Songs. Jäger auf der Lauer () Op no Part of a series or song cycle: Waldszenen (Op). Composer; Performances. Composer. Robert Schumann.
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- R. Schumann: Allegro in B Minor, Op. 8 & Waldszenen, Op. 82
- Schumann: Waldszenen, Op - 2. Jäger auf der Lauer by Claudio Arrau on Amazon Music - leondumoulin.nl
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Withoutabox Submit to Film Festivals. Fed by the blood of the sinner, the mandrake itself turns into a wicked plant. Accordingly, the mandrake takes its revenge on those who seek to uproot it by releasing a bloodcurdling scream that either kills its violator or drives him to insanity Tartar , — To enhance further the ominous and distressing atmosphere, Schumann creates an adventurous embellishment with the unconventional neighbouring procedure. After the dominant arrival at m. The alternation of dominant and subdominant harmonies generates a certain amount of conflict. From this first section, the piece shifts unexpectedly into a hymn-like meditation in a choral style, which brings together the animality and spirituality suggested in the figure of the Bird as Prophet.
The motto is taken from the last line of the poem Zwielicht Twilight , written by Joseph von Eichendorff and found in his story Ahnung und Gegenwart Future and Present: Sei wach und munter! Be alert and on thy guard!
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Schumann had already set this poem as the tenth piece of his Liederkreis op. The verses are a warning against infidelity. Eichendorff emphasizes the darkness and menace of twilight in the forest, but he does not mention a bird. However, other than the interval and the poem, these two pieces barely have anything in common. This may be the reason Schumann discarded the poetic motto in the published edition. In the story, the bird not only delivers a message, but also is immortal. Tieck explains his bird in the story: It is seldom he so wings his course that men behold him; and when once in centuries this does occur, they note it in their annals and expect remarkable events.
With iridescent plumage, he floats down from the sky and announces the imminent arrival of the Elven King. The sight of the bird and the message make all the young elves cry for joy Tieck [] , The original ending is reproduced in Jensen , Jensen discusses the significance of revisions such as this, both in purely musical terms and in programmatic terms.
As the weak beats 2 and 4 are accentuated by the full sonority supported by the left hand, the strong beats are emphasized by the long note-value and appoggiaturas. The emphasis on both strong and weak beats generates metric displacement, a category of the phenomenon which Harald Krebs calls metrical dissonance Krebs , 22— However, some of the pieces in Waldszenen are simpler and more melancholy in character. These pieces are evocative of the pastoral sentiment seen in idyllic literary works. To trace these influences further, we must turn our attention to another popular Romantic literary genre: The pastoral genre in music began in the sixteenth century.
It thrived in the music of Vivaldi chamber concerti and J. Bach cantatas , and later in the secular vocal music of Haydn and the Pastoral Symphony of Beethoven Monelle , — A clear influence on Schumann, Jean Paul adopted the idyll in his writing. His idylls are long enough to be identified as novels, but they are far shorter than his main works.
In the Enlightenment, there had been a negative response to the idyll, and many critics referred to it as nostalgic and artificial. Although the idyllic content does not permeate the entire cycle, the light atmosphere, simple homophonic texture, lucid melodic line, regular rhythmic pattern, and clear phrase structure in these pieces offer traces of a Jean Paulian idyllic vision in Waldszenen. The third and the fifth pieces of the Waldszenen cycle epitomize the sense of the idyll as their titles suggest.
The appoggiaturas at m. To heighten the nostalgic sentiment and sense of longing, Schumann contrives a parenthetical insertion in mm. The languorous character saturates the entire piece. After the introduction, triplets continue to be the predominant figure in the main theme. The simple harmonic progression and consistent rhythm and texture fully conform to the reassuring simplicity of the genre of the idyll. The leaping dotted rhythmic patterns are suggestive of the atmosphere of beer halls: Meanwhile, the fast tempo illustrates the liveliness of the travelling lodge.
The benign but unpredictable behaviour of the inebriated customers in the lodge is suggested through various musical elements: The emotional tone of the piece as a whole is comforting, innocent, uncomplicated — indeed, pastoral. The contrast between such idyllic pieces and the more menacing forest scenes is stark. Wandering in the woods became one of the ideal activities of urban life in the Romantic period. In the middle section, the unstable chromatic harmonic progression and the complexity of the texture suggest a spellbinding landscape and a convoluted path, foreshadowing the fantastic conflict and threat of the later forest pieces.
Still, the threat presented in this idyllic piece is largely contained. We walk upon a pearly dew-dropped path Through slender grass and fragrant Moss Into the lap of the green thicket. The nostalgic sentiment suggested by an expressive melodic line over slow-moving triplets, and supported by simple harmonic progression with clear phrase structure, permeates the entire piece.
