope of the problem is better understood when talking of the book sector, maybe because it's “easier” (don't miss the inverted commas) to focus on the four agents concerned: authors, publishers, distributors and bookshops. However, it looks as if many users involved in those discussions are not able to see the scope of the problem when talking about [...]

We talked about the composers...

and about the poets...

They sang...

and were accompanied by...

LIFE Victoria 2020

Series

The 10 saddest songs
serie tristes
The 10 happiest songs
serie felices
Ten buggy songs
serie cuques
Wilhelm Meister's Songs
serie Wilhelm
Lied goes pop
serie pop
Abecedari Liederabend
serie abecedari
The ESMUC Master's Degree in Lied visits us
serie esmuc

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