Lullabies, Sleep & Dreams

Lullabies may be the most primal form of music, possibly originating back to the ancient time in human evolution when we first needed to care for infants who are born in an essentially helpless state. Historically, the oldest known lullaby is etched on a clay tablet dating back to 2000 BC. Lullabies are common to all cultures of the world and across countless generations. There are several terms for “lullaby” which are used interchangeably here - Cradle Song, Wiegenlied (German) and Berceuse (French) to name a few. The lullabies included here are from Austria, Belgium, France, Germany, Ireland, Italy, Norway, Russia, Scotland, Spain, and the United States.

At their core, lullabies are sung by mothers (usually mothers - or fathers in modern times - but I will use “mother” going forward as it was traditionally the mother who sang the lullabies) to lull an infant or child to sleep.  As such they can express the truest form of love with adoration, tenderness and tranquility. Interestingly, sometimes the lyrics of some lullabies may seem at odds with the soothing musical style, possibly betraying the mother’s exhaustion or fears. The text of some lullabies can contain eerie, austere or frankly frightening scenarios. It is possible, historically, that the lyrics became a way for the mother to express goals, expectations, or even warnings for her child. As such, lullabies sometimes have a curious juxtaposition of fearsome lyrics with sweet melodies, due to the underlying nature of mixing love with fear and sadness, alluding to the bittersweet world a child will someday discover. 

Of the many lullabies I am sharing here, about half are indeed songs, meant to be sung as traditional lullabies. Many composers, however, have developed lullabies beyond the traditional form and created instrumental works, without lyrics. The original forms of these include piano solo, violin and piano or orchestra, but I’ve adapted them for cello and piano. Glière’s Berceuse was originally scored for violin and cello but I’ve adapted it for 2 cellos. Skinner’s Cradle Song is set for 3 cellos and piano. If you have listened to my Songs Without Words playlist, you might notice that there is a small overlap with 3 art songs: Schubert’s Nacht und Träume, Tchaikovsky’s Lullaby and Gurney’s Sleep. I felt that these deserved to be part of the Lullaby group as well.

A final note: I recorded all of these pieces at home during the lockdown period of the pandemic of 2020. Recording at home is a far cry from a professional studio, with many constraints. Also, I am performing all of the parts myself. With those qualifiers, I believe that these lullabies, in the context above, will have a little something for everyone! Some of these Lullabies are very well known (such as Brahms’s Lullaby) but many others have fallen into obscurity over time. I hope that, after listening, you agree with me that the lesser known ones also deserve to be heard more in this modern era. As you listen, I encourage you to refer to the brief program notes appearing below the playlist. You may find it easiest to open two browser windows, one with the playlist and the other starting at the program notes to help minimize scrolling. Also, please note that you can start and stop anywhere in the playlist for your convenience. On a mobile device, I recommend choosing “Listen in Browser” for a more seamless experience.

About the Music

The melody of Johannes Brahms’s Lullaby (Wiegenlied, Op. 49, No.4) may be the most famous and recognizable throughout the world. This Wiegenlied, fourth in a set of Fünf Lieder from 1868, was dedicated to Bertha Faber in whom Brahms had romantic interest as a young man. Within the Wiegenlied is a hidden counter melody suggesting a song which she used to sing to him. The text of the first verse is from Das Knaben Wunderhorn, a collection of German folk poems, and the text for the second verse was written by Georg Scherer in 1849.

Although Austrian born Franz Schubert (1797-1828) only lived to the age of 31, he was a prolific and versatile composer whose works spanned operas, symphonies, masses, choral works, chamber music and solo piano. He is at once considered to be one of the last Classical and one of the first Romantic composers. Possessing the gift of song, he composed over 600 lieder. Night and dreams were common themes in Romantic art songs and Schubert used imagery around this in many of his lieder. Nacht und Träume, Op. 43, No. 2 is a meditation on night and dreams, set to the text by Matthause con Collin describing how dreams, like moonlight, float down during sleep. We plead for night’s return in order to live again in a better world, to recapture the life we once possessed.

