Composed by Franz Schubert in 1825, Nacht und Traume is a lieder for piano and voice. Incorporating a range of musical devices this piece is based of text written by Matthaus von Collin which is a song reflecting on the night and the dreams it brings. Also the sorrow the night brings when it gives way to sun, taking away the dreams with it. This analysis will 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. Furthermore, small reference will be made to other aspects of the six concepts of music.
Schubert effectively uses the introduction in many ways, in particular Schubert establishes the tonality of the piece which in this case is B major.
The piece remains in B major with the introduction of the voice. As a result of the tonality a serene, and delicate mood transpires from Bar 4 through to bar 15. In regards to duration the metre of Nacht und Traume is in 4/4. The tempo is andante and the beat is definitive. Dynamics are certainly used throughout the piece, but without any variation. The only dynamic marking is pianissimo at the beginning of the piece. The texture is homophonic, with one melody and piano accompaniment. The structure of the piece is strophic with only one verse.
Alongside tonality, rhythm is the most significant musical device used by Shubert in the introduction. Rhythm creates and enhances the overall mood of the piece which is established in this introduction. The rhythmic idea observed in the piano is first established in bars 1-4 and introduces the vocal melody in bar 5. The rhythmic pattern seen is broken chords in semi-quavers.
Schubert effectively uses the introduction in many ways, in particular Schubert establishes the tonality of the piece which in this case is B major.
The piece remains in B major with the introduction of the voice. As a result of the tonality a serene, and delicate mood transpires from Bar 4 through to bar 15. In regards to duration the metre of Nacht und Traume is in 4/4. The tempo is andante and the beat is definitive. Dynamics are certainly used throughout the piece, but without any variation. The only dynamic marking is pianissimo at the beginning of the piece. The texture is homophonic, with one melody and piano accompaniment. The structure of the piece is strophic with only one verse.
Alongside tonality, rhythm is the most significant musical device used by Shubert in the introduction. Rhythm creates and enhances the overall mood of the piece which is established in this introduction. The rhythmic idea observed in the piano is first established in bars 1-4 and introduces the vocal melody in bar 5. The rhythmic pattern seen is broken chords in semi-quavers.
From bars 4-15, the rhythmic idea in the piano established in the introduction continues. Through this repetition, Schubert creates familiarity with the audience and consistency in regards to the mood. The broken chord, semi-quavers also establishes tonality and drives the piece forward despite the andante tempo. Melodically, the rhythm employed by Schubert is varied, a combination of quavers, crotchets and minims are used. This varied rhythmic pattern allows a simple, easy melodic flow that really enhances the delicate mood. From bars 16-29, the familiar rhythmic idea in the piano remains consistent. The main difference from bars 4-15, is a greater use of semi-quavers which heightens the tension and aids other elements such as melodic contour in creating the piece’s climax. The melodic motif of a descending quaver run is again employed in bars 16-29 as it is in bars 4-15 creating familiarity. The piece ends in bars 30-31 with Schubert’s rhythm in the piano. Schubert, ends the piece with this rhythm in everyone’s mind and the delicate, beautiful mood it conveys.
Initially, the melodic shape of Nacht und Traume is a combination of both leaps and steps. Amongst the leaps are a number of ascending and descending steps that convey the delicate mood and build to a leap. Often, when larger intervals are used it illustrates a frenetic mood. However, Schubert utilizes the leaps in this piece incorporated with smaller intervals to create an overall mood, which is beautiful and delicate, not frenetic. From bars 16-29, there is a greater variety of leaps and steps as overall, the whole piece reaches it’s climax. Similar to bars 4-15 the leaps and steps together create a delicate mood. In contrast, Schubert employs a greater use of melodic contour which creates variation as the piece hits its climax. For example, in bars 27-29, ascending quavers are followed by a descending crotchet run that subsides to the final melodic note and the end of the piece.
Initially, the melodic shape of Nacht und Traume is a combination of both leaps and steps. Amongst the leaps are a number of ascending and descending steps that convey the delicate mood and build to a leap. Often, when larger intervals are used it illustrates a frenetic mood. However, Schubert utilizes the leaps in this piece incorporated with smaller intervals to create an overall mood, which is beautiful and delicate, not frenetic. From bars 16-29, there is a greater variety of leaps and steps as overall, the whole piece reaches it’s climax. Similar to bars 4-15 the leaps and steps together create a delicate mood. In contrast, Schubert employs a greater use of melodic contour which creates variation as the piece hits its climax. For example, in bars 27-29, ascending quavers are followed by a descending crotchet run that subsides to the final melodic note and the end of the piece.
This wave-like contour allows the vocalist to delicately phrase the melody to bring out vibrato.
Throughout the piece a relationship between the piano and the voice is essential in creating, unity, contrast and mood. Due to the repeated piano rhythm, the relationship between the two instruments consists on unity. The audience is familiar with the motif as it is repeated throughout the whole piece creating unity with the voice. However, this repeated foundation also emphasises the contrast that is heard melodically between the two sections, bars 4-15 and 16-29, in regards to the mood. A further benefit because of this relationship is a seamless transition from solo piano to piano and vocals. Schubert effectively utilises this relationship to create unity and contrast, which enable the audience to hear the delicate and beautiful mood.
Word painting plays a key role in Nacht und Traume in conveying to the audience this delicate story. A prime example of word painting occurs in bars 8-9 where Schubert utilizes one repeated idea of a descending quaver run which conveys the lyrics, “The dreams flow down, too.” The descending quaver run corresponds with the lyrics, shaping the meaning and conveying the story to the audience.
Throughout the piece a relationship between the piano and the voice is essential in creating, unity, contrast and mood. Due to the repeated piano rhythm, the relationship between the two instruments consists on unity. The audience is familiar with the motif as it is repeated throughout the whole piece creating unity with the voice. However, this repeated foundation also emphasises the contrast that is heard melodically between the two sections, bars 4-15 and 16-29, in regards to the mood. A further benefit because of this relationship is a seamless transition from solo piano to piano and vocals. Schubert effectively utilises this relationship to create unity and contrast, which enable the audience to hear the delicate and beautiful mood.
Word painting plays a key role in Nacht und Traume in conveying to the audience this delicate story. A prime example of word painting occurs in bars 8-9 where Schubert utilizes one repeated idea of a descending quaver run which conveys the lyrics, “The dreams flow down, too.” The descending quaver run corresponds with the lyrics, shaping the meaning and conveying the story to the audience.
Furthermore, towards the conclusion of the piece the vocalist cries out and pleas, “Come back, holy night! Sweet dreams, come back!” Again the music correlates with the lyrics as the rhythm is repeated for each statement and the dynamics decrescendo, conveying the dying pleas. 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 story of Nacht und Traume.
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 story of Nacht und Traume.