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Die Schoene MUELLERin
Die Winterreise |
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Wilhelm Muller:
Poet or composer |
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| Wilhelm Mueller’s 2 volumes |
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| Poems from the posthumous papers of a wandering horn player |
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| Wilhelm Mueller job late in life |
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| director of the court theatre in Dessau in 1826 |
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| Wilhelm Mueller’s posthumous fame is due to |
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| Griechenlieder. Got involved in war politics like Byron with Greece & Turkey. |
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| Die Schoene Muellerin composer |
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| Die Schoene Muellerin dates |
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| Originally composed in 1816-1817. Revised and added to in 1821.
Completed the entire cycle in 1827 |
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| Die Shoene Muellerin published as |
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| Posthumous papers of a wandering horn player (I & II) |
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| Schubert’s most profound works |
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Die Winterreise
Der Doppleganger
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Late in life, syphilis ridden |
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| Shubert studied under, when, for what |
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| Salieri, composition, 1803-1813 |
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| Gretchen am Spinnrade (d) |
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| Early in life. by 1815 composed lots. |
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| Joseph von Spaun, poet Johann Mayrhofer, Franz von Schober |
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| Shubert & his friends secret club |
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| Schubert stopped teaching |
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| After quitting teaching (1818) Schubert composed |
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| Die Forelle, Der Wanderer, piano sonatas, 5th & 6th symphonies |
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| Schubert’s baritone friend |
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| Schubert music master where |
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| Esterhazy family (same as Haydn) |
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| Schubert contracted syphilis (d) |
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| Die Winterreise (Schubert) (d) |
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| Schubert’s last year (job) |
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| Elected to Vienna Gesellschaft der Musikfreunde. Gave a full scale public concert. |
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| Schubert’s impact on lied |
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| established the German Lied as an important art form in the 19th century |
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| Schumann’s deviation from his norm |
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| Originally never considered lieder a great art. until age 29 (1839) |
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| mainly piano music, some instrumental |
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| 1840 (previous piano teacher’s daughter) |
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| Numerous song cycles (138 in 1840) |
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| HEINE & Eichendorff (didn’t believe in setting mediocre poems) |
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Heine’s text. from a collection Heine called “Lyrisches Intermezzo” (65 poems, 16 songs 1822-23)
(loved his cousin) |
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| In wunderschonen Monat Mai (details) |
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Improvisation quality
final word is verlangen (longing)
ends on unresolved dominant 7th chord |
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| In wunderschonen Monat Mai (composer) |
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Robert Schumann
Dichterliebe |
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| Aus meinen Tranen spriessen (composer) |
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Robert Schumann
Dichterliebe |
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| Aus meinen Tranen spriessen (details) |
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| chorus of nightingales=poet’s sighs, 8th note line emphasizes mood. |
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| Die Rose, die Lilie die Taube (composer) |
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Robert Schumann
Dichterliebe |
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| Die Rose, die Lilie die Taube (details) |
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Poet was once enamored with nature, now focuses on a single quintessential beauty
(patter song) |
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| Wenn ich in deine Augen seh (composer) |
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Robert Schumann
Dichterliebe |
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| Wenn ich in deine Augen seh (details) |
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| Looking into lover’s eyes makes all sorrow disappear.
Walther von der Vogelweide uses kissees as a cure for love sufferings. |
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| Ich will meine Seele tauchen (composer) |
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Robert Schumann
Dichterliebe |
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| Ich will meine Seele tauchen (details) |
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| The only expression of love is through this poem, whispered to him by lily. |
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| Im Rhein im heiligen Strome (composer) |
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Robert Schumann
Dichterliebe |
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| Im Rhein im heiligen Strome (details) |
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| Use of churchly Phrygian mode.
The Kolner Dom largest cathedral in Germany. |
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| Ich Grolle nicht (composer) |
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Robert Schumann
Dichterliebe |
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| Ich Grolle nicht (details) |
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Incredibly beautiful poetry.
C Major (used a lot in this cycle).
Repetitive accompaniment sets mood. |
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| Und wussten’s die Blumen, die kleinen (composer) |
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Robert Schumann
Dichterliebe |
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| Und wussten’s die Blumen, die kleinen (details) |
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| If the stars, nightingales, & flowers knew how wounded his heart is, they’d help him. His grief is too much for their help.
