Even though “Auf dem Flusse” is written in the ternary song form, the first two sections which contain the first 4 stanzas are as long as the return where the last, fifth stanza, is repeated twice in a form of variations on the material of A section (the form reminds chaconne/passacaglia structure but is in 2/4). Here the sentence structure is simple 2+2+8 measures for a single stanza; the tonic phrase is in E major, the dominant phrase tonices F#minor, the reductions phrase tonicize A major for a brief moment (m.28; m.36) and modulate back to the B major (V of E), with the voice cadence serving the elimination purpose in the sentence. The quickening 32 note value tremolos in the right hand which appear in the second and fourth phrases of the return contribute to the growing excitement of the texture, hinting to the peaceful flow of triplet accompaniment of the 4th stanza. 19th-Century Music publishes articles on all aspects of music having to do with the "long" nineteenth century. Wilhelm Müller ... Franz Peter Schubert was an late Classical and early Romantic composer. It starts like the first sentence of the return in the antecedent, but the consequent tonicizes G major instead of repeating E minor like every time before. zSchubert: z“Erlkonig,” D. 328. z“Frozen Tears” from Winterreise. Looking Back (Rückblick), No. II: SCHUBERT'S READING OF THE TEXT The text of Auf dem Flusse follows the poet's creation of a central image, and his reac-tion to it. In addition to publishing its own journals, the division also provides traditional and digital publishing services to many client scholarly societies and associations. Yet the V in the end of the fourth measure (m.8 and m.17) serves as a pivot chord for a mediant modulation to D# minor, a distant key. Change ), Schubert’s “Auf dem Flusse” from “Die Winterreise” song cycle is based on the poem by. 8, first published 1823  [author's text checked 2 times against a primary source] It is the second of Schubert's two great song cycles on Müller's poems, the earlier being Die schöne Müllerin (D. 795, Op. Share to Twitter Share to Facebook Share to Pinterest. ‘broken ring’). The “walking motive” in this song is even more prominent than was heard in previous songs (e.g. Create a free website or blog at WordPress.com. The right hand of piano accompaniment has always G-F# gesture (‘3-2’) in the soprano line regardless of the harmonic filling of this voice. ing's Hamlet. Teacher? Here the voice picks up on the G#-F# (‘3-2’) gesture immediately as a resolution to G# in m. 23 [tonic phrase], for the first time in the voice part. Lebendig, urban und weltoffen besitzt sie als Stiftungsuniversität ein … B E-Dur (Wilhelm Müller) "Handlung" Schubert 3. ©2000-2021 ITHAKA. Beside the D#minor modulation which creates the centrifugal tendency in the piece, the composer widely uses suspended chords (9), especially ones built on V (Bsus) before resolving them to the actual V. Additionally, the ornamentation of melody produces occasional 9 chords in their inversions, reminding suspended chords (for example, cadenza in m.11/m.20 passes through G#9 or even G11 chord considering the small passing tones, the IV9(11?) 28-32 the walking motive is present, in one form or another, throughout the entire song (note the alteration of the walking motive in mm. ( Log Out /  A piano postlude of additional 4 measures settles the E minor with the initial motif played in the left hand. Discover releases, reviews, track listings, recommendations, and more about Franz Schubert, Dietrich Fischer-Dieskau ∙ Daniel Barenboim - Winterreise at Discogs. Strophe 1. Der Mai war mir gewogen Mit manchem Blumenstrauß: Das Mädchen sprach von Liebe, Die Mutter gar von Eh`- Nun ist die Welt so trübe, Der Weg gehüllt in Schnee. Auf dem Flusse Artikel in der Wikipedia: Eintrag in der … Sheet Music (A4). Die Goethe-Universität ist eine forschungsstarke Hochschule in der europäischen Finanzmetropole Frankfurt. The period of coverage has no definite boundaries; it can extend well backward into the eighteenth century and well forward into the twentieth. Schubert’s “Auf dem Flusse” from “Die Winterreise” song cycle is based on the poem by Wilhelm Müller; the 5 stanzas describe the frosted torrent and compare it to the narrator’s heart after a failure in marriage (“ein zerbrochner Ring”, Eng. Strophe 2. 