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Schwammerl
เข้าร่วมเมื่อ 27 ก.พ. 2015
Great works of classical music with scores and analyses to read along to, specialising in the late classical / early romantic era
SCHUBERT Im Frühling (D.882) Score
"Franz Schubert's 1826 song Im Frühling, D. 882, a setting of a poem by Ernst Schulze, may well be tops amongst the many songs about springtime that dot his Lieder catalog. Rarely even in that massive catalog does Schubert approach the kind of wonderful, taut formal weave that is Im Frühling -- this is strophic song at its most flexible and expressive. The song was written in March of 1826 (an appropriate enough time for such a spring song) but revised just a little bit -- tempo indication, some articulation markings -- when it was published in 1828.
Schulze's poem is in six stanzas; Schubert welds them together into three pairs for the purposes of his setting (still, the original break between the first and second stanza of each pair remains palpable in the two and a half beat pause in the middle of musical strophe). The intricacy of Schubert's music can hardly be overestimated. Each of the three dual-stanzas is set to the same basic music, but each time there is a different piano accompaniment -- the basic harmonies and phrases remain constant while the textures and rhythms change, creating something almost in the way of a miniature set of variations. During the second and third verses there is in addition a different chromatic inflection to some parts of the singer's limber tune (the most blatant example being the casting of the opening of the third strophe in the minor mode as "happiness and strife exchange places").
And that lazy, self-contented tune is itself wonderfully intertwined with the piano music: after four bars of piano prelude, the singer enters with a melody that seems unrelated to the piano's musings; but as the piano starts its prelude music again in the second half of each strophe, the singer takes over this strain and spins it out into a delicately ornamented notion that, the third time around, blossoms into a quiet little coda which seems somehow to remain with us "all summer long." "
- Blair Johnston for All Music
Performed by Ian Bostridge (Tenor) and Julius Drake (Piano)
English translation (by Richard Wigmore for Oxford Lieder):
I sit silently on the hillside.
The sky is so clear,
the breezes play in the green valley
where once, in the first rays of spring,
I was, oh, so happy.
Where I walked by her side,
so tender, so close,
and saw deep in the dark rocky stream
the fair sky, blue and bright,
and her reflected in that sky.
See how the colourful spring
already peeps from bud and blossom.
Not all the blossoms are the same to me:
I like most of all to pluck them from the branch
from which she has plucked.
For all is still as it was then,
the flowers, the fields;
the sun shines no less brightly,
and no less cheerfully,
the sky’s blue image bathes in the stream.
Only will and delusion change,
and joy alternates with strife;
the happiness of love flies past,
and only love remains;
love and, alas, sorrow.
Oh, if only I were a bird,
there on the sloping meadow!
Then I would stay on these branches here,
and sing a sweet song about her
all summer long.
Schulze's poem is in six stanzas; Schubert welds them together into three pairs for the purposes of his setting (still, the original break between the first and second stanza of each pair remains palpable in the two and a half beat pause in the middle of musical strophe). The intricacy of Schubert's music can hardly be overestimated. Each of the three dual-stanzas is set to the same basic music, but each time there is a different piano accompaniment -- the basic harmonies and phrases remain constant while the textures and rhythms change, creating something almost in the way of a miniature set of variations. During the second and third verses there is in addition a different chromatic inflection to some parts of the singer's limber tune (the most blatant example being the casting of the opening of the third strophe in the minor mode as "happiness and strife exchange places").
And that lazy, self-contented tune is itself wonderfully intertwined with the piano music: after four bars of piano prelude, the singer enters with a melody that seems unrelated to the piano's musings; but as the piano starts its prelude music again in the second half of each strophe, the singer takes over this strain and spins it out into a delicately ornamented notion that, the third time around, blossoms into a quiet little coda which seems somehow to remain with us "all summer long." "
- Blair Johnston for All Music
Performed by Ian Bostridge (Tenor) and Julius Drake (Piano)
English translation (by Richard Wigmore for Oxford Lieder):
I sit silently on the hillside.
