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  • Schubert Die Schone Mullerin

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    jerramj
    365 Ansichten24 Seiten
    Book chapter/analysis of Schubert’s die schone mullerin

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    Book chapter/analysis of Schubert’s die schone mullerin

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    © All Rights Reserved
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    365 Ansichten24 Seiten

    Schubert Die Schone Mullerin

    Hochgeladen von

    jerramj
    Book chapter/analysis of Schubert’s die schone mullerin

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 24
    + ‘song jel’ is notoriously malleable designation yy apf wngs that belong together Dut in ways that defy ex ay genre. Som wires Many are not cyclic at all inthe sense that muse fom eater a Mt ue pat ad *elationships between son = vay eit, vary widely a well. Both of Schubert's Milli eyleg ret bet nee a lengthy sequence of indg their architecture, consist of a lengthy seq Penden J eae in both length and musical complexity as any workin? lager, more established classical genres. Each song presente aa oFintense emation, one stage inthe Fioey Paradoxically complet iege complet in context. ‘In the life ofthe mind, no one momeng iseuyi, ny other Richard Capel observed of Winter, and the samy the first Miller-cycle.? 1, while others are compilations from different Thee ate, however, other sources of unity nether stringent agg nor all-embracing but present nevertheless. Tonal unity is alaseug question, but there seems little doubt that certain tonalities have ramaic significance within the cycle, Schubert's wi Vogl, Schénstein, and others should not b awsude regarding the choice of tonality for the songs of DiesckneMil &s exigencies gladly tolerated for the sake of performance do not thes jhe composer's ideal designs. The cycle is, appropriately nx uch forward, nota closed circle: the E major of death and sina the end only appears for the first time as a principal tonality inthe last hill 1 Trock'ne Blumen’, and itis as far as possible from the Bb major of Di: Wander’, atonal symbol ofthe distance between life and death Wit that span, Schubert links occasional pairs or trios of songs (not the elit eh beginning with nos. 9 and 10, ‘Des Millers ce ee 1 both are in A major, intermingled with parallel minoratl fe or, ‘the key which unlocked the esse latter song. A majo Wande from th minor betwee The m Jager’, Bb maj grub’ i antithe Som framed 9, 13, eviden a rusti “Unges emoti¢ Wand three idea, | stroph with tr three. did ne such a the bit Mille 8 8) def nt ee "earlier in the we oe ‘Where 8 any work in the y complete but ‘more ment is exactly like the same is true of ler ringently observed y is always a vered ties have dramatic ranspose songs for with an uncaring re schine Millen ¢ do not therefore opriately, a linear nd resurrectionat ity in the last half Bb major of ‘Das d death.? Within ys (not the entire lers Blumen’ allel minorat the ced the essential 1e music of Die chine Miler as already appeared in “Ungeduld? and sd ind Nature co-mingled, the m rs fused together.* The Bb major ren strap, is foreshs " » repeated flute and it adowed by the abr the B section of ‘Mein!’ (Mein! Fupt shift to ii in!” is one of Schubert's few i major and is the only occurrence of the k ; “a the entire cycle.) Nos. 16 and 17, ‘Die liebe Farbe and ‘Dig Toa tempe by mea of tol djuncdon, When ei ag seeps tn ineD areata oe ed, we hea the dit nde cve eg a eae ee T elerabere the Snel con ea nit cra epee toast iee se C mor tanned edhe roel i oN Oe leer sane fcr the nj A Soiered wits sun cay a pana a ~ the same some commentators have pointed to the fact that Die schine Millerin is famed on either side by strophic songs and includes six others (nos. 7,8, 4.13, 15, 16 ~no. 10 also is strict strophic with a final varied stanza) as sidence ofthe miller’ naiveté and innocence. Te miller isnot, however, ‘ros simpleton, and the subileties of Schubert's musical strophes, as in LUngeduld’ and ‘MorgengruB’, attest to his recognition of a complex motional life in Miiller’s verses. In those two songs and others (Das Wander’, for example, or Schubert’s setting of the first six poetic stanzas’ tree musical strophes of “Triinenregen’), the youth elaborates a single ide, feeling, or thought throughout the poem; hence, Schubert uses scophic form, but always with psychologically rich nuances incompatible with rue Vollstimlichkeit. Elsewhere in the cycle, varied strophic form and three-part song form prevail; itis interesting to see that other composers «id nor set poems for which strophic form would not have been suitable, such as‘Am Feierabend’, ‘Mein!’, ‘Pause’, and ‘Eifersucht und Stolz’ see the bibliography for a select lst of other settings of poems from Die schine Mile Miler