Talk:Gretchen am Spinnrade

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Duplicate analysis removed[edit]

I removed the following analysis, as it is largely duplicative of the remaining text in content. Others who feel part of can be rescued, feel free to dig in.

Schubert uses a diverse collection of techniques when setting words to music. This is particularly noticeable in Gretchen am Spinnrade, which was a selection of text from Goethe’s Faust, that Schubert set to music for soprano voice. The first element of this piece of music that strikes the listener is the way the pianist reflects the scene, almost so the vocal part can be freer. Schubert puts revolving semiquaver figurations in the right hand to show the constant, agitated spin of the wheel and in the left hand, the foot treadle is heard. The rhythm is very oppressive and immediately suggests a sense of restlessness, before the vocalist even begins, but when she does, we can hear that the soprano part is written almost like a train of thought, with the spinning wheel speeding up and slowing down in response to the text. The vocal part seems to be almost like a musical soliloquy, as she contemplates her thoughts and feelings in quite a free manner, over the top of the driving, rhythmical piano part. The opening stanza is strophic, but the others a through composed, allowing the music to develop to an eventual climax. The climax of the piece is anticipated by an ascending sequence and faster harmonic motion, which makes the words more dramatic. The chords ascend chromatically, until the spinning wheel stops, as if she has become to overcome with emotion, she has forgotten what she was supposed to be doing. The tension is released into a diminished seventh chord, where Gretchen sings the word “kiss.” This is the highest note of the piece and here Schubert has cleverly emphasised the elation and excitement Gretchen felt by this kiss. — Preceding unsigned comment added by Magicpiano (talk • contribs) 19:17, 13 August 2008‎

Der König in Thule[edit]

Has anyone ever remarked on the change from Gretchen's idealised idea of love in "Der König in Thule" to this? Because they should have. Schubert knew. Her earlier song is courtly and formal; this is anything but. Narky Blert (talk) 20:47, 22 February 2024 (UTC)[reply]