 | Schubert, Franz Peter - "Himmelsfunken" for Flute & Strings D.651 Flûte et Quatuor à cordes |
VoirPDF : "Himmelsfunken" (D.651) for Flûte & Strings (6 pages - 122.93 Ko)28x⬇ VoirPDF : Violoncelle (49.73 Ko) VoirPDF : Flûte (50.87 Ko) VoirPDF : Alto (50.65 Ko) VoirPDF : Violon 1 (50.72 Ko) VoirPDF : Violon 2 (50.57 Ko) VoirPDF : Conducteur complet (87.45 Ko) MP3 : "Himmelsfunken" (D.651) for Flute & Strings 11x⬇ 19x
Himmelsfunken for Flute & Strings
MP3 (2.2 Mo) : (par MAGATAGAN, MICHAEL)13x⬇ 4x
Vidéo :
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| Compositeur : | Schubert, Franz Peter (1797 - 1828) | ||
| Instrumentation : | Flûte et Quatuor à cordes | ||
| Genre : | Classique | ||
| Tonalité : | Sol majeur | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 24 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. "Himmelsfunken" (Sky Sparks), D.651, despite its simple strophic form, this remarkable little song in metaphysical mode is one of Schubert’s most potent single-page settings. It perhaps lacks the concision and clarity of the great Goethe miniatures from 1815 (Meeres Stille, Erster Verlust, Wandrers Nachtlied I) but the poem is hardly the product of a great classical mind. To match the ecstatic ramblings of Silbert, Schubert writes a song which is half hymn and half romantic effusion, clothed in a chromatic musical language where longing borders on eroticism. There could be nothing more suitable than this music—it is as if a Bach chorale is transfigured by the Romantic Zeitgeist—to illustrate Silbert’s claim that his whole being is overcome ‘In wundersüssem Ach’. The opening phrase mentions the breath of God, and we are wafted into a world where His presence floats in the musical ether much in the manner of the fragrance of the beloved in Dass sie hier gewesen. With different words, the music of Himmelsfunken could easily be a love song, swooning for an earthly rather than a heavenly love. Similarly, some of Schubert’s love music (Du bist die Ruh’ for example) would not be out of place if metaphysical poems were to be grafted in the place of the existing texts (heaven forbid!). It is in this border country between the sacred and the profane where this composer is most at home, for his natural inclination is to acknowledge the God-like in all things beautiful. Thus it is that Schubert never writes convincingly sexy songs unless the emotion behind the sexual desire is touched with the awe of worshipful devotion. It is this ambivalence which raises the first song of Suleika to the all-embracing masterpiece of the most mature and deep emotion that Brahms recognized it to be. At this time in particular it seems that Schubert (no doubt much encouraged by the readings and discussions of the Bildung circle and the earnest aspirations of friends like Senn, Bruchmann and Spaun to embrace the true, good and beautiful) attempted to reconcile distrust of religious hypocrisy and empty ceremonial with an innate yearning to comprehend the great issues of life, death and the Infinite. Source: Wikipedia (https://en.wikipedia.org/wiki/Himmelsfunken) Although originally composed for Voice and Piano, I created this Interpretation of the "Himmelsfunken" (Sky Sparks D.651) for Flute & Strings (2 Violins, Viola & Cello). | |||
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