 | Schubert, Franz Peter - "Gretchen am Spinnrade" for Flute & Harp D.118 Op. 2 Flute et Harpe |
VoirPDF : "Gretchen am Spinnrade" (D.118 Op. 2) for Flûte & Harp (17 pages - 506.29 Ko)65x⬇ VoirPDF : Flûte (72.07 Ko) VoirPDF : Harpe (148.87 Ko) VoirPDF : Conducteur complet (393.75 Ko) MP3 : "Gretchen am Spinnrade" (D.118 Op. 2) for Flute & Harp 10x⬇ 63x
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| Compositeur : | Schubert, Franz Peter (1797 - 1828) | ||||
| Instrumentation : | Flute et Harpe | ||||
| Genre : | Classique | ||||
| Tonalité : | Ré mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 23 Sep 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. "Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op. 2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust. With "Gretchen am Spinnrade" and some 600 other songs for voice and piano, Schubert contributed transformatively to the genre of Lied. "Gretchen am Spinnrade" was composed for soprano voice but has been transposed to accommodate other voice types. Schubert composed "Gretchen am Spinnrade" on 19 October 1814, three months before his eighteenth birthday. The song is in three sections, exactly reflecting the form of Goethe's poem. On the other hand, Schubert contradicts Gretchen's return to composure in the last three stanzas by obsessively repeating her words to create a second climax on the highest note of the song. The song opens with Gretchen at her spinning wheel, thinking of Faust and all that he had promised. The accompaniment in the right hand mimics the perpetual movement of the spinning-wheel and the left hand imitates the foot treadle. The initial key of D minor sets a longing tone as Gretchen begins to sing of her heartache ("Meine Ruh' ist hin/Mein herz ist schwer"). The first section progresses from D minor to C major, A minor, E minor, F major, and then returns to D minor. This, plus the crescendo, builds tension which releases only to be brought back to the beginning, much like the ever-circling spinning wheel. The song modulates to F major as Gretchen starts talking of Faust ("Sein hoher Gang/Sein' edle Gestalt"). The left-hand imitation of the treadle disappears and changes to block chords. Additionally, the absence of the rhythmic, consistent treadle allows Gretchen to lose her sense of stability and reality as she swoons over Faust. This section increases tension with a faster tempo, louder dynamics, and higher pitch in the soprano and peaks at Gretchen's remembrance of Faust's kiss ("Und ach, sein Kuß!"). Similar to the previous section, the music returns to the home key of D minor as Gretchen resumes reality and begins her spinning once more. The third part begins again with "Meine Ruh' ist hin/Mein herz ist schwer," but this time Gretchen escalates in intensity much faster than the previous sections. However, the treadle-like left hand is present, keeping her rooted in reality. Gretchen comes down from this fantasy quicker than before, as she realizes she and Faust will never be together. With a heavy heart, Gretchen comes to terms with this hard truth. The song ends as it began: in D minor, alluding to the monotony of the spinning wheel, and how reality is always present. Source: Wikipedia (https://en.wikipedia.org/wiki/Gretchen_am_Spinnrade) Although originally composed for Voice and Piano, I created this Interpretation of the "Gretchen am Spinnrade" (Gretchen at the Spinning Wheel) D.118 Op. 2 for Flute & Concert (Pedal) Harp. Partition centrale : | Gretchen am Spinnrade "Marguerite au rouet" (11 partitions) | | |||
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