Incessant tremolo figure & ferocious piano postlude. |
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| Das ist ein Floten ung Geigen (composer) |
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Robert Schumann
Dichterliebe |
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| Das ist ein Floten ung Geigen (details) |
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Poet’s love is marrying someone else.
It’s a blaring noisy affair; angels sobbing, all the earth is grieving.
Piano could stand as solo piece. |
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| Hor ich das Liedchen klingen (composer) |
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Robert Schumann
Dichterliebe |
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| Hor ich das Liedchen klingen (details) |
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| Hears a song once sung by his love which causes his grief. Forest consoles him.
Multilevel activity in musical conclusion. |
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| Ein Jungling liebt ein Madchen (composer) |
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Robert Schumann
Dichterliebe |
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| Ein Jungling liebt ein Madchen (details) |
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| possibly from an indian poet
Off beat accents & sharp modulations underline significant text. |
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| Am leuchtenden Sommermorgen (composer) |
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Robert Schumann
Dichterliebe |
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| Am leuchtenden Sommermorgen (details) |
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| Talking flowers attempt to comfort a suffering love.
Arpeggiated accompaniment influenced Brahms’s Intermezzi |
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| Ich hab ein Traum geweinet (composer) |
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Robert Schumann
Dichterliebe |
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| Ich hab ein Traum geweinet (details) |
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| A dream about a dead love.
Dramatic silences in postlude obsure the final cadence |
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| Allnachtlich im Traume (composer) |
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| Gradually intensifying pain.
Voice is more rhythmic than piano. |
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| Aus alten Marchen winkt es (composer) |
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Robert Schumann
Dichterliebe |
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| Aus alten Marchen winkt es (details) |
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| Flowers sing and talk, all but the last verse is in a make-believe land.
One of the longest in the cycle.
Postlude relates closely to the introduction. |
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| Die alten bosen Lieder (composer) |
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Robert Schumann
Dichterliebe |
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| Die alten bosen Lieder (details) |
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| Poet says: Let’s bury the old evil songs & bad dreams
Piano postlude longest in cycle. Contains material from an older piano concerto. Postlude relates back to the opening song. |
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| Joseph (Baron) von Eichendorff (d) |
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| Who is Baron von Eichendorff? |
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German poet & writer. (1788-1857)
Greatest lyric poet of the romantic movement.
Set most notable by Schubert & Schumann
Friend of Mendelssohn |
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| 12 poem song cycle. All mention 12 poems nature seasons & times of day, sky & flight.
Schumann attempted a kind of musical unity between all pieces. |
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Robert Schumann
Liederkreis |
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1819-1896
most famous woman pianist of her day. |
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| Beautiful vocal line accompanied by low arpeggio movement-shows fragile sadness.
From group called “Totenopfer” (Sacrifices to the Dead) |
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| Waldesgesprach (composer) |
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Robert Schumann
Liederkreis |
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Lorelei legend appearing as a forest Nixe
Hunting horn sound in accompaniment since Lorelei is portrayed as a hunter |
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Robert Schumann
LIederkreis |
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| Best known of all Schumann’s songs.
poet: Eichendorff in a group called “Spiritual Poems”
Romantic transcendental longing |
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| Auf einer Burg (composer) |
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Like the legend of Barbarossa
contains a wedding procession down the Rhein
Her real lover abandoned her and she doesn’t love who she’s marrying.
modal setting with imitative piano
No prelude or postlude, ends on dominant triad which resolves in the next song. |
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| Twilight. Twilight is not to be trusted.
Mood sustained by dark & sinuous accompaniment. |
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| Fruhlingsnacht (composer) |
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Robert Schumann
Liederkreis |
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| Joyful final song, crowded with birds & spring breezes. |
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| Called her “the Greatest Singer” refering to her beautiful tone & legato piano playing. |
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| Her father didn’t want her to marry Robert Schumann. (economic reasons) |
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3 collections of lieder
Piano pieces, piano concertos, etc.
28 Lieder, 18 of which were published.
(output decreased hugely after marriage) |
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| Clara & Robert’s joint work |
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| Lieder collection called “Zwoelf Gedichte aus Friedrich Ruckert’s Liebesfruehling fuer Gesand und Pianoforte.
