Idea Transcript
ENJ P6(U10 14) 30-40 2PP
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10:49 AM
Page 309
I]Z:c_dnbZcid[Bjh^XEVX`V\Z I]ZCdgidcGZXdgY^c\h I]ZDca^cZA^hiZc^c\AVW
oll
)
Listening Guide
-
Schubert: The Trout (Die Forelle) and the Trout Quintet, Fourth Movement
89"GDB
89"GDB
89"GDB
I]Z:c_dnbZcid[Bjh^X
I]Z:c_dnbZcid[Bjh^X! H]dgiZg
The Trout (Die Forelle) DATE: GENRE:
1817
I]ZCdgidcHXdgZh
Lied C. F. Schubart
FORM:
Modified strophic (3 verses; 1 and 2 identical, 3 varied)
WHAT TO LISTEN FOR:
I]Z:c_dnbZcid[Bjh^X! H]dgiZgZWdd`
HijYnœ bbb 2 ≈ œ b ß & b 4 œ œ œnœ œ p. œœ Í b 2 œœœ œ œ b œ ?b b b4 b b b Œ ‰ œj œ b & b J In
œ J
ei - nem
j œ ‰ œœ œœ
j œ j œ œ œ ‰ œ œ œ dim. π . >œ >œ œ œ œ œ œœ œœœ bœnœ bœnœ œ œ ≈œ ≈œ œ ≈ œ œ bœnœ œ § § ‰ œœ
œ œ œ J J Bäch - lein
hel
-
‰
k œ œ œœ œ œ
le, da
in
œ œœ œ
schoß
fro - her
> ≈ œœœ œ œ œ œ œœœ œœœ œ œ
œ
œœ œœœ œ ≈ œ œ bœnœ œ
j j j œ œ œ.
§ > § > bbb œ œ b ‰ ≈ ≈ b œ. ß& œœœœ œ œœœœ g œ gg pœ œ . œ œ œ Í b b b gg œœœ ... ‰ œ œ œ œ œ œœ œ b ? bg œ. g
j œ
‰
etc.
Eil
> ≈ œœœœ œ œ œ œœœ œœœ œ œ
TEXT
TRANSLATION
In einem Bächlein helle, Da schoss in froher Eil’ Die launische Forelle Vorüber wie ein Pfeil. Ich stand an dem Gestade Und sah in süsser Ruh’ Des muntern Fischleins Bade Im klaren Bächlein zu. [last two lines repeated]
In a bright little stream the good-natured trout darted about in joyous haste like an arrow. I stood on the bank and watched in sweet repose the bath of the lively little fish in the clear water.
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FROM CLASSICISM TO ROMANTICISM
Ein Fischer mit der Rute Wohl an dem Ufer stand, Und sah’s mit kaltem Blute, Wie sich das Fischlein wand. So lang’ dem Wasser Helle, So dacht, ich, nicht gebricht, So fängt er die Forelle Mit seiner Angel nicht. [last two lines repeated]
A fisherman with his rod also stood on the bank and cold-bloodedly watched the little fish swimming to and fro. As long as the water stays clear, I thought, he won’t catch the trout with his rod.
Doch endlich ward dem Diebe Die zeit zu lang. Er macht Das Bächlein tückisch trübe, Und eh’ ich es gedacht, So zuckte seine Rute, Das Fischlein zappelt dran, Und ich mit regem Blute Sah die Betrog’ne an. [two last lines repeated]
But finally the wait grew too long for the thief. He made the brook all muddy, and before I knew it, his rod quivered, the little fish wriggled at its end, and I, my blood boiling, gazed at the betrayed one.
Piano Quintet in A Major (the Trout), Fourth Movement DATE: MEDIUM: FORM:
WHAT TO LISTEN FOR:
1819 Piano quintet: Violin, viola, cello, double bass, and piano 5-movement sonata cycle I. Allegro vivace; sonata-allegro form, A major II. Andante; F major III. Scherzo; scherzo and trio, A major IV. Andantino; theme and variations, D major V. Allegro giusto; sonata-allegro form, A major Same simple theme as in song, passed from one instrument to the next but always recognizable. Low instrumentation (1 violin only, with viola, cello, and double bass). Inventive variation form, with changes of mood through contrasting dynamics, tempo, ranges, rhythmic treatment, and mode (major/minor).
IV. Andantino; theme and variations, 2/4 meter, D major Theme: Strings alone, with melody in violin, D major; in 2 parts (A and B) A section (8 measures):
# # 2 j œ. . œ. œ. œ. œ œ œ .. œ œ . œ œ . œ & 4œ { π j œ. . œ. œ. œ. œ œ ä . >œ ## œ œ ä œ .œ #œ œ . & œ. œ Andantino
ENJ P6(U10 14) 30-40 2PP
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From Classicism to Romanticism
B section (12 measures):
# # j œ. . œ. œ œ œ œ œ œ œ. . œ. œ œ œ œ œ œ & p tr ~~~ # # ˙ œ. . œ. œ œ œ kœ œ ˙ ää œ œ . œ ä . . & &
# # œ. . œ. œ œ œ œ œ
œ. . œ. äk œ œ œ .
Variation 1—melody in piano, in high range, with trills:
. œ. œ œ œ
## 2 œ ß& 4 J { p . œ œ œ. Í ## 2 j œ œ & 4 {
ß& Í
&
~~~ œ. œ œ œ
tr
tr
~~~
œ. œ œ œ
œ . œ mœ . œ œ . ## œ . œ ##
œ . œ mœ . œ œ . œ. œ
Low strings play pizzicato, upper strings have fluttering figure; trills in violin in B section.
Variation 2—melody in viola, with countermelody in violin: k ä œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œœ œ œ ¬ ## 2 œ œ #œ œ œ œ & 4J { £ £ £ £ p ## 2 j ‰ œ. œ. L& 4 j { œ . œ œ œ œ
>œ œ œ nœ #œ œ œ #œ œ œ nœ #œ ¬ ## œ œ & œ œ œœ ## . L& . œ œ œ œ œ. œ œ Piano imitates brief phrases of melody.
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FROM CLASSICISM TO ROMANTICISM
Variation 3—melody in double bass, accompanied by very fast, virtuosic piano part (not shown below) and rhythmic strings:
¬ ## 2 ‰ & 4
{ œœ . p j . # 2 Double bass L? # 4 œ { œ p Violins
k œ ≈ œ œ œ ≈ œ. œ. œ. œ. œ. œ. œ.
k œ œ.
¬ ## ≈ œ œ œ≈œ œ œ ≈ œ œ œ & œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ œ œ # œ œ. œ œ. œ œ. œ L? # œ Variation 4—dramatic shift to D minor with sudden dynamic changes; begins fortissimo, then piano; dialogue between piano and strings; shifts from major to minor.
Variation 5—melody in cello with exaggerated dotted rhythm; sparse accompaniment; begins in B-flat major; B section extended.
Variation 6—quicker tempo (Allegretto); melody in violin accompanied by piano figuration from song: Allegretto . # # 2 œ. œ. äk œ 4 & p £ > ## 2 ≈ £ œ œœœœ ß& 4 p œ œ. œœ Í # 2 œ. œ. ? #4
œ. œ œ ≈ œœœ œ œœ. . œœ. œ œ œ
j œ ‰ >œ œ œ œ. .œ œœ
Repeat of A section with cello melody; violin has melody in B section, repeated with cello; closes with quiet postlude, as in song.