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Die Nacht for String Quartet
MP3 (3.28 Mo) : (by MAGATAGAN, MICHAEL)2x⬇ 4x
Vidéo :
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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | String Quartet | ||||
| Style : | Classical | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 20 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. The strophic song "Die Nacht" (The Night D.983C Op. 17 No. 4) can claim to be the most recently discovered Schubert Lied; Die Nacht was re-discovered as part of a forgotten collection of music which had been gathered together in two volumes by the composer’s schoolfriend Baron von Schlechta between 1840 and 1846. This comprised some 39 Schubert songs in partly unpublished versions for voice and guitar, not in the composer’s hand. In the absence of an original autograph, dating this song is made more difficult by the bland simplicity of the piano – or rather, guitar – writing; it is just possible that this setting of Karoline Pichler’s poem (from the novel Olivier oder Die Rache der Elfe) once existed in a piano-accompanied form, now lost. The lack of a fully developed accompaniment throws more attention on the vocal line which has many Schubertian fingerprints in terms of the rise and fall, as well as the persuasive flexibility, of the melody. There is little about this strophic song that would rule out an early date (such as 1813 or 1814): the Italianate melody is typical of the music Schubert was writing during, and soon after, his training with Salieri. But it might be argued that the chain of modulations within the melody sounds too sophisticated for this apprentice period. The fact that the famous version of the song, Der Unglückliche D713 was composed only in 1821 is also a factor in postulating a date later than 1813-1816. But the two settings of Pichler’s poem could not be more different. Der Unglückliche is an elaborate song-cantata made up of various sections in different tempi – it could not be further from a strophic song in terms of its conception. And there are other instances when more than a decade separates two settings of the same text. An example of this is L’incanto degli occhi: the first version dates from 1817 at the latest (it is probably much earlier than this) and the second version was composed only in 1827. The whole question of a date remains tantalisingly open. On first hearing one is reminded of the opening of the famous Walter Scott Ave Maria (Ellens dritter Gesang), but this is also something to do with the stately flow and shape of the accompaniment’s rolling mezzo staccato figurations. (This also serves to remind us how very Italian in style is that supposedly Scottish-inspired prayer; perhaps Schubert responded to intense Roman Catholicism with a Roman, or Italian, style.) Aiming at hypnotising repetition rather than individual detail, the composer allows the general flow of the cantilena to govern the song’s shape. Apart from appropriate moments of vocal melisama (airy triplets for ‘mit leisen Lüften sinket’, legato syncopation for ‘den müden Sterblichen’) he does not allow himself to be diverted into the illustrative, word-inspired, commentary which is usually the magical factor in his response to poetry in his own language. Indeed, the song is so plain and simple in its marriage of musical and verbal means that one might be tempted to doubt its authenticity; that is, if one did not know how hard it is to write a Schubertian pastiche even half as good as this. Die Nacht is cast in four broad and identical musical strophes of thirty bars each. The eight strophes of Pichler’s original poem are thus paired off for musical purposes: the first, third, fifth and seventh strophes begin in the opening melody in G major, and the second, fourth, sixth and eighth strophes (the ‘B’ section) change to a more stormy mood in E minor. For this performance we perform six of the eight strophes. It is worth noting that D713 uses only six-and-a-half strophes of Pichler’s poem, finishing, in superbly dramatic fashion, in the middle of the seventh. In the version recorded here the composer respects the poem more perhaps, but is infinitely less musically adventurous.. Source: Wikipedia (https://en.wikipedia.org/wiki/List_of_songs_by_Franz_S chubert) Although originally composed for Voice (SATB), I created this Interpretation of "Die Nacht" (The Night D.983C Op. 17 No. 4) for String Quartet (2 Violins, Viola & Cello). Sheet central : | 4 Gesänge für vier Männerstimmen (6 sheet music) | | |||
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