A charming study, not only for a musical club but also for any other, is that of songs. The field is practically limitless, but by careful selection of a program which covers only a part much may be learned and enjoyed. It is essential that the life and times of each composer should be studied, and some of his songs sung. Later on, various periods, or certain themes, may be illustrated by the songs of different composers. Perhaps for some of these records on a good phonograph may be used.
To introduce the subject have a paper on folk songs, which in every nation precede what are known as art songs. Many of these folk songs have come down from very early times, either just as they were or woven into art songs. Follow this with a second paper on the minnesingers and troubadours and their songs. A third paper may speak of an interesting theme which may be called the local color of songs. The Laplander has his reindeer songs; the Alpine peasant, his songs of the mountains, with the yodel; the Russian has songs of the steppes; the negro, his plantation melodies; the sailor, his chanty; the soldier, his songs of battle and prison. Hunting songs, love songs, funeral dirges, songs of nature, of childhood, of home, of country, all have a literature of their own.
One meeting may take up the subject of the first art songs—which originated about the time of the first operas and were part of them.
I—THE GREAT GERMANS
The lied, or lyric song, was practically invented in Germany, and by Schubert, the great master of lyric song, though Handel, Haydn, Gluck, Mozart, and Beethoven all wrote arias, or songs, of great beauty and importance. Illustrate by giving one or more songs from each.
The life of Schubert and his genius should have at least one meeting devoted to them. Read the chapter in Finck upon him. Notice what he accomplished in his thirty-one years. Beethoven said of him: "Truly Schubert has the divine spark." His hundreds of songs are sweet and tender, yet strong and noble. Sing "The Erl-King," written when he was only eighteen, "Hark, Hark, the Lark"; "Death and the Maiden"; "Who is Sylvia?" and "Margaret at the Spinning Wheel."
Mendelssohn's songs, long admired, are now considered rather mediocre with the exception of a few. "On the Wings of the Wind"; "The Volkslied"; "The Venetian Gondolier," and others, are distinctly bright and sunny, fresh and graceful.
Schumann, unlike Schubert and Mendelssohn, wrote songs often sad and even gloomy, but many of them, especially in his song cycles, are gems. Sing, "Du bist wie eine Blume"; and "Der Nussbaum."
II—FRANZ AND GRIEG
Robert Franz, though totally deaf from early in life, wrote songs which other musicians term immortal. His work is strikingly original, the accompaniment woven with the melody of the voice. The simple old folk songs often suggested them and his style, like that of Wagner, is often declamatory. Read his life, and sing "Leise zieht durch mein Gemueth"; "Bitte"; "Es ragt der alte Eborus," and, "Im Mai." Following the work of Franz take up Brahms, Jensen, Wagner, and Strauss, and the many other German song writers.