The sky is so clear,
the breezes play in the green valley
where once, in the first rays of spring,
I was, oh, so happy.
Where I walked by her side,
so tender, so close,
and saw deep in the dark rocky stream
the fair sky, blue and bright,
and her reflected in that sky.
See how the colourful spring
already peeps from bud and blossom.
Not all the blossoms are the same to me:
I like most of all to pluck them from the branch
from which she has plucked.
For all is still as it was then,
the flowers, the fields;
the sun shines no less brightly,
and no less cheerfully,
the sky’s blue image bathes in the stream.
Only will and delusion change,
and joy alternates with strife;
the happiness of love flies past,
and only love remains;
love and, alas, sorrow.
Oh, if only I were a bird,
there on the sloping meadow!
Then I would stay on these branches here,
and sing a sweet song about her
all summer long.
มุมมอง: 25 655
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SCHUBERT Piano Sonata No. 16 in A minor (Op. 42 / D.845) Score
มุมมอง 114K3 ปีที่แล้ว
"The Piano Sonata in A minor D.845 (Op.42) by Franz Schubert is a sonata for solo piano. Composed in May 1825 and entitled Premiere Grande Sonata, it is the first of three sonatas published during the composer's lifetime, the others being D.850 and D.894. Conceived as a set, these works were composed during what was reportedly a period of relatively good health and spirits for Schubert, and are...
SCHUBERT Licht und Liebe (D.352) Score
มุมมอง 11K3 ปีที่แล้ว
"In his entire output of vocal music with piano accompaniment, Schubert wrote only two duets, Mignon und der Harper (Mignon and the Harper) (D. 877, No. 1) and Licht und Liebe (Light and Love) (D. 352). There may be many reasons for this. Schubert preferred to express the emotions of one character at a time, he preferred poems in the first-person singular but whatever the reason, songs for two ...
SCHUBERT Willkommen und Abschied (D.767) Score
มุมมอง 4.7K3 ปีที่แล้ว
"Goethe wrote this poem in 1771 at the time he was courting Friederike Brion. The freshness of the young Goethe's love affair thus coincided with a new type of lyric which came from the heart, unburdened by the poetic formalities of an earlier age. Schubert mirrors the excitement and ardour with one of his set piece horse rides, not quite as successful and substantial as Auf der Bruck and An Sc...
SCHUBERT An Sylvia (D.891) Score
มุมมอง 22K3 ปีที่แล้ว
""An Sylvia", D 891; Op. 106, No. 4, is a Lied for voice and piano composed by Franz Schubert in 1826 and published in 1828. Its text is a German translation by Eduard von Bauernfeld of "Who is Silvia?" from act 4, scene 2, of The Two Gentlemen of Verona by William Shakespeare. "An Sylvia" was composed during a peak in Schubert's career around the time he was writing the Ninth Symphony "Great" ...
SCHUBERT Piano Sonata No. 14 in A minor (Op. 143 / D.784) Score
มุมมอง 55K3 ปีที่แล้ว
"Franz Schubert's Piano Sonata in A minor, D 784 (posthumously published as Op. 143), is one of Schubert's major compositions for the piano. Schubert composed the work in February 1823, perhaps as a response to his illness the year before. It was however not published until 1839, eleven years after his death. It was given the opus number 143 and a dedication to Felix Mendelssohn by its publishe...
SCHUBERT An die Musik (D.547) Score
มุมมอง 15K4 ปีที่แล้ว
"Franz Schubert composed his lied "An die Musik" (German for "To Music") in March 1817 for solo voice and piano, with text from a poem by his friend Franz von Schober. In the Deutsch catalog of Schubert's works it is number D547. The original key is D major. It was published in 1827 as Opus 88, No. 4, by Thaddäus Weigl [de]. Schubert dedicated the song to the Viennese piano virtuoso Albert Sowi...
