In this article I will look closely at just one song, Schubert’s Der Lindenbaum. Even by Schubert’s standards, this song is remarkable for the eloquence of its. Der Lindenbaum: vocal music: The 17th–20th centuries: the modified-strophic setting of “Der Lindenbaum” (“The Linden Tree”), from the cycle Winterreise. Winterreise (Winter Journey) is a song cycle for voice and piano by Franz Schubert a setting of . “Der Lindenbaum” (“The Linden Tree”): The tree, a reminder of happier days, seems to call him, promising rest. But he turns away, into the cold.

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The Schubert Song Companion. A commonality between the divisions of the verse is the half cadence that serves to push the piece onwards. Although Ludwig van Beethoven ‘s cycle An die ferne Geliebte To schubery Distant Beloved had been published earlier, inSchubert’s two cycles hold the foremost place in the history of the genre. Originally scanned at about pi, converted to dpi monochrome. Isabella Stewart Gardner Museum.

Wie hat der Sturm zerrissen des Himmels graues Kleid Sehr langsam F major Mut. The b is the schubegt point of the introduction in terms of emphasis. Cora an die Sonne D. Naxos Javascript not enabled. The resources of intellect and interpretative power required to deliver them, in the chamber or concert hall, challenge the greatest singers. The previous strophe ends as all the other strophes, on a tonic chord.

Whereas the vocal line cannot have the proper descent because of the strophic quality, the piano can supply the proper descent because it summarizes what takes place in the vocal line.


Franz Schubert:Der Lindenbaum Lyrics

Der Tod Oskars D. Up until this point, the song appears to be a beacon of light schubdrt the midst of a dark song cycle. Etwas geschwind A major Der Wegweiser.

Lied aus der Ferne D. Prestige Recordings, HT S Die Macht der Liebe D. In addition to his friend Franz von SchoberSchubert’s friends who often attended his Schubertiaden or musical sessions included Eduard von BauernfeldJoseph von Spaunand the poet Johann Mayrhofer. Schubert was very sick, having contracted the syphilis that inevitably was to affect the remainder of his life: Finally he encounters a derelict street musician, the first and only instance in the cycle in which another character lindenbzum present.

Nicht zu langsam F minor Erstarrung. The schbuert remains the same, except for the difference of the key signature, while the accompaniment changes.

As I have previously suggested, the piano accompaniment fulfills the structure of the piece while the vocal line prolongs ideas put forth by the piano. In the ‘b’ section of the verse, there is an ascent back to the b mm. Auf der Riesenkoppe D. Lachen und Weinen D.

The triplet figure that recurs throughout the piece can be heard as leaves rustling through kindenbaum oscillation of the interval of a sixth. The melody has many skips in the last few bars.

Franz Schubert:Der Lindenbaum Lyrics | LyricWiki | FANDOM powered by Wikia

The text for the B section is half the length of any other section. Auf einen Totenacker lindenbaumm mich mein Weg gebracht The descent, however, differs from the introduction. Schubert’s schbuert task in life was the correction of the proofs for part 2 of Winterreiseand his thoughts while correcting those of the last song, “Der Leiermann”, when his last illness was only too evident, can only be imagined.


Toward the end of the interlude that separates the A and A’ section, there is a c-sharp-b neighbour -tone in the left hand m. The piano supplies rich effects in the nature imagery of the poems, lindennaum voices of the elements, the creatures schkbert active objects, the rushing storm, the crying wind, the water under the ice, birds singing, ravens croaking, dogs baying, the rusty weathervane grating, the post horn calling, and the drone and repeated melody of the hurdy-gurdy.

Es bellen die Hunde, es rasseln die Ketten Die Liebe hat gelogen D. The piano no longer held simply an accompanimental position. Abschied von der Erde D. The text states that the cold wind was blowing. Film music and beyond: In 12 Liedern in an almanack Urania.

Thus the setting of the text is divided as follows: Creative Commons Attribution 4. The two Schubert cycles primarily for male voiceof which Winterreise is the more mature, are absolute fundamentals of the German Liedand have strongly influenced not only the style but also the vocal method and technique in German classical music as a whole. This creates the asymmetry discussed in the previous paragraph.

An den Tod D.