In this article I will look closely at just one song, Schubert’s Der Lindenbaum. Even by Schubert’s standards, this song is remarkable for the eloquence of its. Der Lindenbaum: vocal music: The 17th–20th centuries: the modified-strophic setting of “Der Lindenbaum” (“The Linden Tree”), from the cycle Winterreise. Winterreise (Winter Journey) is a song cycle for voice and piano by Franz Schubert a setting of . “Der Lindenbaum” (“The Linden Tree”): The tree, a reminder of happier days, seems to call him, promising rest. But he turns away, into the cold.
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Du liebst mich nicht D. All the motion in the postlude is stepwise. Dass sie hier gewesen D. A few of the songs differ in the autograph and a copy with Schubert’s corrections. schubett
Franz Schubert:Der Lindenbaum Lyrics | LyricWiki | FANDOM powered by Wikia
The text of the first section is nostalgic and sets llindenbaum the darkness of the second section. In a Retisian scchubert this can be interpreted as the b-c-sharp motion found in the introduction, slightly altered by the accidental. Die junge Nonne D. Die verfehlte Stunde D. But, the descent shubert the A section goes beyond the introduction. The following table names the keys used in different editions. The only time it appears altered in the voice is in the B section, where it emerges as the same notes in the left hand as well as in the voice.
Arranger Hugo Ulrich Vogl, a literary and philosophical man accomplished in the classics and the English language, came to regard Schubert’s songs as “truly divine inspirations, the utterance of a musical clairvoyance.
Ein Licht tanzt freundlich vor mir her Furcht der Geliebten D.
Cora an die Sonne D. Creative Commons Attribution-ShareAlike 4. Elena Gerhardt said of the Winterreise”You have to be haunted by this cycle to be able to sing it.
Winterreise, D.911 (Schubert, Franz)
This is significant because the key has now changed from major to minor and it places this motivic idea in a different context. Schubert’s song cyclesincluding: We were altogether dumbfounded by the sombre mood of these songs, and Schober said that one song only, “Der Lindenbaum”, had pleased him. schubsrt
Drang in die Ferne D. Der Vater mit dem Kind D. In 12 Liedern in an almanack Urania.
Arranger Johann Kaspar Mertz The piano introduction, interludes and postlude not only tie the piece together and set the tone of the text, but they also foreshadow and provide a summary of the piece as a whole. Die Post – Score and Parts Tpt. Ich such im Schnee vergebens nach ihrer Tritte Spur 5.
Capell, chapter on Winterreise. Gretchen im Zwinger D. Arranger Ivan Shishov Wie hat der Sturm zerrissen des Himmels graues Kleid Since this is a strophic setting and the sections repeat, the question arises: Editor Max Friedlaender Etwas geschwind A major Der Wegweiser.
The Piano and Dark Keys: Eine altschottische Ballade D.
The notes c, b-sharp, and b are used in this neighbour -tone motion. Lied eines Kriegers D.
The descents that have occurred before this point have either been interrupted or embedded at a foreground level. Laura am Klavier D. In other projects Wikimedia Commons.
Der Lindenbaum | work by Schubert |
In terms of symmetry, Schubert displaces the seemingly natural grouping of two verses to every section: Die erste Liebe D. The vocal line expands on these ideas while the accompaniment summarizes and brings these threads together. Daphne am Bach D. The postlude finishes what the vocal line prolongs. Song cycle by Franz Schubert. Lindenbamu von der Harfe D.