More information Sing Der Musensohn by Goethe, Johann Wolfgang von Lyribox, the popular online platform for classical sheet music, accompaniment and ipa translations brings the best of by Goethe, Johann Wolfgang von by offering the sheet music, accompaniments and translations to the fans gathered around the site, for the best price that could be found online. The sheet music, accompaniments and translations provided by Lyribox for are of highest quality and accuracy. The original lyrics in German. The melodious note arrangement of Der Musensohn ranges from pianissimo very soft mellow notes to forte loud notes carrying the player and the audience through an array of vivid emotions.
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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 people , and it always succeeds in doing so. In fact audiences sometimes enjoy this song more than the performers: the words fly by rather too quickly for the comfort of any singer who has not completely mastered the text, and the pianist, no matter how many times he has grappled with the dancing accompaniment, has to concentrate very hard as his right hand makes audacious little sorties to awkward corners of the keyboard, off the beat, as the left hand marks the downbeats.
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.
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 who is to blame for this: instead of taking the time to find those chords which leap hither and thither, pressure of performance occasions a scramble through the song, the pianist like an adrenalin-crazed lemming hurtling over the cliffs.
The son of the Muses is surely the composer himself, too portly to fly perhaps, but still capable of 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. 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 camera 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 be. The message is something like this: the creative spirit strives unendingly to entertain and move others, but when does he receive his own reward? When will he too be able to rest on the bosom of someone who loves him? 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 he feeling as he does so? The performer who really understands the poem will not make of this final page a rollicking peroration; the whole strophe has to have a new colour aided by the addition of pedal in the accompaniment perhaps , a 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, the 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, but rather a human being with needs just like the rest of us.
These excursions are somewhat perilous, with dives back to home base in the twinkling of an eye. The Very Best of Brigitte Fassbaender. Der Musensohn, D First line:. Search my Subject Specializations: A literary celebrity by the age of 25, Goethe was ennobled by the Duke of Saxe-Weimar, Karl August in after first taking up residence there in November following the success of his first novel, The Sorrows of Young Werther.
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