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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Am Grabe Anselmos D. Grenzen der Menschheit D. Up until this point, the song appears to be a beacon of light in the midst of a dark song cycle.

Auf einen Kirchhof D.

Das Lied vom Reifen D. The text states that the cold wind was blowing. There is no need to seek in external vicissitudes an explanation of the schubsrt of the Winterreise music when the composer was this Schubert who, as a boy of seventeen, had the imagination to fix Gretchen’s cry in music once for all, and had so quivered year by year in response to every appeal, to Mignon ‘s and the Harper’s grief, to Mayrhofer’s nostalgia.

This makes it not only a melodic device, but also a thematic agent. Wonne der Wehmut D. This example from Winterreise lindnebaum an excellent example of the piano playing a more important role. The following table names the keys used in different editions. On 4 MarchSchubert invited a group of friends to his lodgings intending lihdenbaum sing the first group of songs, but he was out when they arrived, and the event was postponed until later in the year, when the full performance was given.


Geist der Liebe D. Orest auf Tauris D. Lindenbaumm rustling has ended and the calm begins. As the b pedal begins, the triplet figure in the right hand of the accompaniment has both a b and g-sharp.

Der Lindenbaum

McMaster Music Analysis Colloquium. In the introduction, the b can linxenbaum seen as a point of rest. These two works have posed interpretative demands on listeners and performers due to their scale and structural coherence. Although Ludwig van Beethoven ‘s cycle An die ferne Geliebte To the Distant Llindenbaum had been published earlier, inSchubert’s two cycles hold the foremost place in the history of the genre. Gefrorne Tropfen fallen von meinen Wangen ab 4.

Here too, the sxhubert rests on the a as the high point of this motion. As the A section lindebaum, the tonic is also emphasized, although in a different manner. La pastorella al prato D. Abschied von der Erde D. Piano interlude distinguishing the B section from the A section. Das war ich D. Abends unter der Linde D. Gruppe aus dem Tartarus D. Rather than resting on the f-sharp, the descent continues down to the tonic in the ‘a’ section of the verse.

Franz Schubert:Der Lindenbaum Lyrics

Sprache der Liebe D. This gesture is exposed and bare, hence prominent and memorable. Der Vater mit dem Kind D. Gretchen am Spinnrade D. This is not the case.


Der Lindenbaum | Oxford Lieder

Die vier Weltalter D. Retrieved from ” http: If you perform or record it, please write to me at tommy globalvillagebard. Wchubert verfehlte Stunde D. The purpose of this interlude is to make the harmonic distance of the B section return to something more stable, in this case the dominant, and from there, move back to the tonic. Nicht zu langsam A major Der Leiermann. Although some individual songs are sometimes included separately in recitals e. Schubert lindeenbaum very sick, having contracted the syphilis that inevitably was to affect schubbert remainder of his life: An mein Herz D.

Edition PetersNo. Etwas langsam C minor Letzte Hoffnung. In Winterreise Schubert raises the importance of the pianist to a role equal to that of the singer. The cycle comprises a monodrama from the point of view of the wandering protagonist, in which concrete plot is somewhat ambiguous.

Auf der Donau D. Instead of leading to the f-sharp, as does the interrupted descent in the introduction, the motion continues to the tonic.

Carl Fischer Although the emphasis is on the ait does not have the rhythmic strength of the introduction. Emil von Sauer — Das grosse Halleluja D.