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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Etwas langsam B minor also version in A minor. Schubert solves this conundrum by repeating the text of the sixth verse and even elongating the final phrase. The descents that have occurred before this point have either been interrupted or embedded at a foreground level. The accompaniment is utilized to connect the sections of the Lied as well as provide a frame for the song.

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.

Anatomy of an Obsession London: It occurs both in the soprano and bass lines as well as in the schuberg line.

Lied der Anne Lyle D. Auf einen Totenacker hat mich mein Weg gebracht Nach einem Gewitter D. Lied eines Kindes D. Berthas Lied in der Nacht D.

The introduction of linndenbaum piece features a structural descent from b-f-sharp that ends the section with some tension. The bass support of e, the key of E major is also firmly established throughout. Schuberrt this occurs, the c-natural in the bass moves down to a b creating a V chord. In 12 Liedern in an almanack Urania.


The effect, as the words describe, is chilling. B-sharp is an enharmonic spelling of c-natural, which is the note in question in the b section.

Winterreise – Wikipedia

Lied eines Kriegers D. This gesture is exposed and bare, hence prominent and memorable.

Prestige Recordings, HT S Schuberr grosse Halleluja D. Schubert has created a problem: This page was last edited on 21 Decemberat Lied aus der Ferne D. Szene aus Goethes Faust.

Der Lindenbaum | work by Schubert |

The notes c, b-sharp, and b are used in this neighbour -tone motion. The A’ section begins with the modulation to the parallel lindejbaum, e minor, and consequently produces a darker, more somber quality to the rustling of the leaves.

This too can be understood to foreshadow the above mentioned section. Both were originally written for tenor voice but are frequently transposed to suit other vocal ranges — the precedent being established by Schubert himself. Mein Gruss an den Mai D. Thereupon Schubert leaped up and replied: The Schubert Song Companion.

An mein Klavier D. When the voice enters, the interval created between voice and accompaniment is an augmented fourth, a tritone. The ascent and descent to and from the a in the introduction is also found in the melody of the verses. Von der ‘Winterreise’ bis zum ‘Schwanengasang’,No. First, there is almost a full bar of rustling leaves which separates this section from the A’ section, but reminds the listener of the introduction.

The man travels alone through the deepest and darkest night, and as he passes the linden tree he must close his eyes because of the memories.


This is the high point in terms of dynamics in the introduction, fp. Freude der Kinderjahre D. Pflicht und Liebe D. The intensity disappears; there rustling of the leaves has subsided for a brief moment.

This is lindenbaym because the key has now changed from major to minor and it places this motivic idea in a different context. There is no need to seek in external vicissitudes an explanation of the pathos 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.

In the first bar there is motion from e-d-sharp-d. Labetrank der Liebe D. La pastorella al prato D. Instead of leading to the f-sharp, as schubbert the interrupted descent in the introduction, the motion continues to the tonic.

Orest auf Tauris D. Fahrt linddnbaum Hades D.

Winterreise, D.911 (Schubert, Franz)

In Winterreise Schubert raises the importance of the pianist to a role equal to that of the singer. An die Harmonie D. Rather than resting on the f-sharp, the descent continues down to the tonic in the ‘a’ section of the verse.