A Poem Meets Voice and Piano: The Art Song

Let's listen to how the speaker, the father, the child, and the Erlking are differentiated by range and timbre. In your first listening of 'Schubert's 'Erlkönig' — Fischer-Dieskau & Gerald Moore', follow the guided points, and in the second, broaden your focus to include the bass and inner voices. This will reveal the structure of Erlkönig, D. 328 and the lengths of the phrases chosen by Dietrich Fischer-Dieskau & Gerald Moore. Instead of waiting for the famous passages, mark the moments when the timbre changes to keep track of the piece's direction.

The track linked under 'Schubert's 'Erlkönig' — Fischer-Dieskau & Gerald Moore' is an actual recording featured in 'Schubert: Lieder'. It has been introduced as part of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Schubert's 'Erlkönig' — Fischer-Dieskau & Gerald Moore' are Dietrich Fischer-Dieskau & Gerald Moore, and the release year is 1970. This date may differ from the time Franz Schubert composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When searching for other versions of works like 'Schubert's 'Erlkönig' — Fischer-Dieskau & Gerald Moore', check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen for the moment when the spinning wheel rhythm stops as Gretchen recalls a kiss. In 'Schubert's 'Gretchen am Spinnrade' — Schwarzkopf & Fischer', follow up to see if the range and emphasis change when the same motif returns. The performance by Elisabeth Schwarzkopf & Edwin Fischer illustrates the larger flow of Gretchen am Spinnrade through the connections of each part rather than exaggerating them. At the end, return to the beginning of 'Schubert's 'Gretchen am Spinnrade' — Schwarzkopf & Fischer' and compare the points that have changed from your first impression; this will clarify the structure.

The track linked under 'Schubert's 'Gretchen am Spinnrade' — Schwarzkopf & Fischer' is an actual recording featured in 'Elisabeth Schwarzkopf Sings Lieder' and has been introduced in accordance with the selection criteria of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Schubert's 'Gretchen am Spinnrade' — Schwarzkopf & Fischer' are Elisabeth Schwarzkopf & Edwin Fischer and the release year is 1997. This date may differ from the time Franz Schubert composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When looking for other versions of works similar to 'Schubert's 'Gretchen am Spinnrade' — Schwarzkopf & Fischer', check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen to the feeling that the final piano harmony is not fully resolved. When listening to this audio again, focus on the order in which sounds overlap and recede rather than the tempo. Finding out which vocal part the repetitive material in Dichterliebe: Im wunderschönen Monat Mai moves to can also confirm the balance of Christian Gerhaher & Gerold Huber. Comparing the residue left at the end of 'Schumann's 'Dichterliebe' 'Im wunderschönen Monat Mai' — Gerhaher & Huber' with the first line will help understand the emotional transitions within the structure.

The track linked under 'Schumann's 'Dichterliebe' 'Im wunderschönen Monat Mai' — Gerhaher & Huber' is an actual recording featured in 'Schumann: Dichterliebe, Lieder Op. 90' and has been introduced in line with the selection criteria of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Schumann's 'Dichterliebe' 'Im wunderschönen Monat Mai' — Gerhaher & Huber' are Christian Gerhaher & Gerold Huber and the release year is 2004. This date may differ from the time Robert Schumann composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When looking for other versions of works like 'Schumann's 'Dichterliebe' 'Im wunderschönen Monat Mai' — Gerhaher & Huber', check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen to how the high notes in the latter portion reach their peak before the accompaniment recedes. Next, in 'Fauré's 'Après un rêve' — Janet Baker & Parsons', listen to what the accompaniment and background voices are doing at the same moment. Tracking how previously heard materials return in different instruments and ranges will naturally reveal the construction of Après un rêve, Op. 7 No. 1. If you also note the positions that Dame Janet Baker & Geoffrey Parsons emphasize, you'll have a basis for comparison with other performances.

The track linked under 'Fauré's 'Après un rêve' — Janet Baker & Parsons' is an actual recording featured in 'Fauré: La chanson d'Ève & Other Songs (Hyperion French Song Edition)' and has been introduced based on the selection criteria of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Fauré's 'Après un rêve' — Janet Baker & Parsons' are Dame Janet Baker & Geoffrey Parsons and the release year is 1989. This date may differ from the time Gabriel Fauré composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When looking for other versions of works similar to 'Fauré's 'Après un rêve' — Janet Baker & Parsons', check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen for whether the lengths of the vocal melody change over the same accompaniment pattern. In 'Debussy's 'Beau soir' — Souzay & Baldwin', when you listen again, find the lowest and longest notes respectively. The points where these two elements meet determine the tension and relaxation of Beau soir, clarifying the interpretation of Gérard Souzay & Dalton Baldwin. By comparing breathing and reverberation lengths in 'Debussy's 'Beau soir' — Souzay & Baldwin' rather than the volume, the reason for choosing this version becomes clearer.

