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Particularly exciting is the passage that leads to the climax where Schubert goes from F dim to Gmaj to Eb7 to Ab to F7 to Bb and so on until he reaches a particularly harsh fortissimo vii-I progression in A major that supports Gretchen at her loudest and most despairing. There is silence for the first time in the piece, interrupted only by a few attempts to begin spinning anew; Schubert uses the same rhythmic formula from measure one, but this time to mimic the sound of the wheel starting and stopping and starting and stopping and starting again, as if Gretchen has become so exhausted by her woe.
Nobly, Gretchen musters the energy to get the wheel turning again.
October 19, 4: Mefistofele is one of many pieces of classical music based on the Faust legend and, like many other composers, Boito used Goethe's version as his starting point. Si-hun Cha does have the common sense to consult his sister without revealing that he's actu SteakByrnes February 22nd Comments. At the age of 14, she received a full scholarship to study at the Curtis Institute of Music in Philadelphia, and He died in New York City. Two hundred years ago today, a year-old kid from Vienna wrote a song that would change the way composers thought about songwriting.
A harmonic reprise of the first few stanzas is expected as Schubert begins again in D minor. Her thoughts quickly return to Faust and become violent. She yearns even more deeply for Faust, and then soars up to an A-5, the highest note in the piece, wishing for death.
For his part, to really up the drama Schubert has the accompaniment go through an even more wild series of harmonic progressions during the final two stanzas. Before Schubert came along serious musicians considered the Lied, while understandably popular, a genre ultimately for amateur composers. They believed that the miniature-esque nature and undisciplined formula of the Lied prevented it from ever being able to equal the symphony or the opera in weight. Schubert, however, showed the world that despite its diminished proportions the Lied could plumb the depths of Beethoveninan emotion and soar to the heights of Mozartean beauty, and Gretchen am Spinnrade was his first step along the path of elevating the Lied from amateur to high art.
Franz Schubert () composed one of his most famous Lieder “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”) in when he was just seventeen years old. This Lied which is a setting of a scene of Johann Wolfgang von Goethe's Faust I exemplary shows the. Analysis of Schubert's Lied “Gretchen am Spinnrade” - op. 2. Franz Spinnrade” (“Gretchen at the Spinning Wheel”) in when he was just.
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