Lieder Ohne Worte: for piano solo

TY - ADVS

T1 - Lieder Ohne Worte

T2 - Cabrillo Festival - recital by Timothy Andres

A2 - Suckling, Martin Charles

N1 - Commissioned by John Reid with funding from the Ralph Vaughan Williams Trust First performed on 19th September 2010 by John Reid as part of 'Die Schöne Müllerin' with Nicholas Mulroy, tenor, at the Chelsea Schubert Festival, in Holy Trinity Church, Chelsea Subsequent performances: 12 December 2010 John Reid Wye Valley Music: St. Briavels Church, St. Briavels 9 December 2010 John Reid Seaton Music Society: Seaton Town Hall, Seaton, Devon 8 December 2010 John Reid Letchworth Music Club: Howgills, Letchworth 1 December 2010 John Reid Clitheroe Concerts Society: Clitheroe Royal Grammar School, Clitheroe 19 January 2012 Timothy Andres Morse Recital Hall, New Haven, CT, USA 15 September 2012 Timothy Andres Cabrillo Festival: Village Hall, Cabrillo, CA, USA 27 September 2012 Hilary Suckling Aberystwyth Arts Centre, Aberystwyth, Wales 29 January 2013 Robert Fleitz Paul Hall, Lincoln Centre, New York City, NY, USA 7 February 2013 John Reid (with Nicholas Mulroy, tenor) King's Place, London

PY - 2011

Y1 - 2011

N2 - [programme note] These three short piano pieces are reflections on Schubert's cycle. In their way, they are songs too: the first, a recitation; the second, port-a-beul (dancing nonsense rhymes); the third a long lyrical aria. 'Der Dichter, als Prolog' borrows its title from the first of Müller's Die schöne Müllerin poems (which Schubert chose not to set). Like Müller's text, it presents an external speaker introducing the world of the song cycle, the forest, the brook, and distant horn calls. The second piece continues directly from the triumphant 'Mein!', the over-exuberant repetition of key phrases from this song perhaps suggesting that the miller's cry, “die geliebte Müllerin ist mein! ist mein!” is more a delusional demand than a celebratory acknowledgement. In 'Pause', the tenor sings “Ich kann nicht mehr singen, mein Herz ist zu voll” (I can sing no more, my heart is too full). The third piano solo, which follows immediately, takes this line as its basis: the idea of a heart filling with song to the point of overflowing. Lieder ohne Worte are dedicated with great affection to John Reid, and their commission was generously supported by the Ralph Vaughan Williams Trust.

AB - [programme note] These three short piano pieces are reflections on Schubert's cycle. In their way, they are songs too: the first, a recitation; the second, port-a-beul (dancing nonsense rhymes); the third a long lyrical aria. 'Der Dichter, als Prolog' borrows its title from the first of Müller's Die schöne Müllerin poems (which Schubert chose not to set). Like Müller's text, it presents an external speaker introducing the world of the song cycle, the forest, the brook, and distant horn calls. The second piece continues directly from the triumphant 'Mein!', the over-exuberant repetition of key phrases from this song perhaps suggesting that the miller's cry, “die geliebte Müllerin ist mein! ist mein!” is more a delusional demand than a celebratory acknowledgement. In 'Pause', the tenor sings “Ich kann nicht mehr singen, mein Herz ist zu voll” (I can sing no more, my heart is too full). The third piano solo, which follows immediately, takes this line as its basis: the idea of a heart filling with song to the point of overflowing. Lieder ohne Worte are dedicated with great affection to John Reid, and their commission was generously supported by the Ralph Vaughan Williams Trust.

M3 - Composition

PB - Faber Music Ltd.

CY - London

Y2 - 22 September 2012

ER -