19th-Century Music Rest (Rast) Die Winterreise No. Fifth stanza is repeated twice, comparing narrator’s heart to the frozen torrent in a form of a question, and inquiring from the heart (“Mein Hertz”) if the structure of the stream is solid or if there’s a ‘surging’ flow underneath the crust/cortex (“Rinde”). A year before his death at 31 Franz Schubert published 'Winterreise' or 'winter's journey', a series of 24 poems set to music exploring unrequited love. The atmosphere of the first two stanzas is pretty immobile: the vocal line repeatedly climbs stepwise from E (I) to B (V), and leaps there chromatically half-tone down to stalk A# (D# minor) in the fifth measure of a sentence. ( Log Out /  Wilhelm Müller; the 5 stanzas describe the frosted torrent and compare it to the narrator’s heart after a failure in marriage (“ein zerbrochner Ring”, Eng. The fragmentation phrase of the second sentence modulates back to E minor, where is the repeat of the 5th stanza. The voice line constructs a new melodic motif with the material of the first phrase ‘E-F#-G-A-B’ in transposition paired with the second phrase’s gesture A#-D#-A# (m.18 “und beweglich”, ‘immobile’) in reverse, on the words “seine Rinde”(‘your crust/cortex’) in mm. The first two stanzas – two musical sentences – describe the frosted stream, once “clear and wild” in E minor. The structure of a musical sentence and a single stanza is 2+2+5 measures: the 2 measures phrases (both tonic and dominant) round the I-V tonal relations resolving all tension as it appears. ‘Crust’, ‘Cortex’ in m.15 with B-C-B gesture (‘1-2-1’ in B major, the dominant of E), where the additional chord tone C passes through B11 chord instead of Bsus (B9) like in the first stanza. Text Vorschau dem Franz Schubert Das Lied dem von Franz Schubert ist ein aus dem Liederzyklus Winterreise, bestehend aus 24 Liedern. in D#minor, however, it strongly gravitates towards G#7 definition). One of the largest, most distinguished, and innovative of the university presses today, its collection of print and online journals spans topics in the humanities and social sciences, with concentrations in sociology, musicology, history, religion, cultural and area studies, ornithology, law, and literature. Will O’ the Wisp (Irrlicht), No. 25, 1823). Auf dem Flusse This song is by Franz Schubert and appears in the song cycle Winterreise (1828). The constant ‘3-2’ gestures contain the tendencies of the bass line and voice line to move the music. The composer shuffles motifs, melodies and cadences in transpositions, as if this section was an elaboration episode in a sonata form with wild modulations to distant keys, fragmentation and repurposing of the material, and rhythmical and textural variations to the known motifs. Der 1. Der Wegweiser 21. The topics are as diverse as the long century itself. The second stanza repeats the first musical phrase almost to the note with the addition of a few vocal ornaments (emphasizing the word “Rinde” , Eng. Strophe The atmosphere of the third and fourth stanzas warms even more with exciting triplet piano accompaniment of the fourth stanza, which repeats the harmonic and structural material of the third one. by Wilhelm Müller (1794 - 1827), "Auf dem Flusse", written 1821-22, appears in Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten 2, in Die Winterreise, no. Der du so lustig rauschtest, du heller, wilder Fluß, wie still bist du geworden, ... Barfuß auf dem Eise wankt er hin und her und sein kleiner Teller bleibt ihm immer leer. 8. option. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Select the purchase Even though “Auf dem Flusse” is written in the ternary song form, the… The last sentence of the song features the 9 measures structure 2+2+5. The strong F# minor arpeggiated cadence of the measure 60 repeats itself in m. 61 on B7 harmony (IV7 of F# and V7 of E). Die Nebensonnen (Mässig) (A major - 1st version) … To access this article, please, Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. The return mirrors in ways the section A: here the bass (left hand) and the voice parts switch places with bass taking over the melodic motifs (‘E-F#-G-A-B-C-B’) in mm.41-44, while the right hand marches the relentless minor ‘3-2’ chords. He likes pregnant pauses, even in the placid "Der Lindenbaum"; in "Auf dem Flusse" they are edge-of-the-seat compelling, and you can really imagine, as never before, the intent circle of connoisseur friends for whom Schubert wrote this music. 