 | Schubert, Franz Peter - "Mignon und der Harfner" for Flute, Oboe & Strings D.877 Op. 62 No. 1 Woodwinds and String quintet |
Mignon und der Harfner (D.877 Op. 62 No. 1) for Flute, Oboe & Strings
MP3 (3.11 Mo) : (by MAGATAGAN, MICHAEL)6x⬇ 6x
Vidéo :
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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Woodwinds and String quintet | ||||
| Style : | Classical | ||||
| Key : | B minor | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 16 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). Mignon und der Harfner ["Nur wer die Sehnsucht kennt" ("Only one who knows longing")] D.877 Op. 62 No. 1 is one of three poems, set to music by Schubert, from Goethe's novel Wilhelm Meisters Lehrjahre ("Wilhelm Meister's Apprenticeship"). Already set multiple times by Beethoven and later by Schumann, Wolf and Tchaikovsky, Schubert himself composed six different versions of Goethe's poem. Two versions—a duet and a solo song—were composed in January 1826 and published as part of his 4 Gesänge aus 'Wilhelm Meister', op. 62 the following year. The first two lines of Goethe's text are treated as a single unit. These same lines, as well as the accompanying music, will be recapitulated later at the end of the song. The final four lines of the first stanza wander from the starting tonality of A minor into the remote key of C minor. However, in a brilliant stroke, Schubert returns to the tonic by means of a single chord to close the first stanza on a half cadence in A minor. The opening lines of the second stanza begin over a disturbing chord of the second on the subdominant. At the words "I feel dizzy," the music breaks off into a series of repeated chromatic harmonies hovering inconclusively between the keys of D minor, C minor and A minor. After finally settling on the dominant harmony of A minor, the opening lines and music are repeated. The piano introduction also returns, bringing an end to one of Schubert's most heartfelt Lieder. Schubert’s compositions based on the songs from Goethe’s Wilhelm Meisters Lehrjahre, an extremely popular and influential novel in nineteenth-century Germany, illustrate his treatment of these complex issues. Several of the book’s characters sing during the course of the story, and Schubert was particularly attracted to their poems. He wrote more than seventeen versions of Mignon’s and the Harper’s songs, which is remarkable even considering his large output. He used the poem “Nur wer die Sehnsucht kennt” seven times throughout his life in settings that offer a variety of readings of Goethe’s text. In the novel, “Nun wer die Sehnsucht kennt” is a duet between Mignon and the Harper, two characters with ambiguous gender associations, and although Schubert’s settings of this poem are typically for a single voice, he also wrote a duet and a male quintet. Because of their gendered voicing, these songs have interpretive layers in addition to that of the interaction between text and music. Schubert’s duet and quintet settings of “Nur wer die Sehnsucht kennt” present readings of Goethe’s poetry that are colored by the composer’s attraction to Goethe’s characters, the implications of those characters’ gender identities, and the songs’ gendered performing forces. “Mignon und der Harfner” is in B minor, a key often associated with longing, anguish, and anxiety in critical studies of Schubert’s music. Richard Kramer writes, “Schubert in B minor is Schubert at the depths of his soul.” Kramer demonstrates the affective significance of B minor in Winterreise, Die schöne Müllerin, and the Rellstab and Heine settings published as part of Schwanengesang. If Schubert’s original conception of Gesänge aus “Wilhelm Meister” was only the first three songs, the keys have a clear relationship (B minor, E minor, and B major), which suggests Schubert used these tonalities purposefully. Schubert does not use B minor with any particular frequency in his song output, and unlike the Harper’s songs which are almost entirely in A minor, Mignon’s songs do not have a general key association, so Schubert’s use of B minor for “Mignon und der Harfner” highlights Mignon’s longing through its tonal affect. Source: Wikipedia (https://en.wikipedia.org/wiki/Mignon_(Schubert)) Although originally composed for Voices & Piano, I created this Interpretation of "Mignon und der Harfner" (D.877 Op. 62 No. 1) for Flute, Oboe & Strings (2 Violins, Viola, Cello & Bass). Sheet central : | 4 Gesänge aus 'Wilhelm Meister' (7 sheet music) | | |||
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