 | Schubert, Franz Peter - "Suleika II" for Flute & Strings D.717 Op. 31 Flûte et Quatuor à cordes |
VoirPDF : "Suleika II" (D.717 Op. 31) for Flûte & Strings (21 pages - 643.45 Ko)19x⬇ VoirPDF : Alto (89.16 Ko) VoirPDF : Violon 2 (90.46 Ko) VoirPDF : Flûte (85.68 Ko) VoirPDF : Violon 1 (122.24 Ko) VoirPDF : Conducteur complet (420.05 Ko) VoirPDF : Violoncelle (90.11 Ko) MP3 : "Suleika II" (D.717 Op. 31) for Flute & Strings 5x⬇ 27x
Suleika II for Flute & Strings
MP3 (3.66 Mo) : (par MAGATAGAN, MICHAEL)6x⬇ 4x
Vidéo :
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| Compositeur : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Flûte et Quatuor à cordes | ||||
| Genre : | Classique | ||||
| Tonalité : | Si♭ majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 01 Oct 2023 Franz Peter Schubert (1797 – 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music. His major works include the art song "Erlkönig", the Piano Trout Quintet in A major, the unfinished Symphony No. 8 in B minor, the "Great" Symphony No. 9 in C major, a String Quintet, the three last piano sonatas, the opera Fierrabras, the incidental music to the play Rosamunde, and the song cycles Die schöne Müllerin and Winterreise. He was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his short life. The largest number of his compositions are songs for solo voice and piano (roughly 630). Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write three concertante works for violin and orchestra. Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion, numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four hands. He also wrote over fifty chamber works, including some fragmentary works. Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions. He completed only eleven of his twenty stage works. "Suleika II" (D.717 Op. 31) as marvellously inventive and unusual though it is, is less touching as a piece of music than Suleika I. For a start, it is less vulnerable. In the first Suleika song, she waits for news and hangs breathlessly on Hatem's wind-borne message; in the second however, despite the bereft tone of some of the words, Schubert's music implies that Suleika is mistress of the situation – it is she who is using the West wind as her messenger and her almost imperious wish (who could disobey a diva capable of a high B flat?) is its command. The miracle of Suleika I is that it manages to be both epic and intensely personal – we are drawn to the heart of the girl's longing in a way inconceivable in an aria. On the other hand, Suleika II was almost certainly deliberately shaped as a virtuoso display piece for both voice and piano. When Schubert is in this mood to show that he can write public as opposed to private songs, an operatic dimension creeps into the music at the expense perhaps of the still small voice, not dependent on show or scale, which lies at the heart of his greatest Lieder. On the other hand, this song is no empty vehicle for high notes and digital dexterity – it is filled with the most sumptuous and subtle detail; when the two Suleikas are performed as a pair (as they almost always are) it provides an effective foil to the profundities of the first. A number of the reviews of the time emphasise the oriental character of the piece and the piano writing is certainly unique in all Schubert. The broken octaves which sidle around the keyboard do splendid service in simulating the wind it is true, but there is a voluptuous feminine sway, redolent of the harem, in this slinky music; in the right hand the tiny bells of head-dresses and ankle bracelets seem to be tinkling in the breeze. Janissary music (emulating the Turkish sultan's bodyguard with their bells, cymbals and drums) was still very much the rage in Vienna, and a number of Viennese piano makers made pianos which incorporated Janissary effects. There was for example a piano by Georg Haschka (according to C F Colt a fine accompanying instrument for the voice) made in Vienna circa 1825, which apart from the four normal pedals (including bassoon stop and una corda) had a pedal with cymbal and bell effects on the bottom octave of the strings. Could it be that Schubert, in his attempt to write popular music 'addressed to a wide public', incorporated the latest tricks of the piano makers to further enhance the oriental character of the piece? If this were the case, the composer seems carefully to have planned where the sound of bells would be appropriate: quieter passages of the song's accompaniment do not venture deep into the bass clef, but at jauntier or more passionate moments, the left hand plunges down to the lower octave on the first downbeat, only quickly to leap high out of the area of the piano where the percussion pedal was operative. There is also often a convenient semiquaver rest in the right hand coinciding with the downward leaps which would have allowed the exotic sound to be heard without drowning the rest of the accompaniment.. Source: Hyperion (https://www.hyperion-records.co.uk/dw.asp?dc=W2076_GBA JY9301918) Although originally composed for Voice and Piano, I created this Interpretation of "Suleika II" (D.717 Op. 31) for Flute & Strings (2 Violins, Viola & Cello). Partition centrale : | Suleika II (2 partitions) | | |||