3 of the songs were Clara’s |
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Er is gekommen
Liebt du im Schoenheit
Ich stand in dunklen Trauemen
Das ist ein Tag |
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| Felix Mendelssohn background |
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| Born Jew, baptized Christian
Studied with Carl Zelter started in 1817 |
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| Mendelssohn’s break out performance. |
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| 1829-conducted Bach’s “St. Matthew Passion” (important in reviving Bach’s music) |
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| Fanny Mendelssohn (1805-1847) |
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| Felix Mendelssohn’s output |
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| almost 90 songs, mostly conservative
Usually AAA or AAB
set poems by 30 poets (Klingemann especially) |
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| Auf Fluegeln des Gesanges (composer) |
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| Felix Mendelssohn (Heine)
One of Mendelssohn’s best known songs
(Seligen Traum repeated at end of song) |
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| Felix Mendelssohn (Von Eichendorff)
written for Fanny’s death |
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| Felix Mendelssohn (Heine)
reminiscent of Mendelssohn’s fairy scherzos with a touch of menace |
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| Fanny Mendelssohn Hensel (d) |
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| Fanny Mendelssohn’s output |
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| ~300 songs (not well known as a composer in her lifetime) |
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| Fanny Mendelssohn (Hoelty)
also set by Brahms;
Each stanza ends with a melismatic phrase that keeps getting longer and longer. |
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Fanny Mendelssohn (last song she composed)
Piano has its own melody which is finally taken up by the voice in the coda. |
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| Biography about Robert Franz by |
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| Aus meinem grossen Schmerzen |
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Reflective mood tinged with melancholy
“must not excite, must bring peace”
Thought modulation was more effective than melody in emotional development
Stuck with strophic songs |
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| Robert Franz
example of Franz’s use of modulation |
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| Robert Franz
contains emphasis on the modal and contrapuntal qualities |
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| Name of Die Winterreise when published in 2 volume as poems |
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| Poems from the poshumous papers of a wandering horn player (I & II)
2nd one dedicated to Carl Maria von Weber |
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| Die Schoene Muellerin (composer & d) |
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| Die Schoene Muellerin (details) |
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| Story of first and unrequited love the young mueller has for the Mueller’s daughter.
Almost half are strophic
folklike melodies
intensely beautiful vocal part
a lot of brook imagery |
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| How many songs in Die Schoene Muellerin |
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Franz Schubert
Die Schoene Muellerin |
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Franz Schubert
Die Schoene Muellerin
he meets the brook |
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Franz Schubert
Die Schoene Muellerin
first hint of the millwheel. |
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Franz Schubert
Die Schoene Muellerin
imagery for life at the mill |
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Franz Schubert
Die Schoene Muellerin
His passionate love for the miller’s daughter bursts forth.
Most frequently performed independently |
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Franz Schubert
Die Schoene Muellerin
Happy climax of the story |
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Franz Schubert
Die Schoene Muellerin
Hunstman appears |
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Franz Schubert
Die Schoene Muellerin
brook flows stormily reflecting the despair of the young Mueller. |
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Franz Schubert
Die Schoene Muellerin
The died flower she gave him lied with him in the grave. |
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Franz Schubert
Die Schoene Muellerin
The brook consoles the lover. |
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Franz Schubert
Die Schoene Muellerin
Gentle lullaby sung by the brook over the dead lover. |
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Franz Schubert
Die Winterreise
1st set
Tells the background of the cycle’s story. |
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Franz Schubert
Die Winterreise
1st set
Soft and plodding footsteps |
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| Die Winterreise style & story |
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Nature & our hero move in tandem throughout the cycle.
Man leaves his town where he was scorned to go into the winter night.
LOTS of nature imagery
Footsteps reflect his state of mind in each song. |
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Franz Schubert
Die Winterreise
1st set
Brisk and defiant pace |
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Franz Schubert
Die Winterreise
1st set
Most well-known
Dreaming of a leafy summer and his love. |
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Franz Schubert
Die Winterreise
2nd set
Frequently sung apart from the cycle
posthorn sounds in the prelude
Sound of heartbreak when there is no love letter in the mail. |
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Franz Schubert
Die Winterreise
2nd set
final song of the sets
Organ grinder plays the hurdy gurdy though no one is listening.
Final line: Willst du meinen Liedern deine Leier drehn?”
Left hanging on dominant |
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