Although the music of Bavarian composer, conductor educator and keyboard virtuoso, Max Reger (1873-1916) is not often performed today, during his lifetime he was as highly regarded as Richard Strauss and Gustav Mahler. It has been observed that his post-Wagnerian chromatic style led to the atonal sound world of Arnold Shoenberg. Most of Reger’s writing is “absolute music” demonstrating complete mastery of of the fugue and other contrapuntal techniques so important to Bach whom he admired. In his active career of about 25 years he produced over 1000 pieces across a broad range of genres. In response to the accusation that his music was intentionally and needlessly complex, Reger composed 60 Schlichte Weisen (Simple Melodies), Op. 76. Most failed to impress and were quickly forgotten, but Mariä Wiegenlied became a big commercial hit - more copies and arrangements of it were sold during the 20th century than all of his other pieces combined. Mariä Wiegenlied is a Christmas Song set for solo voice and piano. The text by Martin Boelitz tells the story of Mary rocking baby Jesus‘ cradle - the birds sing, treetops sway in the warm breeze while the infant partakes of “holy slumber.”

Born in Austria, Joseph Marx (1882-1964) is one of the most significant composers of German Lieder of the early 20th century and yet his works are largely absent from contemporary concert programming.  Of his 158 lieder, his largest set is his Italienisches Liederbuch. In this set, Ventianisches Wiegenlied is a gentle lullaby with text bearing traditional Italian imagery - Santa Lucia will give the child her eyes, Mary Magdalen will give her hair, the angels will give their colors and Martha will give her mouth.  The lullaby ends with a solemn proverb: love begins with music, singing and longing, and ends with lamenting and tears. The text by Paul Heyse can be viewed here.

Austrian composer Hugo Wolf (1860-1903) attended Vienna Conservatory but was expelled due to his outspoken criticism of his masters. However, he did receive encouragement from Richard Wagner, Johannes Brahms and Gustav Mahler, and ultimately made his mark by developing Lieder to its highest potential in the late 19th century. Unfortunately, after contracting syphilis, he fell into a deep depression during multiple relapses but during more quiet periods he was extremely productive and his writing was positively radiant and nuanced. He composed over 300 songs although in his own estimation only about a 100 were worthy. Among the handful of non-vocal works were compositions for piano. The Wiegenlied was originally for piano solo, but it was transcribed for violin and piano by Wunderlich. I’ve adapted it for cello and piano.

Spanish composer Manuel de Falla (1876- 1946) wrote Siete Canciones Populares Espanola in 1914, setting seven popular indigienous melodies from various regions in Spain into canciones for voice and piano. In 1925 Paul Kochanski arranged the Canciones  for Violin and Piano as Suite Populaire Espangole. Nana is a gentle lullaby which de Falla recalled hearing his mother sing to him. The tune stems from Andalusia and differs from other Spanish cradle songs as, according to de Falla, Andalusian vocal music originated in India. The text for Nana can be viewed here.

Edvard Grieg (1843-1907) was the most influential Norwegian composer of the nineteenth century, notably promoting Norwegian folk music. His lyrical character pieces are particularly well known.  He published about 60 so-called Lyric Pieces for piano spanning his entire creative career. The Lyric Pieces are grouped into 10 Books. Berceuse (sometimes known as Cradle Song or Vuggevise in Norwegian) is the first piece from Book II, Op. 38 and seems to recall the halling, a Norwegian dance in duple meter usually played on a hardingfele (Hardinger fiddle). Hans Sitt arranged Berceuse for violin and piano and I’ve adapted this for cello and piano.

