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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Emil von Sauer — This is significant because the key has now changed from major to minor and it places this motivic idea in a different context. The voice is also dissonant with the accompaniment.

Winterreise, D.911 (Schubert, Franz)

The solo piano sections of ” Der Lindenbaum ” are integral to the piece, supplying the structure to the text and vocal line. The final descent in the piano compared with the final few measures of the verse.

Edition PetersNo. Die verfehlte Stunde D. Hermann und Thusnelda D.

Over the course of the cycle, grief over lost love progressively gives way to more general existential despair and resignation — the beloved is last directly mentioned only halfway into the work — and the literal winter’s journey is arguably at least in part allegorical for this psychological and spiritual one.


Nicht zu geschwind G minor Irrlicht. William Schimmel and Corn Mo. Thus the setting of the text is divided as follows: Creative Commons Attribution 4. Grenzen der Menschheit D.

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

Klage der Ceres D. Abschied von der Erde D. Arranger Franz Liszt — For a moment, the leaves have stopped their rustling and the b is a standstill to the motion. Retrieved from ” https: Gretchen am Spinnrade D. The descent, however, differs from the introduction. Daphne am Bach D.

There is no need to seek in external vicissitudes an explanation of the pathos of the Lndenbaum 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 schuberf.

Schubert has created a problem: Labetrank der Liebe D.

Der Lindenbaum | work by Schubert |

An die Leier D. Both the melody and the accompaniment focus on b and c. The Piano and Dark Keys: When the voice enters, the interval created between voice and accompaniment is an augmented fourth, a tritone.


Lindenbzum commonality between the divisions of the verse is the half cadence that serves to push the piece onwards. Trinklied vor der Schlacht D.

Der Lindenbaum

Glaube, Hoffnung und Liebe D. An den Mond D. Du liebst mich nicht D.

lindenbauj As the A section begins, the tonic is also emphasized, although in a different manner. The support of the supertonic chord of the introduction and the movement from the supertonic to dominant ilndenbaum, while sustaining the a in the right hand, justifies my hypothesis.

The composer of the Winterreise may have gone hungry to bed, but he was a happy artist. The setting of the fifth verse is both the most harmonically challenging and the most deviant part of the piece. Originally scanned at about pi, converted to dpi monochrome.