| It is the objective of this treatise to provide an overview of British solo song during the nineteenth century by examining its historical context and discussing the status of both popular and art song during the period. In addition, domestic and foreign influences on serious song are explored, along with their impact on composers. Chiefly, however, this work presents a complete analysis of six songs: "Invocation to Nature" by George Frederick Pinto, "The Hag" by John Liptrot Hatton, "My Heart is Like a Singing Bird" by Sir Hubert Parry, "Out Upon It" by Sir Charles Villiers Stanford, "My Soul is an Enchanted Boat" by Maude Valerie White, and "The Lily of a Day" by Liza Lehmann. Each song includes a biographical sketch of both the composer and the poet, as well as a complete analysis of the poetry and music. The purpose of this study is to show the merit of Victorian art song through assessment of its context within British musical history and by in-depth analysis of six songs representative of the genre. An appendix is also included, listing vocal solos currently in print by serious composers of the period.;Art song was a popular medium in the nineteenth century perhaps because its intimate nature appealed to the romantic temperament. Even though its popularity endures, much of the focus remains on the German lied and the French melodie. Owing perchance to the lied's dominance or its association with the drawing room ballad, Victorian art song has been an area of little interest to either performers or scholars. The public during the period was likewise disinterested, but there were those that insisted on producing art songs. From the early attempts by George Frederick Pinto, to the mature works of Hubert Parry and Charles Stanford, there was a steady stream of composers who were not satisfied with simply pleasing the public. They were aware of musical developments on the Continent, and to the degree that they were able, endeavored to bring respectability to British song by raising its standards. Their works sometimes fall short in comparison to the mature lied, but close inspection reveals that they contain many of the elements for which the lied is esteemed. The six songs presented in this study, for instance, show evidence of poetico-musical correlation, unified independent idiomatic accompaniments, the use of onomatopoeia, romantic harmonic treatment, virtuosity, free flowing melody, and accurate text declamation. Ultimately, the efforts of these composers contributed to the so-called English Musical Renaissance that gained international recognition for later composers such as Edward Elgar and Ralph Vaughan Williams. |
