Erlkonig (Schubert) “Lost Your Head Blues” and Hallelujah (Handel) AS Vesta Was Descending (Weelkes)
Introduction
The song “Lost Your Head Blues” was written by Shubert in 1782. The song talks about the death of a child due to supernatural influences. Many classical composers have used the song to test for their song voice and piano tones. However, the song came into public domain in 1797(Snyder, 1996). Hallelujah was composed by George Frederic Handel in 1741. The song was first performed on 13th April 1742 in Dublin. The song emerged as one of the most popular song in London for more than one year. The song thereafter turned out to be one of the most frequently performed songs among many chores in western countries. Schubert and Handel were among the most popular singers in the eighteenth century. They led their groups in performing their songs. The two songs have some similarities and differences.
Singing styles
In their two songs, Handel and Schubert performed as soloist. The pronunciation of their song is profound and clear to be understood by people from different backgrounds. Shubert song was categorised as D 328. The four characters in the song are represented in the song by a single vocalist. To demonstrate the variety in the song, Schubert has used four different individual vocalists in the song. The four single vocalists are placed in different range of vocals. Each vocalist amongst the four has unique rhythmic nuances. In demonstrating the death of a young boy, vocalists have used a variety of pitches. However, high pitches have dominated in the song. The melody of the song is also high. On the other hand, Handel song is different from others due to its orchestral restraints. The song has low pitch which flow all over the song. It has also incorporated some instruments which are low pitched. The rhythm of the song is also low. Handel singing style is low pitched compared to Schubert who has high pitched singing style.
Performance style
The Schubert song is performed by more than four vocalists with different instrument. However, Handel song is being performed by one vocalist with several instruments such as trumpet. Handel has an adequate combination of instrument and vocal. For example the trumpet is heard more in the song’s the final chorus “hallelujah”. In Schubert song, the instruments and vocal are applied all over the song. This is most detected in the fourth stance where the singer combine the vocal “My father, my father do you not hear” with high pitched instruments. Handel introduces his instrument at the middle of the song while Schubert uses his instrument throughout the song
Text
Schubert song is about a young boy who was carried by his father in a horseback. In the song, the son seems to hear some messages which his father’s was not hearing. The child was seeing shimmering willows, rustling leaves and fog wisp. At the end of the song, the child cries that he was attached. Afterward, the father realised that, the child was dead. The song is also translated to other languages such as Germany. Handel song is a religious song. The songs talks about the Isaiah prophecy regarding the birth of Jesus Christ. The song also warns people to be prepared about the coming of the judgment day. The songs goes ahead to talk about the life history of Jesus Christ and the miracles he performed in his life. The song is divided into different section where each section talks about a different unique character of Christianity. The song is also sung in different tunes ranging from alto to bass (Young, 2001).
Conclusion
The two singers emerged as extremely famous singers in eighteenth century. Their singing styles have been enumerated by different singers over years. Their songs are also relevant and popular even in the current generation. The performance styles used in the two songs have portrayed superb performance rank of the two musicians. On the other hand, the messages in the context are outstanding. The two songs have very inspirational and influential messages, which are relevance to the current generation. It is therefore the responsibility of modern singers to embrace the performance style, text, and singing styles of the two singers.
References
Snyder, L. (1996). German Poetry and Songs. Berkeley: Fallen Leaf Press
Young, M. (2001). Messiah: A Study in Interpretation. London: Dennis Dobson Ltd
