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Wandrers Nachtlied for Flute & Strings
MP3 (1.43 Mo) : (by MAGATAGAN, MICHAEL)7x⬇ 9x
Vidéo :
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| Composer : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Flute and String Quartet | ||||
| Style : | Classical | ||||
| Key : | B♭ major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 27 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 poem dates from September 1780, some months after Goethe had penned Grenzen der Menschheit and sent it to Charlotte von Stein, together with a drawing of a pig-sty. Wandrers Nachtlied came into being in even more unlikely, and almost legendary, circumstances. The story of its composition is well known to most Germans from their early schooldays. The poem was first written in pencil on the wall of a small room on the upper floor of a hunting chalet on the Kilckelhahn in the Thuringian hills, Ilmenau, near Weimar. Goethe was an energetic thirty-one-year-old who had climbed up high to view the sunset. ‘Apart from the smoke rising here and there from the charcoal-kilns, the whole scene is motionless’ he wrote to Frau von Stein. Some fifty-one years later, on 27 August 1831, at the age of 82, Goethe returned to this spot. On visiting the same chalet he recognised his own handwriting, now faded on the wall, and pondered the significance of the passing of time. When Goethe himself recounted this incident to his friend, the Berlin composer Karl Friedrich Zelter (letter of 4 September 1831), his observations were dryly philosophical; he reflected on how much had happened in the intervening time, how much life had changed – in effect, how much water had passed under the bridge. But on that day, the poet had been in the company of the civil servant Johann Christian Mahr who left a much more emotional description of the incident: ‘Goethe read these lines and tears flowed down his cheeks. Very slowly he drew a snow-white handkerchief from his dark brown coat, dried his eyes and spoke in a soft, mournful tone: ‘Yes, wait! Soon you too will be at rest!’. The key is B flat major, one of Schubert’s more neutral tonalities, although one can think of another spellbinding night-scene in this key – Der Winterabend. On reflection, because the scene is beyond emotion and in a sense impersonal, one understands the choice. The introduction in solemn dactyls announces something softly significant and universal; the composer uses this rhythm for the turning of the earth and the movement of the stars, and here we immediately sense the inscrutable majesty of a defining moment in nature. The piano sound is cushioned and smooth, the spacing of the chords suggesting the solemnity of ceremonial. This is the tessitura of tenor and bass singing in close harmony, and the pitch that we might hear the mournful tone of an alphorn resounding across the valleys. (Schubert chose B flat major to depict the wide open spaces of Der Hirt auf dem Felsen.) There is a hint of a melodic shape in the introduction which pre-shadows the contour of the vocal line, and the 6 – 4/5 – 3 cadence in this first bar makes magic of an harmonic cliché. The second bar, a V – I cadence, is another commonplace somehow turned to gold. With Spartan economy Schubert later uses this figure as the accompaniment to the song’s two closing bars. Source: Hyperion (https://www.hyperion-records.co.uk/dw.asp?dc=W1774_GBA JY9903419) Although originally composed for Voice & Piano, I created this Interpretation of the "Wandrers Nachtlied" (Wanderer's Nightsong D.768 Op. 96 No. 3) for Flute & Strings (2 Violins, Viola & Cello). Sheet central : | Wanderers Nachtlied (II) (3 sheet music) | | |||
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