SCHUBERT Piano Sonata No. 13 in A major (Op. 120 / D.664) Score
มุมมอง 47K4 ปีที่แล้ว
"The Piano Sonata in A major D. 664, Op. posth. 120 is a sonata for solo piano composed by Franz Schubert in the summer of 1819. Well regarded among pianists, the "Little" A major sonata is so called to distinguish it from the hefty 1828 sonata in the same key. It is the shortest among Schubert's complete sonatas. The manuscript, completed in July 1819, was dedicated to Josephine von Koller of ...
SCHUBERT Erlkönig (Op. 1 / D.328) Score
มุมมอง 26K4 ปีที่แล้ว
"Page after page has been written about Franz Schubert's Erlkönig it is easily the most familiar single piece from the German song repertory; yet each hearing of the work seems somehow to conjure up the same spark of desperate passion in the listener that it must have conjured from those Viennese music-lovers who first encountered the song when it was published in 1821 six years after being com...
SHOSTAKOVICH Three Fantastic Dances for Piano (Op. 5) Score
มุมมอง 57K4 ปีที่แล้ว
"Whilst it is tempting to imagine that these three brief pieces could have been the ‘lost’ three from the set of eight Preludes of the previous year, perhaps recomposed, the fact that they are genre-and not abstract-pieces disabuses such a view. In addition, they exhibit far greater tonal freedom than the earlier pieces and are obviously the work of a more experienced composer-aged sixteen! Cur...
SCHUBERT Piano Sonata No. 11 in F minor (D.625) Score
มุมมอง 24K4 ปีที่แล้ว
"The Piano Sonata in F minor D 625 is a piano sonata written in September 1818 by Franz Schubert. The Adagio D. 505 is assumed to be its slow movement. The first movement is a F minor fragment (ends after the development on the dominant of B-flat minor). The entire movement revolves around the rhythm of the first bars, and there is an extensive use of trills, an element which forms part of the ...
BEETHOVEN String Quartet No. 9 in C major (Op. 59, No. 3) 'Razumovsky' Score
มุมมอง 27K4 ปีที่แล้ว
"The String Quartet No. 9 in C major, Op. 59, No. 3, was written by Ludwig van Beethoven and published in 1808. This work is the third of three of his "Razumovsky" cycle of string quartets, and is a product of his "middle" period. It consists of four movements. The introductory andante con moto section of the first movement is not directly related to the rest of the movement and serves a simila...
SCHUBERT Piano Sonata No. 9 in B major (Op. 147 / D.575) Score
มุมมอง 23K4 ปีที่แล้ว
"The Piano Sonata in B major D 575 by Franz Schubert is a sonata for solo piano, posthumously published as Op. 147 and given a dedication to Sigismond Thalberg by its publishers. Schubert composed the sonata in August 1817. The work takes approximately 24 minutes to perform. The first movement uses a four-key exposition (B major, G major, E major, F-sharp major). Daniel Coren has noted that the...
BEETHOVEN String Quartet No. 8 in E minor (Op. 59, No. 2) 'Razumovsky' Score
มุมมอง 29K4 ปีที่แล้ว
"The String Quartet No. 8 in E minor, Op. 59, No. 2, was written by Ludwig van Beethoven and published in 1808. This work is the second of three of his "Rasumovsky" cycle of string quartets, and is a product of his "middle" period. According to Carl Czerny, the second movement of the quartet occurred to Beethoven as he contemplated the starry sky and thought of the music of the spheres (Thayer,...