American composer Amy Beach (1867-1944) was born in New Hampshire to parents who were multigenerational Americans dating back to the 1630’s. She was surrounded by music as a child and had not only perfect pitch but also chromesthesia. Before the age of 2, she demonstrated skill in improvising a perfectly correct alto to her mother’s soprano lines when singing lullaies. As a youngster she learned to play the piano but, interestingly, preferred to compose in her head at her desk, away from the piano. Beach was a prolific composer but wrote relatively little instrumental and chamber music. Berceuse is one of three short character pieces in her Op. 40 for violin and piano. I’ve adapted it for cello and piano.

Russian music teacher and composer, Alexander Ilyinski (1859-1920), native of St. Petersburg, was educated at the St. Petersburg Conservatory. His musical style was heavily influenced by Alexander Borodin, Nikolai Rimsky-Korsakov and Modest Mussorgsky. He later joined the faculty of Moscow Conservatory as a professor of theory, history and compositeion. Ilyinski is best known for two pieces: his opera The Fountain of Bakhchisary, set to Pushkin’s poem of the same name, and Berceuse, op. 13, No. 7 from his orchestral suite “Noure and Anitra.” Alfred Moffat arranged Berceuse for violin and piano and I have adapted it for cello and piano.

Native of Votkinsk, Russia, Pyotyr Ilyich Tchaikovsky (1840-1893) is well know for his 7 symphonies, 11 operas, 3 ballets, 5 suites, concerti for piano and violin, chamber music as well as over 100 songs and piano pieces. Although he began piano lessons at age 5, his parents had in mind for him a life in civil service. At age 19 he indeed took a bureau clerk post at the Ministry of Justice, but he became increasingly fascinated by music and at age 21 he enrolled at the newly founded St. Petersburg Conservatory. He became a professor of harmony at the Moscow Conservatory but resigned at age 38, allowing him greater freedom to compose. His Lullaby is the first one of Six Romances, Op. 61 from 1872. The text from Apollon Maykov’s poem of the same name in the cycle Modern Greek Songs from 1860, tells of summoning nannies to watch over a child: sun, wind and an eagle. 

Russian composer Alexander Gretchaninov (1864-1956) had a relatively late start in music as his father had planned him to continue in the family business. Gretchaninov did not start music lessons on piano until age 14 and later started studying at the Moscow Conservatory against his father’s wishes and knowledge. His important influences included Anton Arensky and Nikolai Rimsky-Korsakov, who ably mentored him. He became successful writing for the theater, opera and for the Russian Orthodox Church. He became a composer of such distinction that the Tsar granted him an annual pension. After the Revolution, he emigrated first to France but ultimately to the United States where he lived out the rest of his life, dying at the age of 91 in New York. As a composer, Gretchaninov was quite versatile, embracing all music forms including opera, symphony, chamber music and liturgical music. He may be best known in the area of songs, composing over 250. In the early 20th century every important singer included works by Gretchaninov, including the ever popular Berceuse, Op. 1, No. 5. The text by Mikhail Yur’yevich Lermontov can be viewed here.

Born in Kiev, Reinhold Glière (1875-1956) displayed musical gifts from an early age. He attended Kiev Scool of Music and then the Moscow Conservatory. He studied violin with Otakar Sevcik and Jan Hrimaly, then composition with Anton Arensky and Sergei Taneyev at the Moscow Conservatory. His early compositions, mainly chamber and orchestral works, were steeped in the time honored Russian tradition. After studying in Berlin he became increasingly called on to conduct various orchestras. Not long after, his Third Symphony became extremely popular the world over and was frequently programmed by American conductor Leopold Stokowski. After a period directing the Kiev Conservatoire, he became interested in folk music traditions of Azerbaijan and Uzbekistan yielding several important operas. Many of his compositions are based on national music of subregions of the Soviet Union and their popularity probably comes from his great understanding of the peoples’ taste in music. He is often known as the “Father of Soviet Composers” and his pupils included Sergei Prokofiev, Aram Khachaturian and Nikolai Myaskovsky. Berceuse is the 3rd of Eight Duets for Violin & Cello, Op. 39, from 1909, and I have adapted it for 2 Cellos.

