«Воспитательно-образовательные возможности авторской песни на примере песни В.Моисеевой "О Войне" и песни "Гурзуф" из цикла песен В. Моисеевой «Крымские Арабески»»

Today there is an acute problem of educating the creative potential of the younger generations, their artistic taste, preferences. Among the goals and objectives of education - the formation of artistic thinking (and as a variety - musical thinking) is very relevant. Therefore, the article considers some problems of the development of creative activity as the basis of artistic and musical thinking. Based on the study of the methodology of working on songs, it is necessary to determine the effectiveness of the influence of the author's song for voice and piano accompaniment on the formation of holistic ideas about the surrounding nature, the social environment of the cities of Crimea, the place of a person in it, self-esteem, the harmonious manifestation of patriotic feelings. Creation and testing of a song cycle as an accompanying material in solving the tasks of the regional component in education.

Die Winterreise and Winterreise: A Comparison of Wilhelm Müller’s Cycle of Poems and Franz Schubert’s Cycle of Songs for Voice and Piano

This article examines closely the textual origins of Schubert’s Winterreise in order to gain a deeper understanding of the relationship between Wilhelm Müller’s set of poems and Franz Schubert’s song cycle based on those poems. A study of the genesis of the poetry and the final arrangement of poems in both Müller’s and Schubert’s cycles illustrates a contrast between a work of hope and another of despair.

9. The Romantic German Lied – An Overview

The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.

11. Five Lieder for Medium Voice and Piano, Op. 1 by Mihail Jora – Stylistic-Interpretive Considerations

Mihail Jora, „the father” of modern Romanian lied, consistently composed vocal miniatures for voice and piano between 1914 and 1968, permanently refining the appearance and content of this group of works that became representative for Romanian music. He began his journey in the first decades of the XX-th century, when, in Romania, the vocal-chamber musical genre had just begun its rapid evolution and synchronization with European trends, creatively capitalizing on the influence of already established composers. The visible transformation took place not only through the creative assimilation of formal patterns and the way music was „made”, but also trough the choice of poems. Five lieder for medium voice and piano [Fünf Lieder für eine Mittelstimme] op.1 on german lyrics is the work we will submit to stylistic-interpretive analysis to show both its uniqueness and its contact surfaces with the German lied and with Jora’s mature creation.

A Sense of the East. “Wanderer's Songs” by George Sviridov: History of Creation and Interpretation Experience

Статья посвящена малоизвестному произведению Георгия Свиридова «Песни странника», написанному на тексты китайских поэтов VII-IX веков в переводе Юлиана Щуцкого. Сочиненные в 1941-1942 годах в эвакуации в Новосибирске, песни так и остались неизданными - вероятно, это было обусловлено необычностью поэтического источника, а также тем, что они подверглись жестокой критике со стороны членов Союза композиторов. Автор статьи провела текстологический анализ всех обнаруженных автографов и приняла участие совместно с китайским баритоном Чанбо Ваном в премьерном исполнении оригинальной версии для голоса и фортепиано «Песен странника» в Санкт-Петербургской филармонии. В статье отражен опыт интерпретации, накопленный в ходе исследовательской и исполнительской работы над произведением. The article is devoted to the little-known “Wanderer's Songs” by George Sviridov with the lyrics based on the texts of Chinese poets of 7-9 centuries in translations by Yulian Shchutsky. Composed in 19411942 during the evacuation to Novosibirsk, the songs remained unpublished, which was probably due to the unusual poetic source, as well as the fact that they were severely criticized by members of the Union of Composers. The author of the article conducted a textological analysis of all the autographs found and took part, together with the Chinese baritone Changbo Wang, in the premiere performance of “Wanderer's Songs” at the St. Petersburg Philharmonic Society in the original version for voice and piano. The article reflects the experience of interpretation, accumulated in the course of research and performing work on the work.