R. Schumann: Allegro in B Minor, Op. 8 & Waldszenen, Op. 82
Hunting Story and Hunting Song The influence of literary forms on Waldszenen is further evident in the hunting pieces of the cycle, which draw on the folk tradition of hunting stories and songs. Schumann also chose this set of poems in his Jagdlieder, op. In it, the natural beauty of his surroundings reminds the hunter of his beloved. According to Raymond Monelle, hunting music evokes nobility, the outdoors, the forest, adventure, and action Monelle , Horn calls are perhaps the most striking and essential element of the topic of the hunt.
Monelle emphasizes the importance of horn calls in evoking the woodland by quoting E. The piece is vibrant and exciting; its contrasting musical elements, such as the long-short patterns, the impetuous triplets, and the brilliant repeated chords, depict the thrilling hunting sequence — the ambush, the chase, and the triumph. Trumpet and horn calls at also enliven this musical hunting story. The huntsman rises early And starts his day. The first light on buck-shot Brings more winnings of an entire day.
Wir wollen den Hirsch erjagen, Den edlen rothen Hirsch. Der Tag steigt auf in Frische. On to the merry chase, Ye huntsmen to the hunt! We want to fell the stag, The noble red deer. Day is dawning afresh The stag is returning from the field; On then to the bushes Where he keeps his haunt.
Schumann: Waldszenen, Op - 2. Jäger auf der Lauer by Claudio Arrau on Amazon Music - leondumoulin.nl
Taken together, these three topics form a cycle, with the idyllic pasture and the supernatural forest at polar ends. The idylls represent an innocent and unthreatening relationship to the natural world; nature is there to be appreciated and to provide pleasure. In contrast, the fantastic pieces present a much more malevolent and dangerous version of nature. Whereas the wanderer is able to control his experience of nature in the idyllic pieces, he is liable to be overcome by nature — and the threat of mental dissolution — in the more fantastic segments.
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Here, the pleasures of nature and companionship, typical of idyllic pieces, are present, but there is added the dynamic of adventure and conquest in the sequence of the hunt. Viewed together, these topics help to comprise the forest journey in Waldszenen. Schumann hung a portrait of Jean Paul in a gilded frame on his wall alongside portraits of his father and Napoleon. But on the way home I felt as if I had taken leave of my senses.
I was in my right mind, but I still thought I was not. He claimed that playing music by Schubert reminded him of reading a novel by Jean Paul Jensen, , His love of both arts prompted him to attempt to become a writer and a pianist. Without much success on in either career, he abandoned his initial plans and pursued a new path as a composer. However, Schumann, who had a love for mystery and concealed meaning, decided to incorporate literture in his instrumental music.
He borrowed many narrative techniques from the German Romantics, particularly Jean Paul, and further exploited them in his compositions. I have also discovered that Schumann integrates narrative strategies into his own idiosyncratic compositional technique. Schumann was interested in breaking with the conventional by pursuing non-linear narrative. To this end, Waldszenen makes use of various narrative strategies, including covert unifying musical elements, the manipulation of formal convention, intertextual allusion, and musical topics.
In the first instance, motivic and tonal cross-references unify Waldszenen. Most of these connections are not immediately obvious, since each piece has its own individual principal motivic content. As I have shown, however, numerous motivic cross-references between movements can be found upon closer examination, and tonal references lend a novel, symmetrical design to the cycle as a whole.
The connection between motives also reflects upon the narrative that is driven by the titles and poetic mottos. When the intertextual allusions emerge over the course of the cycle, the sense of cyclic unity in Waldszenen is heightened. All the titles in Waldszenen suggest a musical narrative, but a single topic or genre does not adequately represent the cycle as a whole.
An awareness of the interplay of these diverse topics is essential to the performer, whose interpretation must range over a large variety of sentiments and characters. Eichendorff, Joseph Freiherr von. Ahnung und Gegenwart Edited by Christiane Briegleb and Clemens Rauschenberg. Space, Time, and Movement in Schumann's Waldszenen op.
A study of Rhythmic Intention. The University of Oklahoma. Robert Schumanns Waldszenen op. Zum Thema Wald in der romantischen Klaviermusik. Intertextuality in Western Art Music. Metrical Dissonance in the Music of Robert Schumann. Hunt, Military, and Pastoral. The Inner Voices of a Musical Genius. University of Rochester Press. Context and Content in Nineteenth-century Music. Richter, Jean Paul Friedrich. Hesperus, oder 45 Hundsposttage: Translated by Charles T.
Brooks as Hesperus, or Forty-five Dog-post-days: Short Prose of the German Romantics. Peters; available from http: On Music and Musicians, ed. From Analysis to Performance. DMA thesis, Temple University. University of Michigan Press. In Novellas of Ludwig Tieck and E. Your recently viewed items and featured recommendations.
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