 | Schubert, Franz Peter - "Die Liebe hat gelogen" for Flute & Strings D.751 Op. 23 No. 1 Flute and String Quartet |
Die Liebe hat gelogen for Flute & Strings
MP3 (1.74 Mo) : (by MAGATAGAN, MICHAEL)4x⬇ 3x
Vidéo :
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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Flute and String Quartet | ||||
| Style : | Classical | ||||
| Key : | C minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 04 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. "Die Liebe hat gelogen" (Love has lied D.751 Op. 23 No. 1) ranks as one of Schubert’s single-page masterpieces, in the same extraordinary aphoristic class as Wandrers Nachtlied and Erstes Verlust. The pace and metre are those of Death and the Maiden—a dactylic rhythm which, in Schubert’s motivic language, underlines the harsh and irreversible sentence of Fate. To lose one’s love is to die a little, and in this song we sense that the loss of love is as inevitable as death itself, a terrible shock and yet somehow expected as part of the sufferer’s life-sentence. In the beginning we sense an aristocratic and frozen dignity, the vehemence of the feelings concealed under a façade of iron-willed control—the principal dynamic is piano, and not until the end of the middle section is there an outburst where the emotional catastrophe is matched by a sustained forte dynamic. Until the middle section this is music of stiff upper lip and iron will. The original tonality is C minor. The poet and musicologist Schubart described this as the key of unhappy love, and we have only to think of another song of slighted love in C minor, Mozart’s Als Luise die Briefe, to see Schubart’s point. In Die Liebe hat gelogen the mood is of the highest drama, and yet everything is reined-in by the implacable dactyls. The two bars of introduction announce the gravity of the situation, and there is a surprising shift to a forte chord (the first inversion of D flat major, the flattened supertonic) on the third beat. This stab of pain, the twisting of a harmonic knife, subsides, and another bar of chords, muted and heavy like a dead march, return us to the dominant from whence the singer launches his plaint. The words are intense and bitter, the articulation of them remote and noble. Only in the height of the tessitura do we detect an inward wail, the sound of someone trapped in an emotional situation from which there is no escape. At ‘Betrogen, ach, betrogen’ there is a sudden shift into C major for the first ‘Betrogen’, and, if this were not astonishing enough, to A major for the second. Only a composer of Schubert’s genius and empathy would have played this unexpected card. The change sounds majestic and pomposo, as if a king is trumpeting the betrayal in a proclamation to the heavens, but there is a subtext to this grandeur. Here is the major key of self-laceration, of ‘yes, I thought so! I expected it to happen—it always does’. This is a triumphantly masochistic assertion that life remains as bleak as ever, and that one has been hurt again because, deep-down, one knows it is a deserved punishment. Source: Wikipedia (https://en.wikipedia.org/wiki/Franz_Schubert) Although originally composed for Voice and Piano, I created this Interpretation of "Die Liebe hat gelogen" (Love has lied D.751 Op. 23 No. 1) for Flute & Strings (2 Violins, Viola & Cello). Sheet central : | Die Liebe hat gelogen (2 sheet music) | | |||
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