Composed by Franz Schubert in 1817, An die Musik is a lieder for piano and voice. Incorporating a range of musical devices this piece is based off a poem written by Franz von Schober. An die Musik was written by Schubert to express his thanks and his love for the art of music. The piece is almost like a hymn or an ode to music. Some reference will be made to the six concepts of music, however, this analysis will more significantly look at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting.
The key begins in D major, and Schubert uses the tonality to establish the overall mood. The key doesn’t modulate at all during the piece, as Schubert chooses to convey a warm, free-flowing mood in favour of multiple moods throughout the piece. The piece is structure by Schubert in two verses which are replicates excluding the lyrics. This repetition reinforces the melody of the piece in the minds of the audience, which Schubert has used to his advantage. In terms of dynamics, there is little indication except at the conclusion of the piece where the indication is for piano. Schubert’s scarce dynamics give freedom to the piano and the vocalist to interpret and install their own dynamics.
Characteristic of Schubert’s style, the melodic shape and contour in An die Musik is significant in conveying the warmth and movement that is stylistically indicated by Schubert. In bars 1-10 the melodic contour is varied, a mix of steps and leaps is used. The one main moment of consistency in this section occurs with a descending run, followed by an ascending run in steps.
The key begins in D major, and Schubert uses the tonality to establish the overall mood. The key doesn’t modulate at all during the piece, as Schubert chooses to convey a warm, free-flowing mood in favour of multiple moods throughout the piece. The piece is structure by Schubert in two verses which are replicates excluding the lyrics. This repetition reinforces the melody of the piece in the minds of the audience, which Schubert has used to his advantage. In terms of dynamics, there is little indication except at the conclusion of the piece where the indication is for piano. Schubert’s scarce dynamics give freedom to the piano and the vocalist to interpret and install their own dynamics.
Characteristic of Schubert’s style, the melodic shape and contour in An die Musik is significant in conveying the warmth and movement that is stylistically indicated by Schubert. In bars 1-10 the melodic contour is varied, a mix of steps and leaps is used. The one main moment of consistency in this section occurs with a descending run, followed by an ascending run in steps.
From bars 11 through to 19 the melodic shape and contour is again varied. However this section of An Die Musik differs to bars 1-10 as the use of steps greatly outweighs the larger interval leaps. True to many of Schubert’s pieces the contour is wave-like, ascending and descending as the vocal melody tells the story. The wave-like contour is a natural and easy contour for the phrasing of musical passages which is essential in this warm and flowing hymn to music.
Schubert uses rhythm as a significant element in this piece creating interest in the audience. Schubert begins An Die Musik with a two bar piano introduction that establishes a rhythmic motif that he employs throughout the piece. This motif found in the piano incorporates a series of repeated quavers.
Schubert uses rhythm as a significant element in this piece creating interest in the audience. Schubert begins An Die Musik with a two bar piano introduction that establishes a rhythmic motif that he employs throughout the piece. This motif found in the piano incorporates a series of repeated quavers.
Contrasting from some of Schubert’s other pieces such as Der Erlkonig, and Nacht und Traume is a strong, sweeping bass line that transcends the music whilst still providing a solid foundation (a snippet is seen above). The bass line largely combines crotchets and minims whilst effectively utilizing rests, which in turn emphasizes the movement in the bass when it occurs. In terms of the rhythm melodically, a combination of crotchets, quavers and dotted minims, work together to create a relatively simple rhythmic pattern. From bars 11-22, the rhythm becomes much more busy and more complicated. We find variations in the rhythmic motif heard in the piano in bars 1-10 and also great difference melodically. In the piano the consistent series of repeated quavers becomes less consistent with two quaver rests braking up the ever-present quavers in bars 16-18.
Melodically, Schubert creates a much busier rhythm with a wider use of quavers and dotted notes. The bass is the only aspect that remains largely consistent, however, variation still occurs. In bars 16-18 a series of minims are used, marking the transition from a busy bass line to one that is long and sweeping. From bars 20-24, which is the end of the piece the vocal melody finishes and the piano rhythmically carries the piece to its conclusion. In regards to further aspects of duration Schubert uses a metre of cut common time, 2/4 The tempo is andante, which common for odes/hymnals. Finally, the beat is definite.
In An die Musik Schubert uses the piano’s relationship with the voice to build a firm foundation from which he uses to convey the story. In the first two bars the piano begins with it’s rhythmic motif, which Schubert utilizes to provide a smooth and easy transition into the vocal melody in bar 3. The quavers in the piano are phrased by the pianist in such away that detracts from the piano and places emphasis on the voice encouraging the audience’s attention towards the vocal melody. Schubert not only uses the consistent quavers to provide a foundation, but perhaps more significant is the bass’s foundation for the vocal melody. Despite it’s extensive rhythmic movement, at moments the bass is sparse allowing clarity in the vocals (as seen below).
In An die Musik Schubert uses the piano’s relationship with the voice to build a firm foundation from which he uses to convey the story. In the first two bars the piano begins with it’s rhythmic motif, which Schubert utilizes to provide a smooth and easy transition into the vocal melody in bar 3. The quavers in the piano are phrased by the pianist in such away that detracts from the piano and places emphasis on the voice encouraging the audience’s attention towards the vocal melody. Schubert not only uses the consistent quavers to provide a foundation, but perhaps more significant is the bass’s foundation for the vocal melody. Despite it’s extensive rhythmic movement, at moments the bass is sparse allowing clarity in the vocals (as seen below).
From bars 11-22, the piano furthers it’s support to the melody with Schubert’s use of occasional quaver rests. In bar 15 for example, a quaver rest is used and what is heard with greater clarity is the minims employed in the bass which have reinforced the melody. The relationship between all three parts is created by Schubert effectively and is quite complicated. However, Schubert has composed this piece in such a way that despite it’s complicated relationship and extensive movement in all three parts, what is heard by the audience is a piece of great simplicity, a hymn to music. In regards to the texture, Schubert employs
only a piano and vocalist with one melody and accompaniment. As such, An die
Musik is a homophonic piece.
Word painting plays a key role in An die Musik in conveying to the audience this delicate story. As the lyrics declare the undying strength of music to brightening the world, the melodic contour follows suit. Schubert employs word painting, as the lyrics reach its climax, “you kindled my heart to warm love”, the melodic contour in bar 14 corresponds and ascends. Likewise in bar 16-17 the melodic contour ascends as the vocalist sings, “you transported me into a better world.” Conveying to the audience a sense of upward movement, hence the ‘transport’. Word painting is used effectively in this way to portray the story.
I have looked at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting. These crucial elements have shaped this peace and by incorporating other aspects of the six concepts of music, Schubert has effectively and accurately conveyed the ode/hymn that is heard in An die Musik.
Word painting plays a key role in An die Musik in conveying to the audience this delicate story. As the lyrics declare the undying strength of music to brightening the world, the melodic contour follows suit. Schubert employs word painting, as the lyrics reach its climax, “you kindled my heart to warm love”, the melodic contour in bar 14 corresponds and ascends. Likewise in bar 16-17 the melodic contour ascends as the vocalist sings, “you transported me into a better world.” Conveying to the audience a sense of upward movement, hence the ‘transport’. Word painting is used effectively in this way to portray the story.
I have looked at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting. These crucial elements have shaped this peace and by incorporating other aspects of the six concepts of music, Schubert has effectively and accurately conveyed the ode/hymn that is heard in An die Musik.