Drei Lieder Op.7

These long forgotten songs are ideal as both study and concert repertoire. Written in a romantic idiom, with inventive and evocative piano accompaniments, each song is a perfect marriage between words and music. This new edition, for the 21st-century singer, brings back to life three wonderful songs by a composer who has been overlooked for far too long. Drei Lieder Op.7 were first published by Neustrelitz in 1848 and were dedicated to Frau Johanna Maner. They were composed for soprano or tenor and piano, with texts by Heinrich Heine, Hermann Kletke and Helmina von Chézy, and were probably aimed at the amateur singer and ideal for intimate soirées and recitals. PERFORMANCE NOTES by Sarah Poole 1. Du bist wie eine Blume [Range: E flat – B flat] The pairing of piano and voice are sympathetic to each other, with words which are tender, requiring sensitive singing with long legato lines and vocal clarity. Allow the voice to rise and fall across each phrase and keep the breath control constant throughout. Bars 16-20 require a darker and more sonorous tone colour as the song modulates from A flat to A major. A brightness in both voice and accompaniment will magnify the next transition back to the original key. Bar 28 should be unhurried and flowing, with a complete sense of freedom. 2. O lass mich dein gedenken [Range: E – F sharp] This lovely song is somewhat deceptive at first glance. It requires a deep sensitivity in its communication from both performers, who work very much in partnership throughout the song. There is a feeling of secrecy and illicit love, the voice trying to be unhurried and calm with the piano triplet writing concealing a hidden longing and anticipation. The text, although tender, should have a rising intensity throughout the song and each verse should be communicated slightly differently. Word painting is key. As the song reaches its conclusion, the opening words are repeated, leaving the singer to contemplate feelings of longing. Gentleness, intensity, warmth and passion are all hidden in this song. Allow the music space to ‘breathe’ and rise and fall. 3. Wenn der Abendstern die Rosen [Range: E flat – G] “Wenn der Abendstern die Rosen” is a song of passion and pain, describing the coming of night and the singer’s desire to “die in pain and pleasure,” in the arms of their lover. Romantic in style, the song should be performed with a gentle flowing momentum, balanced with a sense of space and breadth. The ornamentation can be delicately approached giving a feeling of rubato, with the notes naturally flowing. There is a sensitive rise and fall into the phrases in both voice and piano and a building intensity and yearning throughout the song, The doubling of voice and piano in bars 13-15 create a climactic sense of urgency and the final phrases suggest the eventual fall into an embrace.