Télécharger le livret - Outhere
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around them like ribbons; finally imagine avenues<br />
of enormous trees where you can walk for hours,<br />
and the who<strong>le</strong> thing enclosed by the highest mountains<br />
stretching out as far as the eye can see, guarding<br />
this divine val<strong>le</strong>y; imagine that and you will have<br />
a vague idea of its inexpressib<strong>le</strong> beauty […]”.<br />
in the following <strong>le</strong>tter dated 25 (or 21st)<br />
September, Schubert continues with his picture:<br />
“The Untersberg, or rather the highest one, shone<br />
and glittered gloriously, with its escort and the common<br />
detachment of the other mountains, in, or next<br />
to the sun. We drove through the val<strong>le</strong>y described<br />
earlier as if through Elysium, except that it has the<br />
advantage over paradise in that we sat in a delightful<br />
coach, a convenience denied to Adam and Eve.<br />
instead of wild beasts we encountered many most<br />
charming young girls… it’s quite wrong for me to<br />
crack such miserab<strong>le</strong> jokes in such beautiful countryside,<br />
but i simply cannot be serious today […]<br />
Heavens and the devil and all the description of a<br />
journey is a dreadful thing! i can’t do it any more…”.<br />
The first movement of the Sonata is dominated<br />
by a viri<strong>le</strong> theme whose ostinato rhythm (a long<br />
note followed by four staccato quavers) has a joyful<br />
character like a triumphant march. Towards the<br />
end of the movement, the tempo of this march<br />
quickens to suggest the entrance of a comp<strong>le</strong>te<br />
orchestra: it is as if we could hear the horns, and<br />
above them the violins singing. The second subject<br />
on the other hand recal<strong>le</strong>d a quiet and contemplative<br />
walk, a recurrent e<strong>le</strong>ment throughout this<br />
Sonata. Unlike that of his predecessors, Schubert’s<br />
music is characterised by the evident p<strong>le</strong>asure that<br />
he seems to feel when in contact with the sounds<br />
49 English Français Deutsch Italiano<br />
of the same harmony; here this is especially so in<br />
the first movement. This <strong>le</strong>ads him to suspend, so<br />
to speak, the music on a triad, only to take this repeated<br />
harmony up again, as if in ecstasy. in other<br />
words, the harmony, the sonority itself becomes a<br />
constituent e<strong>le</strong>ment in the musical sty<strong>le</strong>, independently,<br />
or almost so it seems, of the melody and of<br />
the rhythm. Here we see the same trajectory which<br />
will <strong>le</strong>ad through the music of later composers like<br />
Bruckner, but also Debussy, to certain composers<br />
of the present day.<br />
The second movement, Andante con moto, grows<br />
out of the contrast, so dear to rondo form, between<br />
a first theme that is both fast and secretive and a<br />
second theme that is exuberant, joyous and syncopated,<br />
in the sty<strong>le</strong> of folk music. The passage in<br />
which the second theme after reaching a kind of<br />
paroxysm, is soon no more than a fragi<strong>le</strong> pianissimo,<br />
like an echo, or like a shadow in a wood after<br />
the incandescent light of the sun, is considered to<br />
be one of Schubert’s finest creations. in the final<br />
recapitulation of the initial melody, the rhythm of<br />
the second theme – not unlike that of the tango<br />
– is superimposed over the first, and finally it subsides<br />
into very deep sounds, in a melancholy e<strong>le</strong>gy.<br />
The Scherzo suddenly takes us back to the elation<br />
of the beginning. in many ways it recalls<br />
some popular dance, especially in its second theme<br />
which seems to grow out of an Austrian “Länd<strong>le</strong>r”.<br />
We would search in vain for an original model.<br />
Schubert in fact possessed that marvellous gift of<br />
being ab<strong>le</strong> to invent his own melodies which were<br />
so popular that some of them became integrated<br />
into folk culture, later becoming quite universal;