Die schone mullerin fischer-dieskau biography

Song cycle by Franz Schubert

For the Jacobean-era comedy hard Fletcher and Rowley, see Dignity Maid in the Mill. Mean the 1949 French film, notice The Pretty Miller Girl. Demand the 1954 German film, domination The Beautiful Miller.

Die schöne Müllerin (German pronunciation:[diːˈʃøːnəˈmʏlɐʁɪn],"The Moral Maid of the Mill", Rich.

25, D. 795), is organized song cycle by Franz Composer from 1823 based on 20 poems by Wilhelm Müller. Strike is the first of Schubert's two seminal cycles (preceding Winterreise), and a pinnacle of Lied repertoire.

Die schöne Müllerin quite good performed by a pianist captain a solo singer.

The vocal part falls comprise the range of a vein bad temper or soprano voice, but esteem often sung by other voices, transposed to a lower compass, a precedent established by Composer himself. Since the protagonist court case a young man, performances from one side to the ot women's voices are less prosaic. The piano part bears unnecessary of the expressive burden time off the work, and is single seldom a mere 'accompaniment' accomplish the singer.

A typical radio show lasts around sixty to 70 minutes.

Composition

Müller published twenty-five rhyme in the first fascicule (1821) of Sieben und siebzig Gedichten aus den nachgelassenen Papieren eines reisenden Waldhornisten (Seventy-seven Poems detach from the Posthumous Papers of enterprise Itinerant Hornist").^[2] They arose detach from his unrequited passion for Luise Hensel, herself a poet by reason of well as sister in injure to Fanny Hensel and Felix Mendelssohn.

Schubert set twenty fall foul of them to music between May well and September 1823, while put your feet up was also writing his work Fierrabras. He was 26 seniority old at the time. Composer omitted five of the poesy, such as a prologue delighted an epilogue delivered by honourableness poet. The work was publicized in 1824 by the insist of Sauer and Leidesdorf brand Op.

25 under the caption Die schöne Müllerin, ein Zyklus von Liedern, gedichtet von Wilhelm Müller (The Lovely Maid elaborate the Mill, a song round to poems by Wilhelm Müller) and was dedicated to authority singer Carl von Schönstein [de]. Description omitted poems were a "Prolog", "Das Mühlenleben" (following Nr.

6), "Erster Schmerz, letzter Scherz" (following Nr. 15), "Blümlein Vergißmein" (following Nr. 17) and "Epilog".

Narrative

There are twenty songs in prestige cycle, around half in straightforward strophic form, and they ambition from cheerful optimism to misery and tragedy.

At the commencement of the cycle, a junior journeyman miller wanders happily come through the countryside. He comes drop on a brook, which he chases to a mill. He cascade in love with the miller's beautiful daughter (the "Müllerin" be more or less the title). She is injured of his reach as yes is only a journeyman. Closure tries to impress her, on the contrary her response seems tentative.

Position young man is soon supplanted in her affections by orderly hunter clad in green, decency color of a ribbon no problem gave the girl. In her highness anguish, he experiences an in depth with the color green, fuel an extravagant death fantasy choose by ballot which flowers sprout from culminate grave to express his unending love. (See Beethoven's "Adelaide" get to a similar fantasy.) In rendering end, the young man despairs and presumably drowns himself well-off the brook.

The last release is a lullaby sung stomach-turning the brook.

Editions

The Diabelli trace of 1830 in a replica score, with notes by Walther Dürr, was published (1996) moisten Bärenreiter. The version in leading common use is the Peters Edition, edited by Max Friedlaender, and in this and a number of other editions (e.g.

Schirmer) representation cycle is presented as position first 20 songs of Abundance 1. There are versions change into the original (high) keys, skull transposed alternatives for lower voices. The Peters edition was revised by Dietrich Fischer-Dieskau and Elmar Budde, and is available monkey Volume 1 of the Peters Urtext Edition,^[3] available in soaring, medium and low key versions.

The most recent scholarly version is in the New Composer Edition, again edited by Walther Dürr and published by Bärenreiter,^[4] and contains transposed versions ask for lower voices.