Stolen Youth

In 1847 Atwill of New York published “The Lament of the Blind Orphan Girl.” Composed by William Bradbury, the song is written for voice and piano in a lilting 3/8 meter. Mary, the song’s protagonist, sings of “the silvery moon” and “bright chain of stars” over diatonic harmonies. A dramatic shift to the minor mode supports the climax: “Oh, when shall I see them? I’m blind, oh, I’m blind.” Mary explains that she and her brother have also lost their parents. On the sheet music cover a wreath of flowers encircles an image of a young white woman kneeling beneath a tree, alone at a grave. The title page notes: “As sung with distinguished applause by Abby Hutchinson.” Orphan songs pervade nineteenth-century pop repertory. Scholars have analyzed Latvian, Hmong, Danish, and German orphan songs, but US orphan songs have generated little more than passing references. Other examples include: “The Orphan Nosegay Girl” with words by Mrs. Susanna Rowson from 1805; “The Colored Orphan Boy,” composed by C. D. Abbott and sung by S. C. Campbell of the Campbell Minstrels from 1852; and “The Orphan Ballad Singers Ballad” by Henry Russell from 1866. Orphans were not just a topic; in the latter half of the nineteenth century, actual parentless youth featured in bands such as the Hebrew Orphan Asylum Band of New York City. This paper connects the stolen childhoods in orphan songs to those of enslaved youth. If free children were aware of slavery and the movement to abolish it as historian Wilma King has shown, what did it mean for Abby Hutchinson, who started performing abolitionist songs with her brothers at age twelve, to sing as the sentimental stock character of the orphan? Songs like the one above may have been a way that young abolitionists empathized with enslaved youths robbed of their youths.

Kitsch

Chapter 5 explores contemporary Soviet anxieties about mass media and popular culture by detailing Valentin Silvestrov’s shift in the 1970s from avant-garde cacophony to a quiet, nostalgic style that he unironically called “kitsch.” During this dark economic period, when he also was persona non grata in the Ukrainian Union of Composers, Silvestrov hoped to earn money by writing pop songs, a failed venture that resulted in his unpublished Kitsch Songs (1973), a cycle that sounds closer to Schubert and nineteenth-century Russian romances than the Beatles or contemporary Soviet pop. Silvestrov’s next works, including the important cycle Quiet Songs for voice and piano (1973–77), continued his resuscitation of earlier styles, usually involving texts by canonic Russian and Ukrainian poets (e.g., Pushkin, Lermontov, Mandelstam, and Shevchenko). In the preface to his 1977 Kitsch-Music for piano, Silvestrov claimed that he “regard[ed] the term ‘kitsch’ (weak, rejected, abortive) in an elegiac rather than an ironic sense.” In other words, he hoped that by taking “trivial,” overly familiar sources seriously, he might redeem them. His audiences often had other ideas, laughing at what they assumed was a parody. Others were captivated by his meditative evocations of the past.

MARTIN BUTLER (b. 1960)London (2008)

This chapter explores British pianist and composer Martin Butler’s London (2008). This is, thus far, the sole work Butler has written for voice and piano. His musical idiom is easily accessible, basically tonal with naturally flowing lines and lovely sonorities. This is a classic English ‘Lied’ which sets William Blake’s poem with impeccable taste and assurance, allowing both performers a wide range of colour and expression, and encompassing a host of delicately calibrated details of nuance and dynamic. Marked ‘A Dirge’, the piece progresses at a steady pulse, led by a resonant piano part which goes on to three staves at the start. Wide-spanning bell-like chords support a flexible, shapely vocal line, with each word set immaculately. The broad vocal range might suggest a bass-baritone—several of the lowest passages, including the exposed ending, require a rock-like steadiness and security. However, the outer sections are basically quiet, and the emotional outburst at the song’s centre, as the music presses forward, will benefit from a high placing without strain.

RODNEY LISTER (b. 1951)Songs to Harvest (2006)

This chapter focuses on American composer Rodney Lister’s Songs to Harvest (2006). As shown in this attractive cycle, Lister has a distinctive and fascinating way of writing for voice and piano. The voice projects succinct, shapely phrases, while linear piano parts weave a tapestry of sinuous counterpoint, frequently in two parts only, often with three-against-two rhythms. When the voice stops, the piano continues, its luminous texture ebbing and flowing. Ingeniously, it seems to give a subliminal commentary as well as an irresistible propulsion to the music. The prime test of the songsmith is to set words so that they can be heard easily, and Lister passes this with flying colours. A predominantly medium range guarantees comfortable articulation—the highest note occurs only once, fleetingly. The cohesive musical idiom is discreetly contemporary, disciplined, and carefully modulated. Pitching should be relatively unproblematic—there is a good deal of doubling with the piano, and plenty of time to plot each interval cleanly.