Heine-Lieder : Berg' und Burgen schaun herunter / Florence

Composer: Florence, Paulo
Dates: -
Song title: Berg' und Burgen schaun herunter
Opus, no., etc.: Nr.1
Music collection title: Drei Lieder für eine Singstimme mit Begleitung des Pianoforte
Imprint(s): Leipzig: Dörffel
Source(s) for score: Yale University Music Library, uncataloged sheet music collection: Ms40 F663
1st line of poem: Berg' und Burgen schaun herunter (Go to text and translation)
Source of poem: Buch der Lieder: Junge Leiden: Lieder, Nr.7
Date of composition: -
Nationality of composer: -
Language(s) of text: German
Tempo marking: Maestoso
Key: F major/minor
Time signature: 3/4
No. of measures: 54
Approximate duration: 2 min., 45 sec.
Form: Through-composed (ABA'C)
Vocal range: G-sharp to f' [g-sharp to f"]
Vocal tessitura: middle: f, a and especially c' are used the most (Go to chart)
Vocal rhythms: dominated by dotted eighth-, sixteenth-note pattern, either one followed by two quarters, or several in series
Vocal intervals: phrases composed entirely (or nearly so) of skips (including many octaves) alternate with ones moving mostly stepwise
Vocal comments: phrase which drops to low G-sharp has optional notes an octave higher; male singer (baritone) more appropriate to text
Textual variants, etc.: -
Instrumental part(s): piano part is rather thick in texture due to extended passages of dotted eighths and sixteenths in octaves, often in both hands; the frequent skips in the left-hand octaves can pose a challenge; in the gentler sections the octaves are replaced by lengthy passages of six-three chords in eighth-note scalewise motion over pedal tones (symbolizing undulating waves)
Summary: There are many felicitous details and telling contrasts in this song, but also some unfortunate choices in terms of basic rhythmic and melodic texture, making it sound somewhat martial in its overall tone. Perhaps finding a relatively slow tempo for the Maestoso marking while slightly de-emphasizing the dotted rhythms would serve to counteract this effect. Conventional Romantic harmonies don't go further afield than short-lived tonicizations of the supertonic, submediant and relative minor keys. (Go to analysis)