![]() ![]() There are versions in the original (high) keys, and transposed alternatives for lower voices. Schirmer) the cycle is presented as the first 20 songs of Volume 1. The version in most common use is the Peters Edition, edited by Max Friedlaender, and in this and several other editions (e. The Diabelli edition of 1830 in a facsimile score, with notes by Walther Dürr, was published (1996) by Bärenreiter. The last number is a lullaby sung by the brook. (See Beethoven's "Adelaide" for a similar fantasy.) In the end, the young man despairs and presumably drowns himself in the brook. In his anguish, he experiences an obsession with the color green, then an extravagant death fantasy in which flowers sprout from his grave to express his undying love. The young man is soon supplanted in her affections by a hunter clad in green, the color of a ribbon he gave the girl. He tries to impress her, but her response seems tentative. She is out of his reach as he is only a journeyman. ![]() He falls in love with the miller's beautiful daughter (the "Müllerin" of the title). He comes upon a brook, which he follows to a mill. There are twenty songs in the cycle, around half in simple strophic form, and they move from cheerful optimism to despair and tragedy.Īt the beginning of the cycle, a young journeyman miller wanders happily through the countryside. Narrative Portrait of Schubert by Franz Eybl (1827) 15), "Blümlein Vergißmein" (following Nr. 6), "Erster Schmerz, letzter Scherz" (following Nr. The omitted poems were a "Prolog", "Das Mühlenleben" (following Nr. 25 under the title Die schöne Müllerin, ein Zyklus von Liedern, gedichtet von Wilhelm Müller (The Lovely Maid of the Mill, a song cycle to poems by Wilhelm Müller) and was dedicated to the singer Carl von Schönstein. The work was published in 1824 by the firm of Sauer and Leidesdorf as Op. Schubert omitted five of the poems, such as a prologue and an epilogue delivered by the poet. Schubert set twenty of them to music between May and September 1823, while he was also writing his opera Fierrabras. They arose from his unrequited passion for Luise Hensel, herself a poet as well as sister in law to Fanny Hensel and Felix Mendelssohn. Müller published twenty-five poems in the first fascicule (1821) of Sieben und siebzig Gedichten aus den nachgelassenen Papieren eines reisenden Waldhornisten (Seventy-seven Poems from the Posthumous Papers of an Itinerant Hornist"). A typical performance lasts around sixty to seventy minutes. ![]() The piano part bears much of the expressive burden of the work, and is only seldom a mere 'accompaniment' to the singer. Since the protagonist is a young man, performances by women's voices are less common. The vocal part falls in the range of a tenor or soprano voice, but is often sung by other voices, transposed to a lower range, a precedent established by Schubert himself. It is the first of Schubert's two seminal cycles (preceding Winterreise), and a pinnacle of Lied repertoire.ĭie schöne Müllerin is performed by a pianist and a solo singer. 795), is a song cycle by Franz Schubert from 1823 based on 20 poems by Wilhelm Müller. ![]() Soprano & Guitar $9.Die schöne Müllerin ( German pronunciation: ,"The Fair Maid of the Mill", Op. The exact ranges are indicated above as follows:Ī, b, c, and so on up to g: this means from the a four notes below the treble stave, up to the g which is on the second line of the treble stave.Ī’, b’, c’, and so on up to g’: this means from the a which is on the second space of the treble stave, up to the g which is on the space just above the treble stave.Ī”, b”, c”, and so on: this means from the a which is on the line immediately above the treble stave, upwards. Ranges: Most of the songs go up to f, g, or a so they will suit a tenor or soprano, but one, Wiegenlied in G, goes up only to d’. Coste’s guitar accompaniments are quite good and will be a valuable addition to the repertory for voice and guitar.Ĭoste wrote his guitar accompaniment to French texts and it should be clearly understood that in this edition we have newly underlaid the original German text to his guitar accompaniments, for the convenience of those performers who may wish to sing these songs with the guitar with the original German text. At the time Coste was a student of Sor in Paris. This new book of Schubert Lieder arranged for guitar by Coste presents a group of songs by Schubert whose piano accompaniments were arranged for guitar by Napoléon Coste, probably in about the 1830s, that is to say very soon after Schubert’s time. Edited and with an introduction by Brian Jeffery. This is the first new modern edition of these Schubert Lieder with their piano accompaniments arranged for guitar by Napoléon Coste. Ständchen (Horch, horch, die Lerch (e to e’).Wiegenlied (Schlafe, schlafe) in G (d to d’).Wiegenlied (Schlafe, schlafe) in A (e to e’).Description Schubert Lieder For Voice & Guitar ![]()
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