 | Schubert, Franz Peter - "Der Musensohn" for Flute & Strings D.764 Op. 92 No. 1 Flûte et Quatuor à cordes |
VoirPDF : "Der Musensohn" (D.764 Op. 92 No. 1) for Flûte & Strings (9 pages - 215.63 Ko)32x⬇ VoirPDF : Violoncelle (59.74 Ko) VoirPDF : Flûte (65.15 Ko) VoirPDF : Alto (68.27 Ko) VoirPDF : Violon 1 (68.83 Ko) VoirPDF : Violon 2 (68.55 Ko) VoirPDF : Conducteur complet (137.09 Ko) MP3 : "Der Musensohn" (D.764 Op. 92 No. 1) for Flute & Strings 5x⬇ 35x
Der Musensohn for Flute & Strings
MP3 (2.7 Mo) : (par MAGATAGAN, MICHAEL)8x⬇ 5x
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, 04 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. "Der Musensohn" (The son of the muses D.764 Op. 92 No. 1) was created in December 1822 marked a new enthusiasm for the texts of Goethe. Der Musensohn is the first of the five songs by this poet which Schubert composed within a month. As always in these matters relating to Schubertian tempi, a compromise is called for which avoids extremes. Thus the song should not be dazzlingly fast in virtuoso manner, and neither should it be self-consciously meaningful; it is still meant to set the toes tapping and to excite the listener with its irrepressible gaiety. The secret, as always with this composer, is to be guided by the time-signature: Schubert writes 6/8, thus two-in-a-bar in the manner of a folksong. A fast tempo, where we are conscious of only one beat per bar, misses the poise of text and music; and a slow tempo when we can hear six beats, or a leaden two, denies us the piquancy. One learns that when the composer writes something like ‘ziemlich lebhaft’ he means us to tread the middle way, curbing our excitement without suppressing it. The construction of the song is relatively simple. Goethe’s five verses are set alternately in G major and B major. The change into B major is without the preparatory niceties of modulation. At the beginning of the second verse this sudden change has the heart-stopping effect of implying a sudden and momentary dalliance as we are taken into the poet’s confidence: at ‘Ich kann sie kaum erwarten’ the change of key helps to depict a feeling of suspense and impatience as he reflects on the beauties of spring; at the loving repetitions of ‘sing ich noch jenen Traum’ he might be closing his eyes (the incessant quavers in the accompaniment have temporarily quietened down to a gentle throb) as he dreams of imaginary sights and fragrances, the very things that will inspire him to new melody and which keep him ever youthful. And suddenly we are off again – the second appearance of the G major strain – and the words of the third verse have a breadth and majesty which give to the bewitching creator of rhymes and melody a bird’s-eye view of the whole world. Here we have a timeless perception of the changing seasons and of the cyclical nature of life itself. Another quick change into B major and we zoom in on the village green, as if accompanying the swooping descent of an aerial camera in a documentary about small-town life. Here even the most provincial of yokels, and the most inhibited of girls, are animated by the singer’s powers, almost despite themselves. The pianist can have fun in characterising the clod-hopping antics of the ‘stumpfe Bursche’, the left hand slightly accented as the boy earnestly goes through his paces. Source: Wikipedia (https://en.wikipedia.org/wiki/Franz_Schubert) Although originally composed for Voice and Piano, I created this Interpretation of "Der Musensohn" (The son of the muses D.764 Op. 92 No. 1) for Flute & Strings (2 Violins, Viola & Cello). Partition centrale : | Der Musensohn (2 partitions) | | |||
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