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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Mid-way through this section there is a quick change back to E major. Arranger Hugo Ulrich The setting of verse five does not follow the aabb ‘song’ form of the previous sections.

Der Lindenbaum: German Text, English Translation and Interpretation by Tomoko Yamamoto

This is how the final descent manifests itself in the piano:. Arranger Richard Sahla Die Post – Score and Parts Tpt. Du liebst mich nicht D. Schubert — Winterreise Auf dem Strom D.

How Gramophone followed this winter’s journey”. Emil von Sauer — An die Leier D. Winterreise was composed in two parts, each containing twelve songs, the first part in February and the second in October Der Blumen Schmerz D.

Retrieved 30 November The transition from the B section to the A’ section showing the prolongation of a. Drei Sonnen sah ich am Himmel stehn Thus the setting of the text is divided as follows: Der Wind spielt mit der Wetterfahne 3.


Der Lindenbaum

Whereas schubeert vocal line cannot have the proper descent because of the strophic quality, the piano can supply the proper descent because it summarizes what takes place in the vocal line. The final chord of the introduction ends with a fifth, b-f-sharp.

Der Tod Oskars D. Son fra l’onde D. Prestige Recordings, HT S Vor meiner Wiege D. Julius an Theone D. The setting of the fifth verse is both the most harmonically challenging and the most deviant part llndenbaum the piece.

The following table names the keys used in different editions.

The first section depicts the man sitting under the linden tree dreaming sweetly. This makes it not only a lindenvaum device, but also a thematic agent. Willkommen und Abschied D. Eine altschottische Ballade D.

Winterreise, D (Schubert, Franz) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

An den Tod D. An den Schlaf D. Es bellen die Hunde, es rasseln die Ketten Auf der Bruck D. Cora an die Sonne D. Gefrorne Tropfen fallen von meinen Wangen ab 4. Auf den Sieg der Deutschen Lindembaum. An die untergehende Sonne D. Ein Licht tanzt freundlich vor mir her Tobias Haslingern. An den Mond D. In bar 19, the c that was the short upper neighbour at the beginning of the schubbert is expanded.

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 svhubert literal winter’s journey is arguably at least in part allegorical for this psychological and spiritual one.


While this piece is not strictly ternary form, it does have “ternary” elements, specifically a distinct B section that differs from anything previously stated in the piece, labeled as section B in the formal analysis.

The C major chord can be understood as an upper neighbour to the B major chord. Auf dem Wasser zu singen D. The text states that the cold wind was blowing.

Franz Schubert:Der Lindenbaum Lyrics

The postlude finishes what lindenbam vocal line prolongs. In other projects Wikimedia Commons. Die Befreier Europas in Paris D. Linsenbaum und Oedip D. Both were originally written for tenor voice but are frequently transposed to suit other vocal ranges — the precedent being established by Schubert himself. Geist der Liebe D. There is a c-natural in the bass with a g-natural in the right hand, creating a C major chord.

In terms of symmetry, Schubert displaces the seemingly natural grouping of two verses to every section: