Today, Der Hirt auf dem Felsen is a popular showpiece for sopranos and clarinetists alike it requires the utmost virtuosity from both musicians, along with a well-supported tone to properly execute Schubert’s lyrical phrases.įor the text, Schubert turned to a familiar poet, Wilhelm Müller, whose poems he had used in the song cycle Die schöne Müllerin. Schubert completed Der Hirt auf dem Felsen, one of his last two songs, to fulfill a request from Berlin opera diva, Anna Milder-Hauptman, for a concert aria. 965ĭer Hirt auf dem Felsen (The Shepherd on the Rock) © Elizabeth Schwartz SCHUBERT “The Shepherd on the Rock,” D. Let Evening Come features three contrasting poems by Maya Angelou, Emily Dickinson, and Jane Kenyon each text grapples with the impact of death on the living. “I was then approached by the sponsors of the commission: Would I write a duo anyway, with …, the violist in some way representing the departed Tatiana? The present cantata is the result.” “We discussed possible texts, and then very unexpectedly Tatiana died, a blow to all of us,” Bolcom recalled. In 1993, William Bolcom was asked to write a duet for mezzo-soprano Tatiana Troyanos and soprano Benita Valente at the time, both singers were major stars with the Metropolitan Opera. Ailey, Baldwin, Floyd, Killens, & Mayfield © Elizabeth Schwartz WILLIAM BOLCOM “Let Evening Come” (1994) The final Langsam, mit melancholischem Ausdruck (slow, with melancholy expression) features the viola’s resonant tone singing a calm, serene lullaby. A brief calm interlude offers breathing space before both viola and piano resume their race. Lebhaft (Lively) offers a cheerful contrast to the first movement, which Rasch (Quickly) amplifies with its galloping triplets in the viola. The restless melancholy of the opening Nicht schnell (not fast) features a dialogue between the two instruments. 113 is a series of miniatures for viola and piano played without pause each features different tonalities and moods. In a matter of months Schumann wrote his Rhenish Symphony, the Cello Concerto, and several chamber works, including the Märchenbilder (Fairy Tale Pictures) for Viola and Piano, Op. Schumann’s final creative burst began in 1850 and spilled over into 1851, coinciding with his move to Düsseldorf to conduct the Düsseldorf Music Society. Over the course of his life, Robert Schumann experienced several periods of heightened creative productivity, during which he wrote music with amazing speed. Märchenbilder (Fairy Tale Pictures), Op.113 (16’) SCHUMANN Märchenbilder (Fairy Tale Pictures) for Viola and Piano, Op. Click on any piece of music below to learn more about it.
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