Guide Twelve Songs, Op. 8, No. 9: Evening Song (Abendlied)

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Twelve Songs, Op. 8, No. 9: "Evening Song" (Abendlied) - Kindle edition by Felix Mendelssohn. Download it once and read it on your Kindle device, PC, phones.
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Notes and rhythms are fairly simple, the chromaticism is supported by the piano.

The opening of the piece avoids a permanent tonal center and may be a challenge at first, but its drama is worth the effort! The second section features lilting music that answers the questions posed in the first section. Delightful accompaniment supports the light-hearted, disjunct melodies opening the piece. The score includes much rubato: teach students all the tempo terms marked in the score and decide together how to treat each tempo change. Lively, spirited accompaniment features a charming dotted-rhythm motive. A brief but lovely poco meno messo section provides contrast.

The contrasting sections of this piece provide several opportunities to teach tempo, meter, and dynamic terminology. Simple and succinct, with some unexpected harmonic turns. Bass divisi occurs in m. Fast and furious accompaniment meets equally exciting vocal lines!

Medtner Songs DELPHIAN DCD [RW] Classical Music Reviews: April - MusicWeb-International

Stately, pleasant, marching tempo. The piano doubles some of the more difficult soprano melodies. The accompaniment paints a picture of the call of the swallow. Tempos are varied, beginning slowly and picking up for a phrase or two. Form is two verses and a coda. You could teach this in less than a day! It is in strophic form with three verses. Altos sing by themselves, then sopranos, then both sing together.

IMSLP score also available, lacks piano reduction. Charming aural contrast between first six measures and suddenly rhythmic text vesele vesele vesele.


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Two verses of text but still a short piece. Divisi occurs in alto line m. Gorgeous, ethereal. Harp can replace the piano accompaniment. Brief SSAA divisi mm. Return of beginning material includes new text.

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Each voice part gets a line: the boys sing about how cruel the girls are, and the girls sing back. Girl meets boy altos and tenors sing together , and eventually all voices join together to mourn how cruel love is. Much dynamic and articulative expression. More independent accompaniment. Comedic fermatas throughout the piece.

IMSLP has vocal parts only. Sacred text, Quite brief. The soprano represents the young man, the tenor represents the man, the bass represents the old man.

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Dark subject, dramatic text, but still has a waltz-like, light-hearted quality. This is the only part song in a minor key. It foreshadows the musical expressivity of the Romantic era. Strict Fugal opening. Lovely piano introduction, slower tempo poco adagio. Humorous text about lover only staying around for three days, finding other loves, but not staying with them either. Texture of piece switches from homorhythmic to imitative. Humorous, dramatic text about Cupid being stung by a bee. Less than one minute long: you can choose to repeat the entire work with varied dynamics.

A cleaner version is available on CPDL but has one or two errors sopranos m. More independent accompaniment, including an allegro brillante con fuoco e non legato introduction.

Piano still supports the rhythms and pitches of the voices. Two verses of text are slightly modified musically for a light-hearted, easy part-song about spring. Goethe translated this poem from Greek to German. This is a delightful and accessible part-song for younger choirs. Its contrasting verses about summer and winter provide multiple opportunities for teaching text painting. Vivid in imagery yet small in quantity, this spring text is set to beautiful and accessible music. The text is repeated in each strophe. Beautiful, continuous texture similar to a Franco Flemish Renaissance motet.

Another edition with the text Tu es Petrus is available. The texture is mostly homophonic and syllabic. Two sets of quartets are added at the end, singing over the bugle-call melodies of the choir. Moves quickly through text but repeats much of it. Bass divisi is brief and occurs in octaves: you could easily use only one bass part. Texture is primarily homophonic with one independent voice a few beats off from the other voices.

Contrasting dynamics compliment the change of rhythmic motives: be sure to use the dynamics to highlight this feature!

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This piece is lively and interesting, capturing the jovial nature of the drinking text. It can be challenging to tune, featuring varying tempi and key signatures. Charming piece about the joys of companionship. The CPDL score has more than one verse. Sections of contrasting accompanimental textures work to tell the story of the text. The 4 horns sound like hunting horns of the night hunt. Challenges include a significant amount of text and some chromaticism not supported by horn accompaniment.

Night and light, metaphors for the soul. Piano accompaniment beautifully portrays the serenity of this text. Somewhat challenging shifts in tonal center occur throughout the piece, but they are supported by the piano.

Felix Mendelssohn

Lots of text, but great music featuring robust accompaniment and sturdy yet simple rhythms. This piece is in ABA form where verse one repeats itself at the end and verse two includes a unison pianissimo section. This piece is lyrical and mournful. The first two verses discuss the fresh, bold activities of the hunter, and the final two verses discuss the mutual feelings of the hunter and his beloved.

12 Gesänge, Op. 8: Nr. 9, Abendlied

The lively piano accompaniment does not double the entire time; it rather provides supporting chords. Text is about a sea-god capturing a woman. This piece is another slow and mournful work. The accompaniment acts a bit more independently with its left hand eighth notes.