Ottorino Respighi (1879-1936) composed Six Pieces for Violin and Piano, P. 31 around 1902. Berceuse is No. 3 in the set, originally for violin and orchestra but, works well for violin and piano. The Berceuse is a serene lullaby in mostly hushed tones with the piano displaying undulating figurations supporting the violin in stepwise motion, common in Respighi’s vocal works.  I’ve adapted this piece for cello and piano.

French composer Gabriel Fauré (1845-1924) wrote Berceuse, Op. 16, in 1879. It was originally scored for violin and piano but has been adapted for violin and orchestra as well as other solo instruments. He had success with the violin in his first Sonata in 1877 and the Berceuse was premiered 3 years later. Of his shorter works for violin and piano, the Berceuse has probably been violinists’ favorite. It has been observed that, compositionally, the structure is concise and perfect with not a single unneeded extraneous note.  Fauré has transformed a simple cradle song into an exquisite and enduring concert work.

Eugène-August Ysaÿe (1858-1931) a Belgium violinist known for his virtuosity,  expressiveness and intense vibrato, inspired composers including César Franck, Camille Saint-Saëns, Vincent d’Indy and Gabriel Fauré. He was probably the most important violinist of the 19th century after Paganini. He conducted many orchestras in his career - he even declined a position as music director of the New York Philharmonic. Although he had no formal training in composition, his many works include the unique Sonatas for Solo Violin as well as violin concerti, chamber works and even an opera. He dedicated Rêve d’enfant to his youngest son, Antoine. In spirit it has much in common with Faure’s Berceuse although it is more structurally and harmonically complex. I’ve adapted it for cello and piano.

Gifted British composer Ivor Gurney (1890-1937) studied with Charles Villers Stanford, whose other celebrated students included Arthur Bliss, Ralph Vaughan-WIlliams, John Ireland and Frank Bridge. Gurney enlisted as a private in WWI And the experience left an indelible mark. He struggled with various form of employment after the war including manual labor, and lived his final 15 years in mental institutions, longing for death to end his angst with life. Hauntingly beautiful Sleep is the fourth of Gurney’s Five Elizabethan Songs set to John Fletcher’s text. Gurney’s harmonies switch between mino and major, the latter of which create moments of light and joy. One has the sense that the troubled insomniac does ultimatel fall into a blissful sleep. 

Charles Villiers Stanford (1852-1924) was an Irish composer, educator and conductor in the late Romantic era. Born in Dublin in a wealthy and musical family, he was educated at University of Cambridge before studying music in Leipzig and Berlin. Lullaby is one of 50 Irish folksongs comprising the Songs of Erin, Op. 76. The 50 songs were representative of three main types of Irish folksongs - the Gauntree, provocative of mirth and frolic (such as jigs, reels, and quick step marches),  the Gollltree, or sorrowful music (such as lamentations and sadder love songs), and finally the Soontree, or sleep disposing tunes (such as lullabies and fairy slumber songs). The texts for the 50 songs were chosen by poet Alfred Perceval Graves from from medieval Gaelic, but most were his original works, set in Irish meter. The Lullaby text can be viewed here.

Born in Aberdeenshire, Scotland, dancing master, violinist, fiddler and composer James Scott Skinner (1843-1927), was surrounded by music from an early age. He learned to play tunes on the violin and cello and as as youngster played at dances held in local barns. He played by ear until studying with French violinist Charles Rougier, who started with the basics, like reading music. Skinner credited Rougier for his later success as a composer and performer. He composed well over 600 works and his playing and compositions brought Scottish fiddle music to new heights. Skinner composed The Cradle Song in 1910, inspired after seeing a sick child being cared for by his mother in the town of Forres.  This version is scored for three cellos and piano.