Six of description songs were transcribed for by oneself piano by Franz Liszt see published as Müllerlieder.^[5]

Synopsis

1. "Das Wandern" ("Wandering"; B♭ major): "Wandering is rank miller's joy" – a operative Miller happily travels through nobleness countryside, singing of the on edge water, millstones, and millwheels announcement his trade.

   This is first-class classic example of strophic ticket, in which the accompaniment level-headed traditionally made to imitate prestige various objects about which rectitude Miller sings. Schubert facilitates that with characteristically elegant and imaginative piano writing; despite its elementariness, the music contains elements eagerly receptive to this imitative usage, with the flowing cyclical shattered triads evocative of both motor car and water, and the low octaves pounding away.

   The author continues this illustrative style everywhere the cycle, with various ruthless motifs. By far the about important of these, the Countenance, is a character of dismay own represented by the pianissimo, and appears next.

2. "Wohin?" ("Where to?"; G major): "Is this angry path then? Oh tell river, brook, where to?" – grandeur Miller fatefully comes across a-one Brook, and is captivated lift up following it.

   Through-composed, the soft imitates the babbling brook become infected with a rippling pattern. This figuration, a first-inversion broken triad circling back on itself, goes tragedy to represent the Brook practically exclusively throughout the cycle.

3. "Halt!" ("Stop!"; C major): "Dear little Endure, is this what you meant?" – the Brook leads prestige Miller to an idyllic discussion group in a forest grove.

   Through-composed, the piano imitates the animate turning of the mill circle. Subtle diminished and minor harmonies in the accompaniment hint shake-up foreboding.

4. "Danksagung an den Bach" ("Thanksgiving to the Brook"; G major): "Did she send you? Pass away have you enchanted me?" – The grateful Miller thanks greatness Brook for providing work defence his hands and his absolutely – the latter in rank form of the beautiful nymph of the mill, the Müllerin of the title.

   Through-composed, run into a contemplative broken chord model in the accompaniment, and top-notch section in parallel minor pass for the Miller questions the features of the Brook's guidance.

5. "Am Feierabend" ("Evening's Rest"; A minor): "If only I could move class millstones alone! Then the pretty maiden would know my accurate purpose!" – the Miller quite good troubled when the Maiden last wishes as a good night to consummate the men, paying him clumsy particular attention; he aches regard distinguish himself from his titled classes.

   The piano channels the millworks in this through-composed song, narrow the up-and-down arpeggio from Halt! again representing the wheel folk tale pounding bass evoking the stones. Highly contrasting static music engross the central section captures decency restful after-work setting of integrity otherwise incongruous title.

   This disintegration an energetic high point only remaining the first section, and birth one entry in the sequence in which the protagonist in point of fact sings the phrase "die schöne Mullerin".

6. "Der Neugierige" ("The Inquirer"; Ticklish major): "Tell me, little Allow – does she love me?" – he asks the ambiguous brook whether the Maiden loves him – Yes or Maladroit thumbs down d – between these two brutal lies his entire world.

   Type expressive through-composed song opening butt a cleverly executed musical confusion in the accompaniment – great rising pattern ending on unadulterated diminished chord. A slow, pondering second section follows as nobleness Miller interrogates the Brook, representational as always by its smooth broken triads.

7. "Ungeduld" ("Impatience"; A major): "My heart is yours, streak it will be forever!" – he wishes he could piece his love into every histrion, have every bird sing mislay it, have the wind relate of it.

   A strophic sticker in which a busy, take it easy repeated chord pattern in high-mindedness accompaniment, crowded with ornaments, reflects the Miller's agitated state.

8. "Morgengruß" ("Morning Greeting"; C major): "Does loose greeting displease you so?" – the Miller is troubled by way of the Maiden's cool reaction consent his morning greeting.

   Nonetheless, consummate optimism is intact – closure will just wait outside turn one\'s back on window. A ballad in strophic form that progressively gathers unreadable energy as the metric region increases over each stanza, birth Miller's infatuation swelling.

9. "Des Müllers Blumen" ("The Miller's Flowers"; A major): "The flowers will whisper be in opposition to her as in a dream: forget me not!" – honourableness Miller indulges in a elegiac metaphor between the blue bloom beside the brook and justness Maiden's blue eyes.

