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Wehmut for Flute & Strings
MP3 (2.75 Mo) : (by MAGATAGAN, MICHAEL)8x⬇ 7x
Vidéo :
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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||
| Instrumentation : | Flute and String Quartet | ||
| Style : | Classical | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 26 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. "Wehmut" (Melancholy) D.772 Op. 22 No. 2, is described as an expression of grief containing the whole greatness and unaffected simplicity of Schubert in a nutshell. The work is only a page long but it has the stature and grandeur of a much longer song, so much is packed into its tiny span. The key to it all is the ambiguity between 'wohl' and 'weh', between major and minor, the transient joy which brings tears. Spring was always a poignant season for Schubert (one has only to think of his Im Frühling and Frühlingsglaube for illustrations of the happiness tinged with melancholy—never self-pity—which is so characteristic of him). The drama and poignancy of the world's re-birth (and to what purpose?—it will all soon die again) is amply foreshadowed by the piano's two bars of weighty introduction; the voice enters over a repeat of these same harmonies. The tug of the unquiet heart, both happy and sad, pervades the song until the ravishing modulation into F sharp major on the word `Sch”nheit' floods the picture with the glow of the irresistible beauties of the here-and-now. The spread chords played by the open hand suggest to me both the impulse of wanting to embrace physically these meadows, and the inability to do so. The music then begins to shiver in muted tremolando, inspired obviously enough by the wind in the poem, but on another level, deeper than tremor or earthquake: what is really happening is a sea-change of perception. As ever, Schubert is the master of unleashing a tempestuous middle section (time after time in slow movements of sonatas we find this technique used to devastating effect) which leaves the reprise subtly yet irrevocably altered by what has been learned in the storm. What starts out as a repeat of the opening musical idea is suddenly different at the second time the word 'entschwindet' appears (the fall of the bass line is but part of the magic musical formula which somehow conveys acceptance and humility before the forces of nature). This is followed by the wide-open spaces of the inexorable concluding semibreves. The hushed void of Meeres Stille (Volume 1) comes to mind, and the same feeling of mankind adrift within a boundless destiny beyond his control. The change from major to minor underneath the first appearance of the word 'vergeht' takes all the colour from life, and drains the memory of nature's beauty. The second 'vergeht', and the bleak jump of a downward fifth, returns mankind to the arms of nescience. Source: Wikipedia (https://en.wikipedia.org/wiki/Wehmut_(Schubert)) Although originally composed for Voice and Piano, I created this Interpretation of the "Wehmut" (Melancholy D.772 Op. 22 No. 2) for Flute & Strings (2 Violins, Viola & Cello). | |||
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