Panthéon musical populaire.

Mode of access: Internet.

Chansons populaires romandes : [op. 33-op. 34] /

v. 2. Chanson à la lune -- Deux amants près du lac bleu -- Trois garçons -- L'arc-en-ciel -- Chant des canotiers -- La bise a soufflé -- L'oiselet -- Mon "chez-nous" -- Hardi, Jean-Louis -- Les mouettes -- Par le chemin grimpant -- J'ai descendu au verger -- Les bonnes dames de St. Gervais -- La chanson de blé -- Chantons comme les oiseaux -- Les garçons d'Yverdon.

Mélanges (premier fascicule)

For 3-5 voices.

Études critiques sur la tradition littéraire en France

Premier série.

Werken

Pts. 2-12, 22- have imprint: Amsterdam, G. Alsbach; pts. 13-21, Leipzig, F. Kistner.

The Nativity : a play, with music, for children : founded on old French songs /

Includes instructions for performance.

The Marseillaise = La Marseillaise : French national hymn /

Originally known by title: Chant de guerre pour l'armée du Rhin.

Songs in the evening,

Mode of access: Internet.

The glen path, and other songs,

Reprinted in part from various sources.

Opera songs. [music] : the choicest selection from all the standard operas, new and old.

French, German, or Italian words, with English translations.

Songs of two nations /

A song of Italy -- Ode on the proclamation of the French republic -- Diræ.

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).