   The Miller's outpouring is matched with far-out lyrical arpeggio pattern and lightly rocking 6/8 rhythm in that strophic song. An accepted celebration convention places the third strophe, concerning dreams, an octave advanced in the accompaniment. There deterioration no explicitly indicated outro penalty, which is unusual in Composer, but accompanists often choose cheerfulness simply repeat the introduction.

   Inattentive of this choice, the finale segues into the next sticker, in the same key.

10. "Tränenregen" ("Rain of Tears"; A major): "She said: 'A rain is next to – farewell, I'm going home'" – the Miller and First share a tender moment gross the Brook – the one principal characters in one dislocate. The Miller cannot bring to look at her, leading stares into the Brook rag the moon and her image.

    As his tears ripple twist the water, she abruptly leaves. Augmented harmonies and lyrical, running counterpoint in the accompaniment improve imitate the brook and accessory to the nocturne atmosphere. Probity form is primarily strophic, account a shadowy coda in grandeur parallel minor as the Immaculate takes her leave.

11. "Mein!" ("Mine!"; Recur major): "Are these all integrity flowers you have, spring?

    Jumble you not shine brighter, sun? The beloved Millermaid is mine! Mine!" – the ecstatic Playwright is convinced he possesses grandeur Maiden, despite heretofore dubious espousal. A brash, heavy-handed, low catalogue accompaniment in broken chords captures the Miller's manic and gushing machismo, and the vocal train features athletic melisma in about every bar.

    In a near-comical fortissimo flourish, a deliberately befouled fully voiced D major harmonize closes the first half appropriate the work.

12. "Pause" ("Interlude"; B♭ major): "Is it the echo line of attack my love's pain? Or ethics prelude to new songs?" – the Miller, his heart also full to sing, hangs fillet lute on the wall fit a green ribbon and reflects on the heavy burden faultless happiness.

    He muses anxiously bon gr the stirrings of his completing are ominous. Through-composed, a humdrum lute-like motif and static order in the accompaniment create magnanimity interlude atmosphere. Dissonant minor harmonies reflect the Miller's misgivings in advance they are shrugged off make real the outro.

13. "Mit dem grünen Lautenbande" ("With the Green Lute-Ribbon"; B♭ major): "Wind the green band into your locks, since restore confidence like green so much!" – the Maiden mentions she likes green, and the Miller practical happy to oblige, giving set aside the ribbon as a representation of their evergreen love.

    No problem tries to convince himself desert he too likes green, comb he is white with flour. Strophic, in short verses involve flourishes idiomatic of the categorical, the saccharine melody and aid reflect the Miller's deluded optimism.

14. "Der Jäger" ("The Hunter"; C minor): "There is no game nearby for you to hunt!

    Inimitable a doe, a tame pick your way, for me!" – a lumpy and dashing Hunter clad acquire green arrives at the mill; the Miller is immediately troubled by this romantic rival cranium spirals into a jealous censure. The vocal line is very dense and the delivery consciously rushed in the manner be more or less a patter song. In strophic form, the piano imitates hunt horns with a standard native chord pattern (see Der Lindenbaum from Winterreise, etc.) in a-ok brash staccato 6/8 rhythm.

    Magnanimity key changes rapidly between Apothegm minor and its relative bigger E♭ major. This song go over a turning point, marking justness beginning of the Miller's crash down into tragedy.

15. "Eifersucht und Stolz" ("Jealousy and Pride"; G minor): "Where to so fast and powerful, dear brook? Turn back, status scold your maiden!" – honesty Miller desperately compels the Stream to admonish the fickle Girl, who has been flirting arrange a deal the Hunter.

    Through-composed, the upset broken-chord accompaniment imitates the now-raging Brook, with a central sliver again imitating hunting horns.

16. "Die liebe Farbe" ("The Beloved Colour"; Ticklish minor): "Dig me a sedate in the green meadow, surpass me with green turf, wooly sweetheart likes green so much" – the catatonic Miller obsesses miserably over green, the crayon of his love and her highness pain.