SCHUBERT Piano Sonata No. 7 in E-flat major (Op. 122 / D.568) Score
มุมมอง 38K4 ปีที่แล้ว
SCHUBERT Piano Sonata No. 7 in E-flat major (Op. 122 / D.568) Score
BEETHOVEN String Quartet No. 7 in F major (Op. 59, No. 1) 'Razumovsky' Score
มุมมอง 51K4 ปีที่แล้ว
BEETHOVEN String Quartet No. 7 in F major (Op. 59, No. 1) 'Razumovsky' Score
SCHUBERT Piano Sonata No. 5 in A-flat major (D.557) Score
มุมมอง 24K4 ปีที่แล้ว
SCHUBERT Piano Sonata No. 5 in A-flat major (D.557) Score
ANDRÉE Piano Trio No. 2 in G minor Score
มุมมอง 8K4 ปีที่แล้ว
ANDRÉE Piano Trio No. 2 in G minor Score
SCHUBERT Piano Sonata No. 4 in A minor (D.537) Score
มุมมอง 82K4 ปีที่แล้ว
SCHUBERT Piano Sonata No. 4 in A minor (D.537) Score
BEETHOVEN Horn Sonata in F major (Op. 17) Score
มุมมอง 101K4 ปีที่แล้ว
BEETHOVEN Horn Sonata in F major (Op. 17) Score
TCHAIKOVSKY Souvenir d'un Lieu Cher for Violin and Piano (Op. 42) Score
มุมมอง 96K4 ปีที่แล้ว
TCHAIKOVSKY Souvenir d'un Lieu Cher for Violin and Piano (Op. 42) Score
BEETHOVEN Cello Sonata No. 2 in G minor (Op. 5, No. 2) Score
มุมมอง 90K4 ปีที่แล้ว
BEETHOVEN Cello Sonata No. 2 in G minor (Op. 5, No. 2) Score
BEETHOVEN Cello Sonata No. 1 in F major (Op. 5, No. 1) Score
มุมมอง 85K4 ปีที่แล้ว
BEETHOVEN Cello Sonata No. 1 in F major (Op. 5, No. 1) Score
BEETHOVEN Cello Sonata No. 5 in D major (Op. 102, No. 2) Score
มุมมอง 47K4 ปีที่แล้ว
BEETHOVEN Cello Sonata No. 5 in D major (Op. 102, No. 2) Score
TCHAIKOVSKY Piano Trio in A minor (Op. 50) Score
มุมมอง 147K4 ปีที่แล้ว
TCHAIKOVSKY Piano Trio in A minor (Op. 50) Score
BEETHOVEN Cello Sonata No. 4 in C major (Op. 102, No. 1) Score
มุมมอง 61K4 ปีที่แล้ว
BEETHOVEN Cello Sonata No. 4 in C major (Op. 102, No. 1) Score
MENDELSSOHN Capriccio Brillant in B minor (Op. 22) Score
มุมมอง 20K4 ปีที่แล้ว
MENDELSSOHN Capriccio Brillant in B minor (Op. 22) Score
BEETHOVEN Cello Sonata No. 3 in A major (Op. 69) Score
มุมมอง 145K4 ปีที่แล้ว
BEETHOVEN Cello Sonata No. 3 in A major (Op. 69) Score
14:36
Reused a descending figure in the piano from the Op. 31 No. 3
1악장 도입부 0:01 1주제 1:23 2주제 2:37 2악장 1주제 10:07 2주제 밝게 돌체 12:32 3악장 주제가 옥타브로 되풀이 18:53 운명의동기 20:34 4악장 제1주제 푸가 주제 24:00 바이올린 독주로 제2주제 시작 24:43
1악장 1주제 0:06 2주제 1:05 발전부 중간부분 4:53 2악장 1주제 8:41 2주제 2바이올린과 대화하는 듯한 10:41 3악장 주제가 반복 17:28 옥타브 도약 동기가 f로 연주 19:00 4악장 론도 주제 20:30 2주제 21:13
Ah man, I’m the same age he was when he wrote this.
am i the only one hearing a bassoon and a horn?
chopin seem allergic to orchestral or chamber works, he could definitely have done it, he just haven't composed enough to be noticed
First movement sounds like despair and angst, but like is often the case with Beethoven, with sprinkles of hope. Wow
simplement merveilleux
You all hear how he pianist puts in a little thrill on the wirst a-flat of bar number 8?
