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Lied der Mignon I for Flute & Strings
MP3 (3.89 Mo) : (by MAGATAGAN, MICHAEL)6x⬇ 5x
Vidéo :
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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Flute and String Quartet2 other versions | ||||
| Style : | Classical | ||||
| Key : | E minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 18 Nov 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). Lied der Mignon I ["Heiß mich nicht reden, heiß mich schweigen" ("Don't tell me to talk, tell me to be silent")] D.877 Op. 62 No. 2 is unlike the three other Mignon songs in Goethe’s novel Wilhelm Meisters Lehrjahre, ‘Heiß mich nicht reden’ is not fully integrated into the narrative structure of the text. It appears at the end of Book 5 with the comment that Mignon was unhappy when Wilhelm left the troupe of actors for a while and that she then sang a song which she had sung a few times before (but which, according to the narrator, had not been included so far because of the lack of a suitable opportunity to present it). We are therefore led to believe that the text relates to Mignon in general rather than to any particular situation she finds herself in. The first ‘secret’ or mystery about the poem is, therefore, who is the text addressed to? Who has asked Mignon to speak, and in what circumstances? Why is she even saying that she is unable to speak; why is she not simply remaining silent, as she declares she needs to do? Once we begin asking questions like this, we become even more inquisitive. What was the oath she swore? To whom? Why? If there is a fixed time when the sun breaks through dark night or when the cliff opens up to release its hidden springs, when is the time when Mignon will be allowed to open herself and reveal her inner self, her deep secret? How will she ever know that time? Where is the god who will unlock her closed lips? That is the nature of secrets; they make us want to know more. The more that is hidden, the more interested we become. The more we are told we mustn’t ask, the more we think, ‘oh, but you could tell ME!’. Then, of course, there is the psychological effect of projection: the person with the secret becomes a sort of blank screen onto which we can project our own concerns and experience. This may be one of the main reasons why Mignon has attracted such attention from composers, readers and listeners over the years. Source: Wikipedia (https://en.wikipedia.org/wiki/Mignon_(Schubert)) Although originally composed for Voice & Piano, I created this Interpretation of "Lied der Mignon I" (D.877 Op. 62 No. 2) for Flute & Strings (2 Violins, Viola & Cello). Sheet central : | 4 Gesänge aus 'Wilhelm Meister' (7 sheet music) | | |||
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