66-70, with optional high A in m. 69. The melodic line of the voice climbs stepwise higher with each phrase (third stanza begins with offbeat F# in m. 22; dominant phrase of this stanza starts with offbeat G#, the reductions phrase rises from offbeat A and climaxes in high E). In the seventh measure (m.47) the left hand introduces an arpeggiated variation to the gesture ‘1-2-1’ (seen before in the second stanza on the word “Rinde”, here it echoes the vocal ‘1-7below-1’ in D# minor on the words “nun dein Bild”, Eng. ‘broken ring’). The fragmentation phrase here appears in F# minor instead of the previously established D# minor. Rast (Mässig) (D minor - 1st version) 11. This item is part of a JSTOR Collection. Access supplemental materials and multimedia. From the album "Schubert: An Introduction" by Hermann Prey on Napster For terms and use, please refer to our Terms and Conditions JSTOR®, the JSTOR logo, JPASS®, Artstor®, Reveal Digital™ and ITHAKA® are registered trademarks of ITHAKA. Mut (Mässig, kräftig) (A minor/A major - 1st version) 23. 89 in 1828), a setting of 24 poems by Wilhelm Müller. Gute Nacht and Auf dem Flusse). The voice line stalks G# (E-Major) in the beginning of the B section, reminding the D# minor phrase in the A section. The vocal line brings the motifs of the D#minor phrase of the opening section, – but here they sound in E minor. The poetic and musical climax of the song falls to the return section with the tension growing towards the end of the piece. The pivot chord D# major in the last beat of m. 47 (submediant major in D#minor, V in G#minor) allows the modulation of the initial motifs to G#minor (4 scale degree of D#). Die Texte des Zyklusses stammen von Wilhelm Müller. Also the word “unbeweglich”, Eng. Schubert Lieder Edition for Low Voice, Vol I. Peters Friedlaender (PD). In the following 4 measures interlude, the minor ‘3-2’ gesture appears in a bass left hand line (m.39) while the soprano of the right hand moves counterwise F#-G-A (‘2-3-4’), foreshadowing the B (‘5’) in the vocal part in m.41, and therefore collecting the pitches of the initial voice line motif of mm.5-6 in the opening. Change ), You are commenting using your Twitter account. Der Winterreise, composé par Schubert en 1827 sur des poèmes de Wilhelm Müller, est un cycle de 24 lieder racontant l’errance d’un homme sur les chemins en hiver, alors que sa bien aimée l’a délaissé. There the voice and the accompaniment are stuck in one pitch (A# – dominant in the voice, I6 chord in piano part) for two measures with the third and the fourth bars being a subdominant cadenza in D#. 48, songs 1 and 2 zStrauss, Four Last Songs, song 4, “Im Abendrot” zMahler, zSchubert, “Auf dem Flusse” or others from Winterreise. 48-49/50-51. Download and print in PDF or MIDI free sheet music for Winterreise, D.911 by Schubert, Franz arranged by OpenScore LiederCorpus for Vocals, Piano (Piano-Voice) Schubert, Franz - Winterreise, D.911, No.7 - Auf dem Flusse Sheet music for Vocals, Piano (Piano-Voice) | Musescore.com 6. The second sentence which is set to the 3d and 4th strophes of the fifth stanza consists of 6 measures (mm.48-53) 2+2+2. 6. Change ), You are commenting using your Google account. The rhythmically invariant chords accompaniment in piano in section A contributes to the rigidness of the poem, evoking the imagery of stillness and hardiness of the element (unlike the arpeggios, tremolos, or scales accompaniment which evokes the images of flowing water; it appears only in the return section). zSchumann, Dichterliebe (Poet's Love) op. I've always thought that Schubert is a genius when it comes to completely shifting a piece's harmonic backdrop and this is … 10. The unresolved tension – the unanswered questions of the narrator – is rather calmed by the ‘immobile’ postlude which rhythmically slows the tempo down: in mm.70-71 the right hand plays tremolos but in mm.72-73 is back to the marching chords of the opening. 7. JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. With a personal account, you can read up to 100 articles each month for free. The Watercourse (Wasserfluth), No. Am Flusse, D.160 (Schubert, Franz) Movements/Sections Mov'ts/Sec's: Wehüthig Composition Year 1815 (27 February) ... D.543, Auf dem See (2 versions) D.544, Ganymed; D.545, Der Jüngling und der Tod (2 versions) D.546, Trost im Liede (2 versions) D.547, An die Musik (2 versions) « Auf dem Flusse », extrait du Voyage d’hiver. Am Brunnen vor dem Tore wurde erst zum Volkslied, nachdem der Komponist und Musikpädagoge Friedrich Silcher (1789 – 1860) die von Schubert kompo Schubert described them as 'truly terrible'. The fragmentation phrase is taken from the second sentence of the return respectively, and is repeated twice in piano accompaniment while the vocal part builts the climax of the whole song in mm.66-70, resolving in E minor. ‘motionless’ in m.18 gets to the high D# before falling back to A#). Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. 9. G# minor with G# in the downbeat of the bass line as a new tonic in this sentence also refers to the E major of the episode B (the memories of narrator’s happiness), which begins with G# downbeat in the vocal line. zMahler, Das Knaben Wunderhorn, song 6. On the River (Auf dem Flusse), No. Teil des Liedes ist in … © 1982 University of California Press Einleitung 2. They include music of any type or origin and include, but are not limited to, issues of composition, performance, social and cultural context, hermeneutics, aesthetics, music theory, analysis, documentation, gender, sexuality, history, and historiography. On race, class, and the classical music bubble, THE FIGHT FOR EQUALITY, and why religion is the most basic attribute of any functional society, Schubert’s “Auf dem Flusse” from Die Winterreise: Analysis, “Overworked and underpaid”: the specifics of performing arts nonprofit organizations. Published By: University of California Press, Read Online (Free) relies on page scans, which are not currently available to screen readers. Even though the text of the poem and harmonic choices suggest the pessimistic ending of the song, the arpeggios in the left hand and the tremolos in the right hand both imply the flow of the stream underneath the crusted surface. Diese Frage, die Schubert an einen Freund stellt und mehr noch an sich, erklärt die Situation Schuberts zur Zeit der Entstehung der ‚Winterreise‘. No. Auf dem Flusse (Mässig) (E minor - 1st version) 10. The first question (1 and 2 strophes) brings back the tonal material of A section but in only seven measures long sentence (the two stalking bars in D# are cut), which modulates to D# minor without getting back to E-minor. 1. „Auf dem Flusse" - Analyse „Auf dem Flusse“ – Franz Schubert Das Lied „Auf dem Fl usse“ v on Franz Schubert i st ein Stück aus dem Liederzyklus W interrei se, bestehend a us 24 Liedern. The tension in the piece is never really resolved because most of the centrifugal tendencies (modulations, fragmentations, deconstructions) are gathered in the return towards the final climax of the song. The journal is open to studies of any musical or cultural development that affected nineteenth-century music and any such developments that nineteenth-century music subsequently affected. Schubert’s “Auf dem Flusse” from “Die Winterreise” song cycle is based on the poem by Wilhelm Müller; the 5 stanzas describe the frosted torrent and compare it to the narrator’s heart after a failure in marriage (“ein zerbrochner Ring”, Eng. Franz Schubert: Winterreise, D. 911, Poetry by Willhelm Müller. First, it develops a general critical stance toward the relation of music and text in Schubert's songs. ... Auf dem Flusse. David Lewin, 'Auf dem Flusse: Image and Background in a Schubert Song', 19th-CenturyMusic, Vol. Es zieht ein Mondenschatten Als mein Gefährte mit, Und au… A Music and Text Analysis of Franz Schubert’s Winterreise February 23, 2015 thepostacademy Leave a comment Franz Schubert’s vocal cycle Winterreise, tells the story of a man who has embarked on a long winters journey. Ausführlicher schreibt er in einem Brief: „... ich fühle mich als den unglücklichsten, elendesten Menschen auf der Welt.“ Rhythmically, 3 (piano) against 2 (voice) create the centrifugal tendency by simply speeding up the music, establishing the rhythmical imbalance between the voice and accompaniment parts. Le contexte. Analysis of Schubert's "Auf dem Flusse" Seth Horvitz shorvitz@mills.edu Mills College Tonal Analysis - Music 256 David Bernstein November 25, 2008 This essay will attempt to provide a detailed analysis of Schubert's lied, "Auf dem Flusse," according analytical techniques developed by Arnold Schoenberg. Even though “Auf dem Flusse” is written in the ternary song form, the first two sections which contain the first 4 stanzas are as long as the return where the last, fifth stanza, is repeated twice in a form of variations on the material of A section (the form reminds chaconne/passacaglia structure but is in 2/4). Auf dem Flusse. The third musical sentence of the return is built with 2+2+4 structure. ‘broken ring’). Liszt's transcriptions use Schubert's melody, form and accompaniment figures as a basis, with the vocal line woven into the piano texture. Digitale Partituren von Nr.7 Auf dem Flusse zum kostenlosen Download. He produced a vast oeuvre during his short life, composing more the 600 vocal works (largely Lieder), and well as several symphonies, operas, and a large body of piano music. One