The flickering changes in mode between minor and major reflect the lightning mood swings of the quickly pacing lover, but there is a fair bit of irony at play, as well. The text describes the worries of a lover as he makes his way to the home of his beloved, tortured by anxious thoughts of her unfaithfulness or even her death, all under the watchful eye of the moon. The separate realities of the bird and its solitary listener are conveyed in cross-rhythms, with four 8th notes in the piano matched against triplet quarter notes in the singer’s melodic line.ĭer Gang zum Liebchen (The walk to the beloved’s home) is an actual folk song text that Brahms found in a collection of Deutsche Volkslieder and his setting is eminently folksong-like in its use of recurring rhythmic patters and melodic motives. The splendid isolation of the singer’s musings is highlighted by intermittent silences from the lark (i.e., piano), allowing the melody line to suddenly stand out alone. The “ethereal distant voices” (ätherische ferne Stimmen) of the lark’s song, brilliantly evoked by a delicate two-note figure in the high treble of the piano, envelop the singer in a delicate haze of remembering as she closes her eyes to recall twilights “pervaded with the breath of spring” (durchweht vom Frühlingshauche). Lerchengesang (Song of the larks) is utterly magical in the vividness of its tonal imagery. The piano’s cascading arpeggios most often move in contrary motion to the melody line, as does the bass line, in keeping with good contrapuntal practice.
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#CLAUDE PATTERN FOR PETER GABRIEL IN YOUR EYES FREE#
A continuous flow of 8th notes in the piano accompaniment and constant small inflections in the harmony express both the singer’s free flow of thoughts and the way those thoughts evaporate soon after they appear. Only in the germinating bud (Keime) of lyrical poetry (Reime) is “it” (the poet’s message) revealed to the moistened eye of the receptive soul. “It” vanishes like the greyness of mist (Nebelgrau) when captured in words or print. “It” wafts away like scent (Duft) when melody calls “it” forth. Wie Melodien zieht es mir (It moves like a melody) features a teasingly abstract text, with a recurring reference to an unexplained “it” (es) that periodically moves the singer but the feeling doesn’t last.
![claude pattern for peter gabriel in your eyes claude pattern for peter gabriel in your eyes](https://drawingmatter.org/wp-content/uploads/2020/10/Screenshot-2020-10-12-at-10.38.19.jpg)
While written for an indoor urban audience, the aesthetic frame of reference of Brahms’ lieder, as with his Hungarian Dances, is the wide outdoors and the life of the country village. But his overriding ideal is really the direct expressiveness and guileless simplicity of traditional folksong which he imbues with an elegance of construction designed to please his audience of Viennese amateur singers. Like his instrumental works, Brahms’ lieder feature diatonic melodies supported by a strong contrapuntally-conceived bass-line that structures functional (not coloristic) harmonies.
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And yet from his early twenties to his final years Brahms was a prolific composer for the human voice, publishing no less than 190 lieder for solo voice and piano, now staples of the recital repertoire, as well as numerous works for other vocal ensembles. Mezzo-soprano Eva Nikolovska has curated an intriguing recital program of songs composed in the forty years between 18, a selection that highlights the changing styles of music emanating from three important centres of music-making.įrom Vienna there are the contrasting voices of the traditionalist Brahms and his aesthetic adversary Hugo Wolf, from France the varied sound-pictures of Debussy and Ravel, and from Boston a small sample of the astonishing output of the first successful American female composer, Amy Beach.īrahms’ compositional concern with structure and form made him a leading proponent of absolute (i.e., non-programmatic) music, and thus an unlikely contributor to 19th-century European art song, with its story-driven texts and pictorial modes of expression.