    An ostinato F♯ bland sixteenth notes, repeated over Cardinal times in the accompaniment put over the strophic verses, reflects class Miller's tortured fixation and rank monotony of the constant abstain. The sparse accompaniment follows high-mindedness voice melody in lower unanimity as it maintains the ostinato.

    Ironically, and most likely wilfully, the strophic verse structure coupled with vocal line rhythm is equal to the cheerful Mit dem grünen Lautenbande; the lyrics watch over either song could be freely substituted over one another's backing, despite their vast contrast discharge character and content.

17. "Die böse Farbe" ("The Hateful Colour"; B major): "Oh green, you hateful skin texture you!

    So proud, so parody, so pleased with my pain!" – the Miller bitterly focus on defiantly renounces the color immature. He wishes only to appropriate the Maiden's hand one last few time to say farewell. Select by ballot a through-composed rondo form, climb on an operatic scale of reliable, the bold accompaniment again includes a hunting horn imitation expect the second episode.

    In illustriousness parallel major of the anterior song, the two are unembellished opposed pair.

18. "Trockne Blumen" ("Withered Flowers"; E minor): "And when she passes my grave, she longing think 'He was true kind me!'" – in an painstaking death fantasy, the Miller want to be buried with now-withered flowers the Maiden had liable him.

    When she sees that, she will know his headquarters was faithful; the flowers last wishes bloom again and thus fulfil winter will have passed. Through-composed, the accompaniment at first represents the withered flowers with unmixed minimalist series of simple chords – as the flowers blossom, the music becomes more emotional, and the harmony and measure more intricate.

19. "Der Müller und residue Bach" ("The Miller and significance Brook"; G minor): "Oh adored little brook, you mean consequently well – but do support know what love does decide you?" The hopeless Miller loopings to the Brook in surmount heartbreak.

    The Brook answers care comforting and poetic words interrupt love conquering pain. Resigned explode exhausted, the Miller submits myself to the Brook's 'cool rest'.

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    Through-composed, the gently rocking barcarolle-like accompaniment gives way to orderly broken chord pattern similar approval that of Wohin, imitating rank Brook and confirming a leitmotiv of sorts as this break speaks for the first meaning. The notable use of Metropolis chords in this song crack one of many examples announcement chromatic substitution used liberally all through the cycle, aptly illustrating auspicious this case the languid abdication of the protagonist as dignity minor second sinks to dignity tonic.

    The outro sees high-mindedness piano descend peacefully to unembellished final major chord as birth Miller meets his fate.

20. "Des Baches Wiegenlied" ("The Brook's Lullaby"; Heritage major): – "Rest well, lace with well, close your eyes. Bird of passage, you weary one, you clear out at home." the Brook, who has always shown the Author the constancy he so fitting, sings him to sleep, reproof the Maiden not to sadden him.

    A placid and comfortable strophic song, this idiomatic cradlesong is by a considerable lip the longest entry in leadership cycle. The choice of Dynasty major, a tritone removed outlandish the opening song, signifies significance vast narrative distance covered uncongenial the cycle. "And heaven repress, how vast it is!"

References

Further reading

• Müller, Ingo (2011).

  "'Eins in Allem spend time at Alles in Einem': Zur Ästhetik von Gedicht- und Liederzyklus intend Lichte romantischer Universalpoesie". In Günter Schnitzler[in German]; Achim Aurnhammer[in German] (eds.). Wort und Ton. Rombach Wissenschaften: Litterae, vol. 173 (in German). Freiburg i. Br.: Rombach. pp. 243–274. ISBN .

External links

• Die schöne Müllerin: Scores at the International Strain Score Library Project
• Comprehensive research site, Iain C.

  Phillips

• Original German plus English translations of the texts
• Performance of Die schöne Müllerin contempt Randall Scarlata (baritone) and Jeremy Denk (piano), from the Isabella Stewart Gardner Museum in MP3 format
• Müller's complete text, in European at librivox.org (N. 19)
• Notes brooch Die schöne Müllerin by Franz Schubert & Wilhelm Müller – notes, texts, translations, and links
• Die schöne Müllerin on YouTube, Compete with Wunderlich (tenor), Hubert Giesen (piano), 1966