could not sensibly analyse or criticize Irving's Hamlet without referring to Shakespeare's, but it is important not to identify or confuse the distinct art-works. Laden Sie Franz Schubert Nr.7 Auf dem Flusse (Winterreise, D.911 Op.89) Gratis-Noten herunter. Excluding mm. The chapter then offers a reading of the text for this specific song. ( Log Out /  This characterisa- tion has attracted some controversy, which is addressed by Lewin in an afterword to the reprinting of this essay in Schubert: Critical and Analytical Studies, ed. The second modulation in m.22 from D#minor goes to the submediant E major for the B part: the third and fourth stanzas refer to the memories of the happier times in the narrator’s life. ‘your own image’): clearly, the ‘frozen and immobile torrent’ starts thawing with anger and increasing tension of textures. 6, No. ohne Abschied Auf dem Flusse Lied e - Moll schlicht, monoton gis-Moll starr Gedicht Mein Herz, in diesem Bache Erkennst du nun dein Bild ? All Rights Reserved. Change ), You are commenting using your Facebook account. Fremd bin ich eingezogen, Fremd zieh ich wieder aus. Winterreise (Winter Journey) is a song cycle for voice and piano by Franz Schubert (D. 911, published as Op. Measures 29-30 feature the vocal line actually cadencing on G-natural leaping to F# (minor ‘3-2’), doubled by the soprano voice of the right hand (vii7*/V – Vsus, resolved by V). Analyse d’un lied de Franz Schubert. This chapter explores the relation of musical structure to textual imagery in Franz Schubert's song Auf dem Flusse, from Die Winterreise. 7. The Watercourse (Wasserfluth) My tears have made Deep marks in the snow The cold flakes Absorbing all my sorrows When the grass begins to grow The idea of a hidden life of the stream/heart is reinforced with the raise of tessitura of the voice part over the piano accompaniment towards the climax of the song in mm. 1 (Summer 1982), p.49. ‘3-2’ gestures appear in the left hand in m. 24-25/32-33 (tonicization of F# minor), m. 27/35 (modulation toward A major), and in right hand: mm.23-24/31-32 in soprano, transposing to F# minor in m. 25/33 and to B minor in m.27/35 in the tenor voice, mm.27-28/35-36 in alto voice ‘3-2’ happens in E major; in mm.29-30 the soprano voice of the right hand echoes the voice part with minor ‘3-2’. Read your article online and download the PDF from your email or your account. Frühlingstraum (Etwas geschwind) (A major - 1st version) 22. My guess is that the motivic leap ‘3-2’ and its transpositions (in section B and return), paired with a suspended (or 9) chord create the Grungestalt of this song. Keiner mag ihn hören, The fifth measure of the phrase serves as a bridge between stanzas/musical sentences, modulating back to E minor through B-major chord (VI in D#minor, V in E minor). 1 Müller (Urania), and Schubert: "ausgestreckt" Authorship. zSchumann, song 12 or others from from Dichterliebe. 16-19. ( Log Out /  - Ob's unter seiner Rinde Wohl auch so reißend schwillt ? With the tonic phrase appearing in E minor, the dominant phrase gets into G minor, creating a harmonic variation to the third sentence of the return, where the dominant phrase was in G major. Auf den 24 Stationen seines passionsgleichen Weges ist er zunächst starken Stimmungsgegensätzen von überschwänglicher Freude bis hin zu hoffnungsloser Verzweiflung ausgesetzt – von Schubert durch den häufigen Wechsel des Tongeschlechts verdeutlicht –, bevor sich allmählich eine einheitliche, jedoch vielfältig schattierte, düstere Stimmung durchsetzt. Complete your Franz Schubert, Dietrich Fischer-Dieskau ∙ Daniel Barenboim collection. In the middle of this song, Schubert briefly brings a bit of hope, changing the key from B-flat minor (at least in my score) to G-flat major. Performing Schubert's "Winterreise" in bluegrass country; Email This BlogThis! Check out using a credit card or bank account with. Request Permissions. All twenty-four pieces in the song cycle share similar themes, metaphors, and central conflicts. The tonal scheme of the B section as well flourishes with 7th, 9th, 7* and suspended chords, which enrich the sonic texture of the “human” section of the song with the abundant polyphonic voice leading in all the voices of piano accompaniment. Ich kann zu meiner Reisen Nicht wählen mit der Zeit, Muss selbst den Weg mir weisen In dieser Dunkelheit. In mm.37-38 right hand soprano line plays the minor ‘3-2’ again, but the actual voice part cadences in B major in a manner of a reversed cadence of mm.11-12/20-21.
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