Μια σχολή από μόνος του ο ΜΕΓΑΛΟΣ Σοστακόβιτς
1 часть 00:00 ГП 2:50 ПП 3:20 ≈ЗП 2 часть💗 11:08 ≈ГП 11:58 ≈ ПП (h-fis) 12:54 ≈ ГП (in G) 13:43 ≈ R-za 14:15 ПП (d-D) 3 часть 15:19 ГП 16:15 ПП1 16:31 ПП2 (вальс) 16:44 ПП3 (тема в басу)
Это три ответ на еврейскую музыку.ТАК писал сам Шостакович.
at 9:47 I laughed out loud for some reason
mr Pressler has some remarkable tone! esp in the 3rd movement
00:05
21:00
This is surely a piano sonata with Cello accompaniment! Two instruments' parts are very unbalanced😂
Question: what nickname would you give this piece? For me it would be the “home” trio. The joy of being with your loved ones at home, is what I feel
What an amazing ending!
One of my favorite piano sonatas from Schubert!
It would be brilliant if you had a 'bouncing ball' here!. I cant read music but I'd to see the progression ..thanks
2:56
This is actually great! Thank you for uploading!
Pure and innocent music.
Don't really understand why everyone is talking about how great the coda of the 1st mvt is. I mean, yeah, it is, but such powerful climactic moments are generally nothing special in the early-romantic string quartet repertoire. What fascinates me much more is the 2nd movement - oh my gosh, it's just one of the darkest, saddest and heartbreakingly bloody beautiful things I've ever heard, it really transports the same vibe as Mendelssohn's 6th quartet.
24:23 that glissando
haydn gang
20:11
Repeat: 2:11
3:24 no repet
Last movement is played too fast, in my opinion. Like a prestissimo, not allegro molto as indicated by the composer.
Hmmm... I think you're right. I thought it was right on the edge, especially considering the cello. IMHO.
Why does this performance cut out a huge part of the final variation at 36:21?! According to the 1951 Muzgiz urtext edition: > The large cut indicated in previous editions (transition immediately to p. 106, bar 9) is not present in either the autograph or the 1st edition. (The cut actually goes to page 107). This is 13 pages (in the aforementioned edition, available from IMSLP) and over a hundred measures missing!
13:14
It's incredible that this a student work by Chopin, yet TH-cam has more than 20 recordings of the 2-piano version and at least 7 of the solo version. How many composers get that many performances of their __ student__ works?! (It was only published after Chopin died.) Both versions are very difficult to play, but Yuja Wang played the solo version extremely well when she was 12 years old. (It's on TH-cam).
Shit music
Absolutely love the 6:30
Man hört Beethovens innere Zerrissenheit. Ernstgemeinte Absichten werden sich noch Jahre erfolglos hinziehen, Napoleon wütet in Europa, ein Ende nicht abzusehen, der Kaiser getürmt...
7:45 This coda is phenomenal. I love how he brings back material from the transition from the exposition after omitting the material from the recapitulation.
a love duet with laughter and quarrel. A sneak out dance tip toeing home with a wispeted godnight. last a happy "papageno papagena" ending...
5:19 for me practicing
all praise to Schubert. He's the greatest composer ever
people see chopin as a sad, even miserable being who feels that way all the time, but when there is a feature of his personality or in this case a work that reveals who he really was, they dismiss it as a frivolous work.
Minuet has a passing similarity to Hadyn first cello concerto
0:06 Adagio 5:30 Allegro 15:13 Rondo
5:53
8:46
Honestly, those that say that Chopin wasn't good at composing for instruments other than piano have flawed ears
several comments mention the so-called "mozartian influence"... but this was just the dominant style in austro-german music of the late 18th century ... Mozart is probably the most famous representative of the period, but he is far from the only one
20:10