 | Schubert, Franz Peter - "Du bist die Ruh" for Flute & Strings D.776 Op. 59 No. 3 Flûte et Quatuor à cordes |
VoirPDF : "Du bist die Ruh" (D.776 Op. 59 No. 3) for Flûte & Strings (8 pages - 275.18 Ko)22x⬇ VoirPDF : Violoncelle (63.15 Ko) VoirPDF : Flûte (67.92 Ko) VoirPDF : Alto (66.12 Ko) VoirPDF : Violon 1 (72.67 Ko) VoirPDF : Violon 2 (70 Ko) VoirPDF : Conducteur complet (189.78 Ko) MP3 : "Du bist die Ruh" (D.776 Op. 59 No. 3) for Flute & Strings 3x⬇ 32x
Du bist die Ruh for Flute & Strings
MP3 (1.5 Mo) : (par MAGATAGAN, MICHAEL)8x⬇ 4x
Vidéo :
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| Compositeur : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Flûte et Quatuor à cordes1 autre version | ||||
| Genre : | Classique | ||||
| Tonalité : | Mi♭ majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 14 Nov 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). This is one of the most famous songs in the world, and also one of the most difficult to sing. The playing of it, whilst not requiring a virtuoso technique, calls for great control of colour and touch, as well as evenness of rhythm. As with Lachen und Weinen, composed at the same time, the song has become such a classic that it is easy to forget the oriental inspiration behind the poem, something written into the music by a composer supremely sensitive to literary background. Du bist die Ruh has such inner poise that it suggests a transcendental religious experience unfolding in the solemn, meditative time-scale that one associates with the rituals of the east. The setting is extremely moving, but it sometimes seems not to move at all: this tempo (a slow 3/8) makes something deliberately repetitive, even monotonous, of the music—a chant or mantra, a litany of patience and humility which hymns long-lasting love and the steady-breathed span of an enduring relationship. Thus the text combines two of the poet’s preoccupations, for Rückert was not only an expert on eastern literature, he was an ardent spokesman for marriage and family life. This is what appealed in Rückert’s work to Schumann as he dreamed of his bride: Du meine Seele, du mein Herz became the dedicatory song of Myrthen, and both the Liebesfrühling and Minnespiel cycles burnished the image of Robert and Clara as an ideal couple. The poem is in five strophes and the song grows like an exotic plant, reproducing first its smallest cells which then become incorporated into an ever larger organism—a musical version of Goethe’s Die Metamorphose des Pflanzen. Thus the music for the first two lines of the poem is almost identical (a single note is changed) to that of the third and fourth, and the same applies to the different music of the next verse. But it is these two strophes, taken together, which make the first complete musical verse of the song. This larger structure is in turn repeated, with its smaller internal repetitions, to make a second musical verse. It is this organic architecture which makes everything in this music sound inevitable and pre-ordained. Four strophes are used to make two more-or-less identical musical verses, and the fifth is repeated to give the impression of a text of even-numbered strophes. This ensures a perfectly balanced shape, a symmetry based on a masterly use of repetition which marks out Du bist die Ruh as a companion piece to Lachen und Weinen, an impression strengthened by their shared use of the ‘oriental’ flattened sixth. The melodic shapes of both songs are extremely simple, yet instantly memorable: in Du bist die Ruh an ascent of a tone, a stretch of a third up to E flat, a dip to the leading note and a beatific return to the tonic. Source: Hyperion (https://www.hyperion-records.co.uk/dw.asp?dc=W1745_GBA JY0003508) Although originally composed for Voice & Piano, I created this Interpretation of "Du bist die Ruh" (You are the calm, the mild peace D.776 Op. 59 No. 3) for Flute & Strings (2 Violins, Viola & Cello). Partition centrale : | Du bist die Ruh (7 partitions) | | |||
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