m. 56-77 BbM: I-V6-vi-iiib-IV-I6-V43-I-I-V6-vi-iii6-vi-I6-?-vi-vii-I-ii-I6-viio65/ii-ii6-V64(53)-I-V65-ii-V6/bIII-bIII-V6/iv-iv-ii6-I-V65-I-V7-I64-vii65/ii-ii6-I6-V7-I
There is an example of a parallel period in the first eight measures of the piece. It ends in a half cadence at the end of the first phrase. The first phrase is also an example of a falling thirds sequence. The first phrase along with the falling third sequence returns in the last verse of the piece. In the last verse of “Neue Liebe, neues Leben” the first part is a contrasting period. The first phrase goes from m. 56-60a while the second phrase from m. 60b-64. An imperfect authentic cadence separates the two phrases. There a falling third sequence in m. 57-58, which is also in the very beginning of the piece. The entire first phrase is presented in the very beginning of the piece in a parallel period. In the last line leading up to the climactic high G, Hensel uses repetition of the vocal line. The first phrase of the repetition is m. 64b-68a, and the second phrase is m. 68b-73. The second phrase begins a half step higher then it begins to move up building towards the high G. There are mixture chords in the second phrase as well, which were not in the first phrase. There is also another sequence in the second phrase in m. 68b-71a, ascending seconds with a 5-6 LIP. The second phrase builds up with the help of the mixture chords and ascending second sequence up to high G on a IV chord, which then goes down the scale to a I chord. Hensel adds in an Ab to a minor chord to clue the listener into some foreshadowing of the upcoming mixture chords. I think as a performer I don’t think the singer could have brought the dissonances out much more, since it is mainly with the piano. I think the piano part is gorgeous, and everything flows very nicely. As an alto, this is obviously not a piece I would choose to perform, however I think it is a very beautiful piece where the piano and voice interact in a very interesting way. I like that the phrases come back, but are almost camouflaged within the music. I really love the words as well, and the last line “Love, Love, Set me free!” practically takes my breath away.
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There are a few mistakes in your harmonic analysis:
I-V6-vi-iii6-IV-I6-V43-I-I64-V6
I-V6-vi-iii6-IV-I6-ii-V7-IV6-V6-I-V43-I6
I6-viio65/ii-ii6-V6453-I-V65/ii-ii-V65/bIII - bIII
Don't call the first eight measures "an example of a parallel period," it is a parallel period. Likewise with the sequence. Don't waffle with your analysis, write it clearly and boldly! Some of the sentences are unclear. A good essay should have a clear narrative, leading the reader through the piece. One example from yours: "In the last line leading up to the climactic high G, Hensel uses repetition of the vocal line. The first phrase of the repetition is m. 64b-68a, and the second phrase is m. 68b-73. The second phrase begins a half step higher then it begins to move up building towards the high G. There are mixture chords in the second phrase as well, which were not in the first phrase. There is also another sequence in the second phrase in m. 68b-71a, ascending seconds with a 5-6 LIP. The second phrase builds up with the help of the mixture chords and ascending second sequence up to high G on a IV chord, which then goes down the scale to a I chord." All of these facts are correct, but they should be reordered to tell the story of the first phrase that gets repeated up a half step with mixture chords and a 5-6 LIP to intensify the emotions and create the climax.
Cut out "I think as a performer" and provide more details of how the piano part flows nicely or where the dissonances are. And explain more the very interesting idea of phrases being camouflaged within the music.
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