The Music
The Kuhreihen were romanticized in the wake of the Unspunnenfest of 1805 in a collection edited by G. J Kühn and J. R. Wyss. The fourth edition of 1826 gave scores for piano and was luxuriously illustrated, its intended market the educated early tourists to Switzerland. The collection also influenced the Swiss yodel that was emerging at the time. It became somewhat of a topos in Romantic literature, and figures in the poem Der Schweizer by Achim von Arnim (1805) and in Clemens Brentano's Des Knaben Wunderhorn (1809) as well as in the opera Le Chalet by Adolphe Charles Adam (1834) which was performed for Queen Victoria under the title The Swiss Cottage.
Two famous examples of Ranz des Vaches melodies are the English horn and Flute solo in the third section of the overture to Gioachino Rossini's opera William Tell, and the oboe and cor anglais theme of the third movement of Berlioz's Symphonie fantastique.
Henry David Thoreau compared the song of the wood thrush to a ranz des vaches: "So there is something in the music of the cow bell, something sweeter and more nutritious, than in the milk which the farmers drink. This thrush’s song is a ranz des vaches to me. I long for wildness, a nature which I cannot put my foot through, woods where the wood thrush forever sings, where the hours are early morning ones, and there is dew on the grass, and the day is forever unproved, where I might have a fertile unknown for a soil about me."
Read more about this topic: Ranz Des Vaches
Famous quotes containing the word music:
“During the cattle drives, Texas cowboy music came into national significance. Its practical purpose is well known—it was used primarily to keep the herds quiet at night, for often a ballad sung loudly and continuously enough might prevent a stampede. However, the cowboy also sang because he liked to sing.... In this music of the range and trail is “the grayness of the prairies, the mournful minor note of a Texas norther, and a rhythm that fits the gait of the cowboy’s pony.””
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“Great music is that which penetrates the ear with facility and leaves the memory with difficulty. Magical music never leaves the memory.”
—Thomas Beecham (1879–1961)