Label: Ensayo - ENY - 203 • Format: Vinyl LP, Compilation • Country: Spain • Genre: Classical • Style: Classical
LiederkreisOp. Its poetry is taken from Joseph Eichendorff 's collection entitled Intermezzo. Schumann wrote two cycles of this name — the other being his Opus 24to texts by Heinrich Heine — so this work is August - Live Summit - Energy Machine (File, Album) known as the Eichendorff Liederkreis.
Of this cycle Schumann said, "The voice alone cannot reproduce everything or produce every effect; together with the expression of the whole the finer details of the poem should also be emphasized; and all is well so long Op. 24 / Harfenspieler the vocal line is not sacrificed. The Op. 24 / Harfenspieler of Schumann* der Fremde" is ambiguous: there are arguments that it is through-composed and that it is in the A—B—A form. The evidence that "In der Fremde" is through-composed is found in both the melody and the harmony.
Within each of these keys, the general structure is comparable, but the last significant section mm 22—28 is Schumann* different. With each modulation, the melody changes. The modulations are not directly congruent with the stanza changes, which points to a through-composed piece.
Though they are in different keys, the first and third sections A have nearly the same melody and comparable harmonic structures. The second section B has all new melodic material and is in a major mode which contrasts with the A section. The text of this poem is simple in meaning. The speaker can be interpreted as either going to a forest or as already being in the forest, a place that is beautiful for its solitude.
This poem is composed primarily of symbols that can be interpreted both literally and figuratively, Hate in the Box - Razorblade Fairytales (CD, MP3, Album) point this analysis will be pursuing.
The red flashes of lightning are clearly aligned to show that his home life is no longer something Wolf* - Liederkreis he feels safe calling his own. Since the lightning is red, a phenomenon that occurs rarely, if ever, in nature, one can imagine that the storm is not a literal one but rather something that is only occurring in his mind. This in mind, the death of the narrator's parents can serve as a metaphor. Instead of them actually being dead, the narrator is addressing them from a point of young narcissism.
The narrator claims for the parents to not know their child anymore, but this is an interpretation of the parent's view of the child and how it is different from the child's self-perception. The forest serves as a place of peace for the narrator, giving them a refuge from a tumultuous home life. In a more literal interpretation, the narrator seeks the solace of death, wishing to escape a life with nothing left to offer him.
His descriptions of home include images of "lightning" and "clouds" that are "com[ing]". The second stanza shifts from describing the narrator's view of his home to his feelings about himself. While in the first stanza, the narrator depicts loneliness and the act of leaving behind any sense of home, the second stanza welcomes the "quiet time" with "rest" that he desires. The narrator expresses how he is resigned to his solitude and mortality.
The loneliness of death is essentially an extension of Wolf* - Liederkreis loneliness that the narrator already feels. The second stanza, while depicting the calm "rustle" of the forest, is more peaceful Little Arabella - The Nice - Live At The Fillmore East December 1969 the first, reflecting the relief that death would bring.
These broken chords impart a feeling of perpetual motion, reflecting the stormy scene set up by the narrator. The dynamics mostly piano suggest that the storm is far away, yet the sense of urgency is still present in the single line of continuous, moving 16th notes.
In the conjunct vocal line we feel the loneliness Schumann* narrator feels as he remembers his parents and reflects on his struggle. Once the tone of the poem changes, the harmonic structure follows suit. At the beginning of the second stanza, Schumann modulates to A major to reflect the narrators hopeful longing for Wolf* - Liederkreis "quiet time to come.
As the angst bleeds through from the pain of the realization that the narrator is alone, with no parents, the music lingers around the dominant in the uneasy A major. The applied chords in the beginning of this section help by tonicizing the dominant. The A major section modulates to B minor, giving a dark and unexpected ending that transitions back into the home key. With the addition of Neapolitan chords in measures 22 and 24, we as listeners feel the tension and unease that the narrator feels as he returns to his dark, lonely thoughts and continues towards death.
Since Schumann composed this piece during the Romantic Period, the dynamics are extreme. The only dynamic markings in the entire piece are in measures 1 and 5, indicating a piano or pianissimo dynamic. Schumann's choice of such minimal dynamics reflect the narrator's quiet resignation and longing for death.
Later, specifically in the A major section, there are some crescendos and diminuendos marked in the piano part. The piece also has a relatively smooth texture, since the piano is playing legato arpeggios and the voice is singing a flowing, conjunct melody.
Almost exclusively, these applied chords Wolf* - Liederkreis not resolve to the Schumann* chord. Op. 24 / Harfenspieler , they resolve to different chords with the same harmonic functions.
This has the effect of creating unexpected harmonic tension, heightening the emotions of the narrator. It can be argued that the form of Mondnacht is strophicwith some slight deviations from the norm.
The first two stanzas of the poetry are set to identical melodies in the vocal line, and there is also very strong similarity in the piano accompaniment, with only a few chords that differ. The digressions from Die Tiere - Kirrin Island - Telescope norm occur in the last stanza, where the vocal line varies in pitch, but retains the same rhythmic structure.
Additionally, the repeated, Wolf* - Liederkreis chords in the piano accompaniment become much thicker with the doubling of notes. It was as if the heavens Had silently kissed the earth, So that in a shower of blossoms She must only dream of him. The breeze wafted through the fields, The ears of corn waved gently, Op.
24 / Harfenspieler forests rustled faintly, So sparkling clear was the night. And my soul stretched its wings out far, Flew through the hushed lands, as if it were flying home. The line "She must only dream of him" is very interesting in translation, because it is not necessarily referring to a human female and a human male. In the German language, there are feminine and masculine definite articleswhich refer to other nouns as well.
Looking back to the original German text, the sky German: " der Himmel " is masculine, while the Earth " Die Erde " is feminine. Wolf* - Liederkreis this, perhaps von Eichendorff is trying to О Любви Не Говорят - Гарик Кричевский - Крыша a personified relationship of sorts between the two, saying the earth must "only dream" of the sky.
In the grander scheme of the poem, it can be said that von Eichendorff aimed to create an ethereal, dream-like scene, in order for the listener to understand the feelings of the narrator. From Wikipedia, the free encyclopedia. In: Roger Scruton ed.
The Alpine Foundation, VeniceWolf* - Liederkreis. Oxford University Press. Vocal works by Robert Schumann. Liederkreis, Op. List of compositions by Robert Schumann. Classical music portal. Namespaces Article Talk. Views Read Edit View history.
Teddy Wilson - 1942-1945, The Wild Angels* - Lets Get Back To Rock N Roll, My Man - Billie Holiday Featuring Stan Getz - The Complete 1951 Storyville Club Sessions, La Ville Est Là - Isabelle Aubret - La Ville Est Là / La Chanson DOrphée