Schubert’s No. 11 Frühlingstraum from Winterreise
Hello friends, and welcome to my blog! Today, I will be sharing with you guys a really nice art song by romantic composer, Franz Schubert.
Schubert’s Winterreise (Winter Journey), published in 1828, is a song cycle of 24 movements for voice and piano. The songs were based on poems written by German poet, Wilhelm Muller and is the second song cycle Schubert composed based on Muller’s poems. Winterreise was written in two parts and is about a heartbroken man. Schubert composed Winterreise while he was dying of syphilis and the darkness and melancholy is prevalent throughout the song cycle. Schubert died in 1828, the same year that Winterreise was published.
The text in Fruhlingstraum speaks …show more content…
After the third section, C, the whole piece is repeated, starting with section A, albeit with different lyrics. The piece ends with section C. Basically, the structure is ABCABC. The piece is repetitive but maintains listener’s interest through the dramatic dynamics and different characters of the section.
Fruhlingstraum begins in the key of A major in the A section. It modulates to A minor in the B section in bar 15, which is the parallel minor of A major. The piece modulates back to A major in bar 28 for the C section. The piece yet again modulates during the C section in bar 37 to A major’s parallel minor, F# sharp minor, before modulating back to A major for the repeat in bar 45.
The accompaniment and harmonies in Fruhlingstraum are varied between each section. In the A section, the accompaniment is in pianissimo and is meant to played etwas bewegt or somewhat with movement. Most of the harmonies in this section are diatonic and functional. The piece begins with a E major arpeggio in its first inversion, or a V6 chord. Most of the accompaniment in the A section consists of arpeggios in the right hand, with a chord in the left hand played on the first beat. This continues throughout the A section. The accompaniment is consistent and a driving force. It is meant to depict the first and fourth stanzas of the poem, in which the character dreams …show more content…
It is forceful and heavy and is very different to the accompaniment of the first section. The accompaniment has a sudden crescendo from the pianissimo of the first section to the mezzo forte of the second section, which shocks the audience. The harmonies are also more chromatic and dissonant, adding to the unease and discomfort felt, both by the character and the audience. In bar 23, instead of the dyads, the left hand begins playing octaves while the right hand plays chords, making the piece feel more menacing. The crescendos, diminuendos and sforzandos in the accompaniment, and the harmonies accurately portray the second and fifth stanzas of the poem, where the character is pulled from his lovely dream and sees his reality, where it is cold and he is alone. This thus explains why section A and B have such contrasting musical
When people are traumatized by an event they are pushed to experience the five stages of grief. The “Gospel”, by Philip Levine and “the boy detective loses love”, by Sam Sax both use characters that are going through one of the stages of grief. Levine and Sax both explain the thoughts and process of what a person thinks when they go through these stages with imagery. Levine uses symbolism, a sad tone, and a set setting in “Gospel” to illustrate that grieving takes you into a depth of thoughts. Sax uses anaphoras, an aggressive tone, and an ambiguous setting to convey that grieving takes you into a tunnel of anger and rage.
This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
The same themes and chords cycle in this piece. The chords and continuous chorus do not sound like piano performance. The listeners could be aware of the resonance of the piano. I could notice that the music reaches the end of the work. However, the song could go on moreover, if the composer would keep playing the music.
Some see the ugliness in the most beautiful things but others see the beauty in the most hideous of things. The poem William Street by Kenneth Slessor demonstrates this thesis statement as he talks about how he sees the beauty in the street that is renowned for its ugliness and the unsightly surroundings it is engulfed with. This poem's literary techniques and imagery gives the readers an insight into the environment and the surroundings that are seen vividly even though they are described through the use of foreshadowing. Each stanza gives the readers a different understanding on what is going on during the poem.
At the end of the second paragraph there is a stanza break from the word “princesses” to “Now I’ve found a quilt” from line 13. This stanza break is significant because it shows the change of tone of the speaker. In the first paragraph one can see a caring tone. Shown when the speaker says “Meema” which shows that the speaker must have really cared for their grandmother in order to call them such a caring name. Then in paragraph 2 there is a change of tone to excitement, shown in line line 14 when it says “ I’d like to die under”.
It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the
Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus. Dynamics each verse begins in mp and increases dynamically to mf at the pre-chorus; there is a slow crescendo to f during the transition from pre-chorus to chorus. Tempo the tempo of this song is moderato at approximately 116 bpm, however it feels much slower due to the emphasis being on the 2nd and 4th beats rather than on the 1st and 3rd.
The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).
This movement begins with a beautiful love song until a turbulent middle sections rudely interrupts its dream-like reverie. The finale, Andante-Allegro, begins with a quiet, introspective introduction in the piano alone which then leads into an exuberant Allegro. At the Allegro, the violin breaks forth with ascending, slashing passages from its lowest to its highest register, creating a sense of drama and importance. However, then comes a playfulness that sneaks into the music almost without notice. And then after a rush of virtuosic passages from both violin and piano, the sonata comes to an explosive end.
Marked Nicht schnell (not fast), the first Romance begins with a piano introduction, setting the somber mood for the melancholy theme in the violin in the key of A minor. Throughout, the violin line has a yearning quality, with moments of euphoric ecstasy in the B section that has the violin soaring above the piano accompaniment. The return of the A section brings back the opening theme, and the searching chromatic figures in the violin bring the piece to a soft, forlorn conclusion.
The chords throughout this piece are all heard in first inversion in order to make shifts between keys easy, however, each cadence is played in F major. Chords move through the circle of fifths starting on G and ending with Bb, with chords changing at the end of each statement on the last syllable. The use of the circle of fifths reflects the conflict happening on stage, giving the effect of a darkened mood, underlined with a sudden modulation to D minor. Figaro begins to lack comprehension which is portrayed through a modulation to A major, the corresponding false relation. A modulation to D major is heard as Susanna teases Figaro by saying ‘you are my servant, no?’ and brightens the mood.
The first movement of the Swan Lake Suite, Scene, which began with the violins playing with an oboe solo on top. The oboe was playing various crescendos and decrescendos at a mezzo piano dynamic and the tempo was moderate. This ends with the high woodwinds playing a string of the melody, passing it to the low brass with the strings very quietly in the background and then what seemed to be a diminuendo. The second movement of the Swan Lake
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.
For example in stanza five there are two rhyming triplets. The tone of the poem also changes accordingly to the action in the poem, the rhyme, rhythm and measure. At first skeptical, almost discouraging, but after it gains hope. At a point that hope shatters and the tone becomes grave and sorrow. The poem as well as the charge end quietly in a plain stanza, the last stanza which different but still inspirational.
This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).