 | Schubert, Franz Peter - "An den Mond" for Flute & Strings D.259 Flute and String Quartet |
An den Mond for Flute & Strings
MP3 (2.52 Mo) : (by MAGATAGAN, MICHAEL)6x⬇ 9x
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 Sep 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. The poem "An den Mond" (To the Moon), written by Goethe for Charlotte von Stein who in turn wrote a version of it which affected its final published version, is rightly considered a high point of German literature. Dietrich Fischer-Dieskau's recent autobiography Nachklang takes its title and inspiration from the poem's third verse. By the time the not yet eighteen-year-old Schubert set the text, he was already a Goethe veteran: this is the twenty-eighth of that master's poems which he set to music. Composers like Goethe's friends Kayser and Zelter had already attempted it, as well as Reichardt. Challier's Lieder catalogue lists thirty-two other settings before 1885, and one must not forget Pfitzner's magnificent song of 1906. Capell outlined the main problem, as he saw it, facing Schubert : "to catch the various shades of the poet's feelings, in which exalted serenity exists side by side with wild regret, was a hopeless task". Well, not quite hopeless. Given that a strophic song has certain limitations (and often these are the limitations of the imagination, daring and subtlety of the performing artists) this song is capable of encompassing many moods—rapture, regret, résignation, and the rueful smile in the major key which is more eloquent and suggestive of deep emotion than many a more obvious tear-jerking gesture. Because each verse of music uses up two strophes of poetry, only eight of the poem's nine verses can be sung (here Goethe's fifth verse is omitted). The extended and more durchkomponiert structure of the second setting, D296 (Volume 1), does not have this limitation, and indeed the profundity and richness of this expansive and daring song could encourage people to overlook the first version, performed here. The undulating little tune (and it need not be 'jaunty', which is the fault Reed finds with it) has a simplicity and an inevitability that can either be heard as perfection or dullness, depending on the tuning and sympathy of the ear. Once learnt, it haunts the listener, like a gleam of moonlight lighting a corner of the unconscious. Source: Wikipedia (https://en.wikipedia.org/wiki/Franz_Schubert) Although originally composed for Voice and Piano, I created this Interpretation of "An den Mond" (To the Moon D.259) for Flute & Strings (2 Violins, Viola & Cello). Sheet central : | An den Mond (2 sheet music) | | |||
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