Télécharger le livret - Outhere
Télécharger le livret - Outhere
Télécharger le livret - Outhere
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we find this for examp<strong>le</strong> in the case of the song The<br />
Trout. However, the opening rhythm of this Scherzo<br />
is not Austrian; it actually comes from Bohemia<br />
and corresponds exactly to the dance we know as<br />
“Furiant”, which Dvorˇák and Smetana were later<br />
to reinvent or reuse. Contrasting with these dance<br />
e<strong>le</strong>ments, the Trio of the Scherzo is to be played in<br />
a very free rhythmic manner; its melody, with its repeated<br />
notes, derives its intimacy from an oration<br />
or litany of the Austrian church. The second movement,<br />
on the other hand, already shows in some<br />
respects features of a meditation; and Schubert,<br />
who ordinarly was litt<strong>le</strong> inclined to express his religious<br />
feelings nonethe<strong>le</strong>ss alludes to them in a <strong>le</strong>tter<br />
dated 25 (or 28) July, 1825, which he addressed to<br />
his father and stepmother: “They also wondered<br />
greatly at my piety, which i expressed in a hymn to<br />
the Holy Virgin and which, it seems, grips every soul<br />
and turns it to devotion. i think this is due to the<br />
fact that i have never forced devotion in myself and<br />
never compose hymns or prayers of that kind un<strong>le</strong>ss<br />
it overcomes me unawares; but then it is revea<strong>le</strong>d in<br />
all its true devotion”.<br />
The fourth movement finally is a serene wander<br />
along some pathway inundated with light, <strong>le</strong>ading<br />
to the summit of a mountain or along the banks of<br />
a lake, or perhaps in some inn where there is dancing<br />
and eating. The exquisite writing which suggests<br />
the playing of guitars accompanying the wanderer’s<br />
songs. The five-part rondo form (ABACA)<br />
corresponds to that of the second movement. The<br />
second poetic episode might be said to evoke a<br />
boat trip on a lake which has just been interrupted<br />
or merely disturbed by a storm or tempest which<br />
50<br />
springs from nature, just as do the inmost depths<br />
of our soul. With the recapitulation of the second<br />
theme, the motif which served as accompaniment<br />
to the wanderer is now transformed into a “twist”,<br />
giving the effect of a rhythmic acce<strong>le</strong>ration. The end<br />
of the Sonata is one of incomparab<strong>le</strong> beauty. The<br />
eternal pilgrim seems to be lost in the distance; a<br />
final wave – the rest is only yearning.<br />
∆<br />
Sonata in no. 17 G major, opus 78, D 894<br />
1826<br />
This work opens with a two-bar gently rocking,<br />
almost motion<strong>le</strong>ss phrase, of indescribab<strong>le</strong> beauty.<br />
it finds a reply, in a higher tessitura, which resemb<strong>le</strong>s<br />
it and returns us to the first phrase. This time<br />
the first phrase is more broadly balanced, opening<br />
out and expanding. Everything is on a larger sca<strong>le</strong><br />
than anything we have previously encountered, even<br />
in Schubert. This start reminds me of the picture<br />
of a calm lake in the first light of dawn, probably in<br />
Spring with the sun rising and everything awakening<br />
as life begins afresh. At the culmination of the<br />
first theme a second theme, in dance rhythm, emerges<br />
organically, and is immediately repeated with varied<br />
figuration; then comes a third and fourth idea:<br />
finally, developing from the initial theme, there is an<br />
epilogue which ends the exposition.<br />
One important detail has not been mentioned:<br />
after the conclusion of the first chain of motifs in<br />
G major, a new rhythmic, mysterious motif springs<br />
up in the softest pianissimo, first in B minor, then<br />
in B major, expressing a nostalgia of indescribab<strong>le</strong><br />
profundity. For Schubert the relationships between