12/12/2023 0 Comments Schubert compositions in 1826Mignon tells us of her great loneliness, but it is the solo piano that seems to explore most deeply the painful, dissonant reality of solitude. There is real pang to the B flat octaves that mark both the introduction and the final instrumental postlude. 877, another "Nur wer die Sehnsucht kennt," rolls forth in a sad 6/8 meter. But how perfect it works when at two key moments Schubert brings in the briefest hint of B minor. "So lasst mich scheinen" is part of Mignon's death sequence, and, as if to mirror the great complexity of Goethe's masterful verse, Schubert crafts the song out of a tender, warm B major which a lesser composer would have wrongly thought to be irreconcilable with such bittersweet words. During the second, comparatively hopeful stanza, Schubert provides a chorale-like C major, voice and piano working together in total homophony. 877/2, "Heiss mich nicht reden," Mignon tells of her burdensome secret. The two voices often seem isolated from one another, as the text would seem to demand, but from time to time they come together to produce gestures of the utmost expression, the most striking of which is a crystalline, pianissimo rendition of the main melodic cell in C major ("He who knows and loves me is far off," words that contrast beautifully with the closeness of the two voices at this point). The duet is cast in the key of B minor, and a gently sloping melodic cell - proffered by the piano in the song's very first measure - pops up time and time again as the song unfolds. The first of the two "Nur wer die Sehnsucht kennt" settings is a duet, with one voice representing Mignon and one representing the Harper (each of Schubert's other settings of this text are for solo voice and piano). They are: "Nur wer die Sehnsucht kennt," "Heiss mich nicht reden," "So lasst mich scheinen," and again, "Nur wer die Sehnsucht kennt." All four of these lieder were composed during January 1826, and they represent the last settings of Goethe that the composer would craft. 877), calling them "Gesänge aus Wilhelm Meister von Goethe." Three of Mignon's four songs are represented in Opus 62 - the first and fourth songs of D. In 1827, publisher Antonio Diabelli released four of these "Mignon Songs" as Schubert's Opus 62 (now cataloged as D. Such is the beauty of the lyric verses that Goethe provides for her to sing in the novel that Franz Schubert was inspired to set them to music time and time again. 1826 : Die Allmacht ('Gross ist Jehovah'), for mixed chorus & piano, D. Johann Wolfgang von Goethe's Wilhelm Meister is full of richly drawn and compelling characterizations, but none more so than Mignon. Find Franz Schubert composition information on AllMusic.
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