ine M. jillerin bert: Die soho ai chwind, : ern miabig geso™ Bb major iq musics although there are more com. Ww 1, Ds m 1 pdertust 8 . wand sion in books of German student so, Songs This 16 rs otleties its *hologies might suggest. The face position? and folkson E secidt kK ct : BUration Famers ) its ‘striding broken octaves im the bass (ne introduction» vies into 3 most melodic line and broken cho, nd sels motions aiid * ods rely accompanimental firuee secorpat yin on oft melody pitches, especially the ‘de jaunty offbeat pe sixth) in the right hand, belies the seeming folitag «tops (the thirds an enatrvction Schubert suggests the youth’s ene q squarenes ne in the athleticism of the first vocal phrase te } sad testes OP gl rather ungrateful to sing on its own beta ' oh repeat ned with the piano part as a single construct. In the I it is 5° intert , rJudes/postiades Schubert repeats a two-bar unit thar introdu harmony 0” the downbeat of the first bar and endy begins vi be he second bat, also with the tonic harmony. The | on he an follows makes mid-bar ending of each two-bar unit we rate miniature bar in 1/4, and yet both the beginning and | Jose succession. The | ‘onic harmonies in ¢ f the rel eated pattern ‘ at ythmic motor hypothetically capa y Wanderlust. TI ble of continuation without he journey has not begun, gins with the musical version of eless rooted to the spot. Not unt ein’ does a chord other than no change of tonal however, and € i ‘on that is noneth the words “ in schlechter Miller s' tonic or dominant appear, but there is nO modulation, place. Miiller heightens the key words of each vers refrain line, but Schubert has other means © always an authentic cadence, the assertions of t seal each declarative statement (‘To wander i ), At the end of each stanza, Schubert repeal with a pianissimo echo, and there lengthens the accentet emphasizing words with a near-magical power for wandering — in yet another way. TM . Schubert's miller casts a spell of f great suggestivity and then ven! se by an abruptly shortened | f emphasis. The refrain i onal strength 4 stamp (0 s the miller's joy - 0 ts the refrains fout- wander) fold, complete syllable to a crotchet, the miller - stones, wheels, water, fourfold repetition is incantatory himself by repeating key-words o forth under their sway. 74 ae | -phe music of Die shine Miillerin 2 2. Wohin? - Mabig, 2/4, G major 5 the 2/4 metre and the quaver-semiquaver motion that cnet re in the first song, but with variations such as the open note wander rather than octaves, overlapping crotchets in the bass ens in the Oe ats and triplet semiquavers. The reflective question f ee if-propulsive forward drive of ‘Das Wandern’ (rquschendes) motion in broken triadic patterns, ater 0” anishes ue se aynere with rustling rn ces it but one that Schubert revitalizes with the and teP "if Nature music ments: falling pattern of the brook’s babbling continues . -and-' ‘The rising intricate formal structure of this song, with its “ of previ Sees eee to wonderment in bars 11ff (‘Ich wei nicht, wie observation © “Joes the piano figuration move away from the hypnotically mit warde ) major harmony of bars 1-10 - yet another musical spell - to reiterated nic indices of uncertainty, of mysterious possibility, as the such hormio rd in bar 12 wurde’). ini wenth cho! éiminished $e in the bass are broken into a rocking figure in which 2, The open fifths i 7 x ; pitch is sustained across the barline whenever the tonic harmony er oe a bass ostinato for several bars or more ~a lure to follow onwards even when the harmonies are static. 3, The sound of the dominant harmony over a tonic bass has already appeared in “Das Wandern’ and does so again much later in the cycle when the miller and the brook are together once again, but in a tragically altered atmosphere. In bars 1-7 of no. 19, ‘Der Miiller und der Bach’, the same harmonies recur but in the minor and frozen in place, without the flowing motion of ‘Wohin?”. 4, The youth’s folk-like declamation on repeated notes and sturdily triadic contours in stanzas 1 and 2 harmonize with but are distinct from the brook’s rustling. Aslongas the focus is on the brook, the music remains diatonic, but with the first mention of the youth himself, the diatonicism is destabilized by the first chromaticism of the song. The ready availability of different harmonic avenues via diminished seventh chords is especially apropos here, as the youth does not know where the brook will take him. Here in bars 12ff, there is no modulation, no new tonality, but the heightening of supertonic A minor harmonies is a notable touch of minor; one notices as well the descending diminished fourth traced in the vocal line for bars 11-12. The indices of grief to come are subtle, but present nevertheless. In bar 15, 75 Schubert: Die shine Millerin

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