On Wenlock Is my team Bredon Hill Trois Sea Der Tod Bredon
Edge (Vaughan ploughing? Poemes Slumbe und das Hill –
Williams) de r Song Madchen – Butter
Stephane (Elgar) Schubert worth
– Sigh
(Ravel)
Context Vaughan Williams: collected English folk songs (modal), Setting of Lullaby 1817 Butterwort
studied with Ravel (who helped him refine his sound – French 1899 Lied h – came
French impressionism) poems Text from a much
On Wenlock Edge: a song cycle containing six songs, Light, German poet closer to
written in 1909, settings of poems by A. E. Houseman distant, Two very reflecting
from ‘A Shropshire Lad’ (poems linked by themes of delicate different the
loss, innocence, rural life + disappointments of youth), sound sound worlds intimate
VW brings symphonic/operatic expansiveness + uses 1913 setting
accents as well as the inner qualities of the poems 1912
Wenlock edge = a Conversation Tells of a love
limestone ridge between ghost that is
covered by + man – ghost overcome by
woodland is first assured death
The poet imagines his girlfriend no
gales beating the longer grieves,
trees, representing but realises at
the struggles of the end that she
man which will soon is living with
pass the man
Perform Piano quintet + Piano quintet + Piano quintet Strings Voice and Baritone +
ing tenor (unusual) tenor with two (distant piano piano
Piano: demanding Ghost: held pianos (2nd accomp), Piano purely (simple
Forces
but not virtuosic chords piano shadows piano a simple chords +
(mainly RH Man: cello strings) + (chords), chordal broken
sextuplets + LH counter-melody tenor flute + accomp chords –
counter-melody), + piano chordal Piano pedal clarinet mainly
strings: mainly long triplets sustains (counter- only 2
trills/counter- Interlude Chordal melodies), parts)
melody melodies accomp+ bell mezzo
word painting soprano
, Sonority Tenor: high Con sordino + Muted + Strings: Piano: always Piano
tessitura for una corda double stopped harmonics uses pedal + techniques
moments of turmoil, (more distant), intro (distant/ + large una chorda not
cuts through removed at A1 = open) interval Intro + B exploited
instrumental drama (tremolo Harmonics on (6th) spread section quite Quite
texture + persistent only G/D string chords give low tessitura small
Sul ponticello: high violin bells ethereal with both range until
creating a strained accents) Pizz (persistent sound hands in bass the end –
+ tense sound High cello bells) + arco Piano: large clef very low
Tremolo + long counter-melody (more range (3 Lower
trills – stress of (non-muted) accented bells) staves), tessitura for
storm Misterioso + Forceful demanding B section
very softly as if downbow but not voice
from afar triplets virtuosic
Final stanzas (climax)
8va
Structur Intro Intro Intro, Verse 1, Arched ABCA1B1C Intro: musical
e Stanza 1 – A A (ghost) – Interlude (intro structure 1
theme of
Interlude verse 1 ideas, different representin C melody death
1
Stanza 2 – A B (man) – verse chords), Verse g sigh interspers A: maiden
Interlude 2 2 (similar (short ed with pleads with
Stanza 3 – B Interlude (intro) melody), memory of vocal death to let
Interlude A (ghost) – Interlude (from beginning ‘goodnight her live
Stanza 4 – B verse 3 intro), Verse 3 harmonic ’ B: death
Interlude B (man) – verse (similar accomp at persuades
Stanza 5 – A1 (A 4 melodic end) maiden to
melody with Interlude shape), Verse 4 Fade in + come with
elements of A + B in (shorter intro, (similar out him
accomp) 8va, tremolo) rhythm + Outro: uses
Postlude A1 (ghost) – shape), similar ideas
verse 5 (melody Postlude to intro but in
starts 4th up) Verse 5, Verse tonic major
B1 (man) – verse 6 (melody (resolution/pe
6 similar to 5), ace)
Postlude Verse 7,
