A history of western music
A history of western music
Part A: Recapitulation from last week
- Read the subchapter “Choral Music” from A History of Western Music, 9th ed. (New York, London: Norton, 2014), pp. 643-650, and listen to Fanny Hensel’s partsong “Lockung” from her op. 3 Gartenlieder, and to Felix Mendelssohn Bartholdy’s partsong “Der Jäger Abschied” op. 50 no. 2 (both available on Naxos).
- Why might Fanny Hensel’s set of six songs be called Gartenlieder (garden songs)? What does this tell you about the musicians she wanted to sing her music?
- Can you spot any “romantic” ideas in the text and the setting of both part songs (“romantic” in the early-19th-century sense, not in the sentimental contemporary sense)?
- What makes the text of Mendelssohn’s partsong particularly suitable for an all-male ensemble?
- Describe the form of both partsongs. Do you remember the technical term? Why would the composers have chosen this particular form
- Read the following entries on Grove Online (www.oxfordmusiconline.com) (Chris has shown you how to do this; if in doubt consult the slides from the library induction):
- Simon Maguire and Elizabeth Forbes. “Norma.” The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. Oxford University Press. Web. 30 Sep. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/O903486>.
- William Ashbrook. “Lucia di Lammermoor.” The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. Oxford University Press. Web. 30 Sep. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/O004252>.
Question: Italian opera often isn’t considered to be part of the ‘Romantic’ movement. However, can you spot ‘romantic’ elements in the setting and plots of these two operas?