Introduction to Western Music History

  This week, one text will provide the basis for both parts of the task. Please read chapter 27, “Romantic Opera and Musical Theater to Midcentury”, in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in • J. Peter Burkholder, Donald J. Grout, Claude V. Palisca, A History of Western Music, 8th ed. (New York, London: Norton, 2009). pp. 661-684, OR • J. Peter Burkholder, Donald J. Grout, Claude V. Palisca, A History of Western Music, 9th ed. (New York, London: Norton, 2014), pp. 651-677. Please make sure that you answer all questions from both sections. There are two main" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in questions in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in each section, but there are also sub-questions to some of them! A. Recapitulation from week 3 (Italian opera) 1. Listen to the duet between Lucia and her lover Edgardo at the end of act 1 of Lucia di Lammermoor. There are many recordin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings on Naxos; a more recent one is conducted by Valeri Gergiev. Compare the structure of this duet with the standard format of the solo scene explored last week with the example from Norma. a) The duet largely follows the four-part form of the scene from Norma. In the duet, where do the main" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in sections start and end? Please use the technical terms. b) How is the standard four-part form modified to accommodate the second voice, and the dramatic situation? Pay particular attention to text repetition, the role of the orchestra, the vocal lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ines, and changes in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in tempo and dynamics. EDGARDO Lucia, perdona Se ad ora in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inusitata Io vederti chiede: a ragion possente A ciò mi trasse. Pria che in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in ciel biancheggi L' alba novella, dalle patrie sponde Lungi sarò. LUCIA Che dici! EDGARDO Pè franchi lidi amici Sciolgo le vele; ivi trattar m' e dato Le sorti della Scozia. LUCIA E me nel pianto Abbandoni così! EDGARDO Pria di lasciarti Asthon mi vegga io stenderò placato A lui la destra, e la tua destra, pegno Fra noi di pace, chiederò. LUCIA Che ascolto!.. Ah! no ... rimanga nel silenzio sepolto Peror l'arcano affetto ... EDGARDO Intendo! Di mia stirpe Il reo persecutor De mali miei Ancor pago non è! Mi tolse il padre ... Il mio retaggio avito ... Nè basta? Che brama ancor? Quel cor feroce, e rio? La mia perdita in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">intera, il sangue mio? Ei mi abborre ... LUCIA Calma, o ciel! quell' ira estrema. EDGARDO Fiamma ardente in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in sen mi scorre! M' odì. LUCIA Edgardo! ... EDGARDO M' odi, e trema. Sulla tomba che rin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inserra Il tradito genitore, Al tuo sangue eterna guerra Io giurài nel mio furore: Ma ti vidi ... in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in cor mi nacque Altro affetto, e l'ira tacque ... Pur quel voto non è in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">infranto ... Io potrei compirlo ancor LUCIA Deh! ti placa ... deh! ti frena ... Può tradirne un solo accento! Non ti basta la mia pena? Vuoi ch' io mora di spavento? Ceda, ceda ogn' altro affetto: Solo amor t'in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">infiammi il petto ... Ah! il più nobile il piû santo De' tuoi voti è un puro amor. EDGARDO Qui, di sposa eterna fede Qui mi giura, al cielo in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innante Dio ci ascolta, Dio ci vede ... Tempio, ed ara è un core amante; Al tuo fato unisco il mio. Son tuo sposo. LUCIA E tua son io. A miei voti amore in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">invoco. EDGARDO A miei voti in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">invoco il ciel. LUCIA / EDGARDO Porrà fin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine al nostro foco Sol di morte il freddo gel. EDGARDO Separarci omai conviene. LUCIA Oh parola a me funesta! Il mio cor con tè ne viene. EDGARDO Il mio cor con te qui resta. LUCIA Ah! talor del tuo pensiero Venga un foglio messaggiero, E la vita fuggitiva Di speranza nudrirò. EDGARDO Io di te memoria viva Sempre, o cara, serberò. LUCIA / EDGARDO Veranno a te sull' aura I miei sospiri ardenti, Udrai nel mar che mormora L' eco de' miei lamenti ... Pensando ch' io di gemiti Mi pasco, e di dolor. Spargi una mesta lagrima Su questo pegno allor. EDGARDO Io parto ... LUCIA Addio ... EDGARDO Rammentati! Ne strin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inge il cielo! ... LUCIA / EDGARDI Addio. EDGARDO Lucia, forgive me for askin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to see you at this unusual hour: it is for a very important reason. Before dawn whitens the mornin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing sky I shall be far from my native land. LUCIA What are you sayin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing? EDGARDO I am to set sail for France's friendly shores: there I must work for Scotland's future. LUCIA And you leave me here to weep? EDGARDO Before leavin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing you, I must see Ashton... I will offer him the hand of peace, and ask your hand in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in marriage to seal our pact. LUCIA What do I hear? Ah, no...let our love remain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a secret for now. EDGARDO I understand! The evil persecutor of my family is not satisfied with my misfortunes! He robbed me of my father,my ancestral heritage. Is that not enough? What more does he want, that bloodthirsty villain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in? My utter ruin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in? My life? How he hates me!... LUCIA Oh heaven, calm his mad fury. EDGARDO A searin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing flame writhes in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in my heart! Listen to me. LUCIA Edgardo! EDGARDO Hear me and tremble! Over the tomb where my betrayed father lies, in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in my rage, I swore to wage eternal war on your kin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in. But I saw you and another emotion stirred in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in my heart, and anger fled. But that vow is not broken, I could well fulfil it yet! LUCIA Come, calm your anger; control yourself. A sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ingle word can betray us! is my sufferin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing not enough? Do you want me to die of fright? Banish all other feelin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings save love from your heart; a nobler, holier vow than any other is pure love, ah, only love, EDGARDO Here, pledge yourself eternally before Heaven to be my bride. God hears us, God sees us; church and altar is a lovin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing heart; to your destin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iny I lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink min" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine... I am your betrothed. LUCIA And I yours. I call on love to witness my vows. EDGARDO I call on heaven to witness my vows. LUCIA / EDGARDO Ah, only icy death can quench our passion. EDGARDO We have to separate. LUCIA Oh, how I dread those words! My heart goes with you. EDGARDO My heart stays here with you, LUCIA Ah, if sometimes you thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink of me and send me a letter, fresh hopes will fortify my fleetin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing life. EDGARDO I shall always cherish vivid memories of you, dearest. LUCIA / EDGARDO On the breeze will come to you my ardent sighs, you will hear in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the murmurin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing sea the echo of my laments. When you thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink of me livin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing on tears and grief, then shed a bitter tear on this rin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, ah, on this rin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, EDGARDO I’m leavin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing … LUCIA Farewekk! EDGARDO Remember, Heaven has join" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ined us! EDGARDO and LUCIA Farewell! 2. Italian opera was hugely popular, even with people who couldn’t or didn’t attend the opera house themselves. Listen to two arrangements – or rather re-compositions – of operatic melodies and thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink about the followin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing questions: • Franz Liszt, Rémin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iniscences de Lucia di Lammermoor, op. 13 (c. 1840) • Johann Strauss II, Neue Melodien-Quadrille op. 254 (both on Naxos) a) What is the social function of each piece? Who would have played it, and for whom, and in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in what context? b) Liszt and Strauss treat the operatic melodies they use very differently. Try to characterise their different approaches to the musical material: do they quote, vary, extend, compress, combin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine, transform, etc.? B. Preparation for week 4: French and German Opera 1. Richard Wagner is famously the most written-about composer in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in music history. This also extends to the digital realm, where there are hundreds or possibly thousands of pages dedicated to his life, his music and his ideas. So fin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">indin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing good-quality material is on the one hand very easy and on the other hand very difficult. Usin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a search engin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine, try and fin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ind two websites dedicated to Richard Wagner (or aspects of his work, e.g. in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">individual operas or writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings) which fulfil the followin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing criteria: • They should be reliable – an opportunity to reflect how you assess reliability. • They should offer in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">information that leads you further in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">into the topic, offerin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing avenues for further research – so not just at-a-glance biographical in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">information for total begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inners. • They should use the technical possibilities of the in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">internet in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in an engagin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing and in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innovative way, e.g. by usin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing multimedia, providin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing hyperlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inks, storin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing materials for further work. 2. Carl Maria von Weber’s opera Der Freischütz has spoken dialogues rather than recitatives, as was the case for many German operas of the 1820s and 1830s. Thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink about the implications for the librettist as well as the composer: What are the drawbacks of spoken dialogues, what are the advantages for the librettist and the composer? 3. Listen to the third scene of act 3 of Der Freischütz. The scene is sung by Ännchen, the friend and confidante of the heroin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine Agathe. Agathe is afraid for the safety of her fiancé Max, and Ännchen tries to cheer her up. At the end of the scene, other girls join" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the two and brin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing along a wreath of flowers for the bride. a) Ännchen’s solo is designated as a “Romanze und Arie” (romance and aria). In what respect does the form differ from the solo scenes you know from Italian opera? On the other hand, do you also hear similarities? b) In the first part, Ännchen pokes fun at romantic clichés. How does the music contribute to the fun? c) The girls sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing the famous chorus “Wir win" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inden dir den Jungfernkranz” which is actually designated as a “folk song” in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the score. How does Weber in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">invoke folk music in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in this chorus? Nr. 13 - Romanze und Arie ÄNNCHEN Ein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inst träumte mein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iner