Franz Schubert
On the River D 943 for Voice, Horn (Violoncello) and Piano
The scoring of Schubert’s Auf dem Strom (On the River) for voice, horn and piano is reminiscent of that of the Hirt auf dem Felsen (Shepherd on the Rock, HN 969) with obligato clarinet. Both pieces were written in 1828 and each one upon a musician’s request – in this case that of the horn player Rudolf Lewy. Schubert gave the first performance of Auf dem Strom with the latter and the tenor Ludwig Tietze on 26 March 1828 in Vienna. It was such a success that it was soon performed again, and the press raved about it being an “indescribable treat for the ears”. This popular work is now available in a handy format for singers, with, of course, parts for horn in E as well as a transposition for horn in F.
About the Composer
Franz Schubert
He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering; modifications occur mostly not in continuous unfolding, but through sudden eruptions. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers; they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles; seven complete and several unfinished symphonies (including the “Unfinished” in B minor); other orchestral works; numerous pieces of chamber music; fourteen complete and several unfinished piano sonatas as well as other piano pieces; dances for piano and four-hand works; six masses and other sacred compositions; numerous pieces for choir or vocal ensemble, especially for male voices. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.”
About the Authors
Annette Oppermann (Editor)
From 1993 to 1996 she worked as an editor for Sony Classical International in Hamburg; from 1996 to 1999 she was a doctoral candidate in the postgraduate programme Textkritik at the Ludwig-Maximilians-Universität in Munich, in January 2000 she earned her doctorate with a dissertation on “Musikalische Klassikerausgaben” (Hans-Joachim Marx, Hamburg). From 2000 to 2008 she worked as a research associate at the Joseph Haydn-Institut in Cologne, and was editor of the Oratorio “Die Schöpfung” in the Complete Edition of Joseph Haydn’s Works. Since February 2008 she has been an editor at G. Henle Publishers
Product Safety Informations (GPSR)
G. Henle Verlag
Here you can find the information about the manufacturer of the product.G. Henle Verlag e.K.
Forstenrieder Allee 122
81476 München
Germany
info@henle.de
www.henle.com
recommendations
autogenerated_cross_selling
with an additional horn part in F
with an additional violoncello part