Find composition details, parts / movement information and albums that contain performances of Der Musensohn (“Durch Feld und on AllMusic. Check out Der Musensohn, D. by Martin Katz;Frederica von Stade on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on . Although this personal identification is overt in ‘Der Musensohn’, Goethe’s wanderer is not merely the poet, but a finite being whose existence is endeavour, .
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Der Musensohn, D. by Martin Katz;Frederica von Stade on Amazon Music –
Please use musejsohn dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The first, and principal, difficulty facing interpreters of this song is the choice of tempo. It is all too common to hear this music performed at top speed and in a state of panic, and often it is the accompanist ser is to blame for this: As in all fairytale figures there is a slight touch of the demonic here: The son of the Muses is surely the composer himself, too portly to fly perhaps, but still capable xer a beaming smile, a chuckle and, as we shall see, a hidden tear.
As always in these matters relating to Schubertian tempi, a compromise is called for which avoids extremes. Thus the song should not be dazzlingly fast in virtuoso manner, and neither should it be self-consciously meaningful; it is still meant to set the toes tapping and to excite the listener with its irrepressible gaiety.
The secret, as always with this composer, is to be guided by the time-signature: A fast tempo, where we are conscious of only one beat per bar, misses the poise of text and music; and a slow tempo when we can hear six beats, or a leaden two, denies us the piquancy. The construction of the song is relatively simple.
The change into B major is without the preparatory niceties of modulation. Here we have a timeless perception of the changing seasons and of the cyclical nature of life itself.
Another quick change into B major and we zoom in on the village green, as if accompanying the swooping descent of an aerial musensohm in a documentary about small-town life. For the last strophe we hear the music in G major for the third and final time. And yet it should musensohnn. The message is something like this: When will he too be able to rest on the bosom of someone who loves him?
Der Musensohn, D. 764
This was much more true of Schubert than Goethe; the conclusion of this song summons up for me images of the young people at the Schubertiads dancing in happy enjoyment, while the composer, their only source of music, labours at the piano to provide them with endlessly beautiful improvisations.
And what loneliness is musebsohn feeling as he does so? The performer who really understands the poem will not make of this final page a rollicking peroration; the deg strophe has to have a new colour aided by the addition of pedal in the accompaniment perhapsa tenderness and gentleness tinged with regret and longing which contains as much of the true Schubertian flavour as any song he ever wrote about love and loss — and all this within the context of the same tune which has bounced through the earlier pages.
The challenge to the performers of this final page is to convey, if only for a fleeting moment, musensoh solitary state of being a great artist.
The son of the Muses has enormous powers certainly, and as the song progresses he tells us about them with not a little sense of cheeky self-satisfaction. But the final lines reveal him to be excluded from the ordinary human joys and satisfactions that are daily enjoyed by those without such an exalted calling.
But we have been gently reminded that he is not a self-sufficient god, mmusensohn rather a human being with needs just like the rest of us. I can scarcely wait for them, the musendohn flower in the garden, the first blossom musenaohn the tree. They greet my songs, and when winter returns I am still singing my dream of them. I sing it far and wide, the length and breadth dder the ice.
Then winter blooms in beauty! This blossom, too, vanishes, and new joys are found on the cultivated hillsides. For when, by the linden tree, I come upon young folk, I at once stir them. The dull lad puffs himself up, the demure girl whirls in time to my tune. You give my feet wings, and drive your favourite over hill and dale, far from home. Dear, gracious Muses, when shall I at last find rest again on her bosom?
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Der Musensohn, D – Hyperion Records – CDs, MP3 and Lossless downloads
Der Musensohn, D First line:. Johann Wolfgang von Goethe Introduction English December marked a new enthusiasm for the texts of Goethe and Der Musensohn is the first of the five songs by this poet which Schubert composed within a month. The final versions of the Mignon songs which were composed in may be classified as unfinished business from an earlier time, brought to a successful conclusion after eleven years. In many ways Der Musensohn is the quintessential Schubert song, and it is a constant standby as an encore, particularly after a challenging evening of unknown Lieder.
It was surely written to woo an audience rather in the same way that the son of the Muses himself is a charmer, capable of animating even the most unmusical of peopleand it always succeeds in doing so. In fact audiences sometimes enjoy this song more than the performers: These excursions are somewhat perilous, with dives back to home base in the twinkling of an eye. The first version of the song is hardly different from the second save in tonality, A flat major.
After a lifetime of playing the song in G major or E major for lower voices any accompanist is grateful not to have to play this song in A flat with the resulting awkward keyboard geography. Perhaps this is why Schubert re-conceived the song in G major for publication. Und nach dem Takte reget, Und nach dem Mass beweget Sich alles an mir fort. Roaming through field and wood, whistling my song, thus I go from place to place! And all keep time with me, and all move in measure with me.
Click track numbers above to select. The Hyperion Schubert Edition, Vol.