sel'gen Base, Die Kammertür eröffnete sich, Und kreideweiss ward ihre Nase, Denn näher, furchtbar näher schlich Ein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in Ungeheuer Mit Augen wie Feuer, Mit klirrender Kette - Es nahte dem Bette, In welchem sie schlief - Ich mein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine die Base Mit kreidiger Nase - Und stöhnte, ach! so hohl! und ächzte, ach! so tief! Sie kreuzte sich, rief, Nach manchem Angst- und Stossgebet: Susanne! Margaret! Susanne! Margaret! Und sie kamen mit Licht - Und - denke nur! - und - Erschrick mir nur nicht! - Und - graust mir doch! - und - Der Geist war: - Nero - der Kettenhund! Agathe wendet sich unwillig ab. ÄNNCHEN zärtlich Du zürnest mir? Doch kannst du wähnen, Ich fühle nicht mit dir? Nur ziemen ein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iner Braut nicht Tränen! Trübe Augen, Liebchen, taugen Ein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inem holden Bräutchen nicht. Dass durch Blicke Sie erquicke Und beglücke, Und bestricke, Alles um sich her entzücke, Das ist ihre schönste Pflicht. Lass in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in öden Mauern Büsserin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innen trauern, Dir win" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inkt ros'ger Hoffnung Licht! Schon entzündet sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ind die Kerzen Zum Verein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in getreuer Herzen! Holde Freundin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in zage nicht! (Gesprochen) Horch, da kommen die Brautjungfern schon! Im Abgehen Guten Tag, liebe Mädchen! Da, sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ingt immer die Braut an. Ich komme gleich wieder. Brautjungfern in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in ländlicher Feiertracht, doch gleichfalls ohne Kränze und Blumen. Nr. 14 - Volkslied. Chor EINE BRAUTJUNGFER Wir win" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inden dir den Jungfernkranz Mit veilchenblauer Seide; Wir führen dich zu Spiel und Tanz, Zu Glück und Liebesfreude! ALLE ein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inen Rin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ingelreihn um Agathe tanzend Schöner grüner, schöner grüner Jungfernkranz! Veilchenblaue Seide! Veilchenblaue Seide! EINE BRAUTJUNGFER Lavendel, Myrt' und Thymian, Das wächst in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in mein" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inem Garten; Wie lang bleibt doch der Freiersmann? Ich kann es kaum erwarten. ALLE Schöner grüner, schöner grüner Jungfernkranz! Veilchenblaue Seide! Veilchenblaue Seide! EINE BRAUTJUNGFER Sie hat gesponnen sieben Jahr' Den goldnen Flachs am Rocken, Die Schleier sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ind wie Spin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innweb' klar, Und grün der Kranz der Locken. ALLE Schöner grüner, schöner grüner Jungfernkranz! Veilchenblaue Seide! Veilchenblaue Seide! EINE BRAUTJUNGFER Und als der schmucke Freier kam, War'n sieben Jahr' verronnen; Und weil sie der Herzliebste nahm, Hat sie den Kranz gewonnen. ALLE Schöner grüner, schöner grüner Jungfernkranz! Veilchenblaue Seide! Veilchenblaue Seide! No. 13 - Romance, Recitative and Aria ANNCHEN My late cousin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in once dreamed That her bedroom door opened, And her nose turned as white as chalk Because there crept nearer, and terribly nearer, A monster With eyes like fire, With clankin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing chain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ins, It came up to the bed She was sleepin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in – I'm talkin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing about cousin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in With her chalky nose – And moaned oh, so hollowly And groaned oh, so deep! She crossed herself, called out, Susanna, Margaret, Susanna, Margaret! And they came with lights – And - just imagin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine - and – Now don't be terrified! – And - though it appals me - and – the ghost was: ? Nero, the watchdog! AGATHA turns away displeased ANNCHEN tenderly Are you cross with me? But can you say I don't feel for you? But tears don't become a bride! Sad eyes, Darlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing one, don't suit A sweet bride. With her glances She should refresh And delight And captivate, And enchant everyone about her – That is her most lovely duty. Within" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in their bare walls let Penitents mourn; To you the light of rosy hope is beckonin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing! Already the candles are lit up For the union of true hearts! Dearest friend, do not be downhearted. (Spoke) The bridesmaids are comin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, Agatha. She goes out. Good day, dear girls! Sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing for the bride, I’m back in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a moment. Bridesmaids in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in festal local costume but without wreath or flowers. No. 14 - Folksong 1st BRIDESMAID We're twin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing the maiden's wreath for you With violet-blue silk; We're leadin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing you to games and dancin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, To happin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iness and joys of love! ALL dancin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing round Agatha in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a circle Lovely green, lovely green maiden's wreath! Violet-blue silk! Violet-blue silk! Another BRIDESMAID Lavender, myrtle and thyme, They grow in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in my garden. But how long will the suitor tarry? I can hardly wait for it. ALL Lovely green maiden's wreath! Violet-blue silk! Another BRIDESMAID She has spun for seven years, Golden flax on her spin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">indle, The veil is as transparent as a spider’s web And green the wreath in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in her locks. ALL Lovely green maiden's wreath! Violet-blue silk! Another BRIDESMAIS And when the handsome suitor came Seven years passed by; And as he's taken the darlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing She's won the wreath. ALL Lovely green maiden's wreath! Violet-blue silk. PLACE THIS ORDER OR A SIMILAR ORDER TODAY AND GET AN AMAZING DISCOUNT :)