Postlude (from
intro)
Edge (Vaughan ploughing? Poemes Slumbe und das Hill –
Williams) de r Song Madchen – Butter
Stephane (Elgar) Schubert worth
– Sigh
(Ravel)
Context Vaughan Williams: collected English folk songs (modal), Setting of Lullaby 1817 Butterwort
studied with Ravel (who helped him refine his sound – French 1899 Lied h – came
French impressionism) poems Text from a much
On Wenlock Edge: a song cycle containing six songs, Light, German poet closer to
written in 1909, settings of poems by A. E. Houseman distant, Two very reflecting
from ‘A Shropshire Lad’ (poems linked by themes of delicate different the
loss, innocence, rural life + disappointments of youth), sound sound worlds intimate
VW brings symphonic/operatic expansiveness + uses 1913 setting
accents as well as the inner qualities of the poems 1912
Wenlock edge = a Conversation Tells of a love
limestone ridge between ghost that is
covered by + man – ghost overcome by
woodland is first assured death
The poet imagines his girlfriend no
gales beating the longer grieves,
trees, representing but realises at
the struggles of the end that she
man which will soon is living with
pass the man
Perform Piano quintet + Piano quintet + Piano quintet Strings Voice and Baritone +
ing tenor (unusual) tenor with two (distant piano piano
Piano: demanding Ghost: held pianos (2nd accomp), Piano purely (simple
Forces
but not virtuosic chords piano shadows piano a simple chords +
(mainly RH Man: cello strings) + (chords), chordal broken
sextuplets + LH counter-melody tenor flute + accomp chords –
counter-melody), + piano chordal Piano pedal clarinet mainly
strings: mainly long triplets sustains (counter- only 2
trills/counter- Interlude Chordal melodies), parts)
melody melodies accomp+ bell mezzo
word painting soprano
, Sonority Tenor: high Con sordino + Muted + Strings: Piano: always Piano
tessitura for una corda double stopped harmonics uses pedal + techniques
moments of turmoil, (more distant), intro (distant/ + large una chorda not
cuts through removed at A1 = open) interval Intro + B exploited
instrumental drama (tremolo Harmonics on (6th) spread section quite Quite
texture + persistent only G/D string chords give low tessitura small
Sul ponticello: high violin bells ethereal with both range until
creating a strained accents) Pizz (persistent sound hands in bass the end –
+ tense sound High cello bells) + arco Piano: large clef very low
Tremolo + long counter-melody (more range (3 Lower
trills – stress of (non-muted) accented bells) staves), tessitura for
storm Misterioso + Forceful demanding B section
very softly as if downbow but not voice
from afar triplets virtuosic
Final stanzas (climax)
8va
Structur Intro Intro Intro, Verse 1, Arched ABCA1B1C Intro: musical
e Stanza 1 – A A (ghost) – Interlude (intro structure 1
theme of
Interlude verse 1 ideas, different representin C melody death
1
Stanza 2 – A B (man) – verse chords), Verse g sigh interspers A: maiden
Interlude 2 2 (similar (short ed with pleads with
Stanza 3 – B Interlude (intro) melody), memory of vocal death to let
Interlude A (ghost) – Interlude (from beginning ‘goodnight her live
Stanza 4 – B verse 3 intro), Verse 3 harmonic ’ B: death
Interlude B (man) – verse (similar accomp at persuades
Stanza 5 – A1 (A 4 melodic end) maiden to
melody with Interlude shape), Verse 4 Fade in + come with
elements of A + B in (shorter intro, (similar out him
accomp) 8va, tremolo) rhythm + Outro: uses
Postlude A1 (ghost) – shape), similar ideas
verse 5 (melody Postlude to intro but in
starts 4th up) Verse 5, Verse tonic major
B1 (man) – verse 6 (melody (resolution/pe
6 similar to 5), ace)
Postlude Verse 7,
Postlude (from
intro)