The track linked under 'Debussy's 'Beau soir' — Souzay & Baldwin' is an actual recording featured in 'Debussy: Lieder' and has been introduced according to the selection criteria of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Debussy's 'Beau soir' — Souzay & Baldwin' are Gérard Souzay & Dalton Baldwin and the release year is 1962. This date may differ from the time Claude Debussy composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When searching for other versions of works like 'Debussy's 'Beau soir' — Souzay & Baldwin', check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen to the boundary where the English horn's melody and the voice connect. Next, in 'Mahler's 'Ich bin der Welt abhanden gekommen' — Hampson & Bernstein', check whether the instrument introducing the theme and the one concluding it are the same. Ich bin der Welt abhanden gekommen repeats small movements while changing the density of the background and moving forward. By listening to where Leonard Bernstein, Thomas Hampson & the Vienna Philharmonic emphasize those changes, you can explain the nature of the version beyond simply enjoying the atmosphere.

The track linked under 'Mahler's 'Ich bin der Welt abhanden gekommen' — Hampson & Bernstein' is an actual recording featured in 'Mahler: Lieder eines fahrenden Gesellen, Kindertotenlieder & Fünf Rückertlieder' and has been introduced in accordance with the selection criteria of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Mahler's 'Ich bin der Welt abhanden gekommen' — Hampson & Bernstein' are Leonard Bernstein, Thomas Hampson & the Vienna Philharmonic, and the release year is 1991. This date may differ from the time Gustav Mahler composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When looking for other versions of works like 'Mahler's 'Ich bin der Welt abhanden gekommen' — Hampson & Bernstein', check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen to what emotions the orchestra creates before the voice comes in late. In 'Richard Strauss's 'Morgen' — Norman & Masur', when the same phrase is repeated, let's pick one of either speed or dynamics to compare. By narrowing your focus based on choices made by Jessye Norman, Gewandhausorchester Leipzig & Kurt Masur, you won't miss the inner voices and rhythms of Morgen, Op. 27 No. 4. Finally, listen to the overall flow of 'Richard Strauss's 'Morgen' — Norman & Masur' again and check how the details impacted the impression of the piece.

The track linked under 'Richard Strauss's 'Morgen' — Norman & Masur' is an actual recording featured in 'Strauss, R.: Four Last Songs; 6 Orchestral Songs' and has been introduced in line with the selection criteria of 'A Poem Meets Voice and Piano: The Art Song'. The performers noted on Apple Music for 'Richard Strauss's 'Morgen' — Norman & Masur' are Jessye Norman, Gewandhausorchester Leipzig & Kurt Masur, and the release year is 1983. This date may differ from the time Richard Strauss composed the work, so it is used solely for recording information in the context of 'A Poem Meets Voice and Piano: The Art Song'. When looking for other versions of works similar to 'Richard Strauss's 'Morgen' — Norman & Masur', be sure to check the work title, performers, and album to avoid confusing the same recording with reissues.

Let's listen to how the tempo and volume taper off in the final lines. In the first listening of 'Vaughan Williams' 'Silent Noon' — Bryn Terfel & Malcolm Martineau, find a guiding sound, and in the next listening, add the surrounding voices and silence. You can hear how Bryn Terfel & Malcolm Martineau adjust the tempo and tone as 'Silent Noon' moves towards its climax. By comparing the beginning and end echoes of 'Vaughan Williams' 'Silent Noon' — Bryn Terfel & Malcolm Martineau side by side, the sense of distance and time created by the piece becomes clear.

The track connecting to 'Vaughan Williams' 'Silent Noon' — Bryn Terfel & Malcolm Martineau is the actual recording included in 'Silent Noon' and has been introduced under the category of 'art songs where a poem meets voice and piano', according to its selection criteria. The performing artists listed for 'Vaughan Williams' 'Silent Noon' — Bryn Terfel & Malcolm Martineau on Apple Music are Bryn Terfel & Malcolm Martineau, and the release year is 2004. Please note that this date may differ from when Ralph Vaughan Williams composed the piece, so in the context of 'art songs where a poem meets voice and piano', it is used only as recording information. When looking for other versions of works like 'Vaughan Williams' 'Silent Noon' — Bryn Terfel & Malcolm Martineau, it's important to check the work title, artists, and album together to avoid confusion with the same recording and reissues, as well as to understand the context of 'art songs where a poem meets voice and piano'.