Death and the Maiden (string quartet)

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Original manuscript of the string quartet, The Mary Flagler Cary Music Collection, Morgan Library, NY
Original manuscript of the song
String Quartet No. 14 in D minor

Death and the Maiden is the title of the string quartet No. 14, D minor, op. Post., D 810 by Franz Schubert . Schubert composed the quartet for two violins , a viola and a violoncello as early as 1824; a private premiere took place on February 1, 1826 in the Viennese apartment of the court orchestra singer Joseph Barth. It was published posthumously in 1829 by the Josef Czerny publishing house. The public premiere was played in March 1833 by Carl Moeser in Berlin . In addition to the quartet movement in C minor, D 703 and the two string quartets in A minor, D 804 and op. 29, also called the “Rosamunde” quartet , and G major, D 887 and op. 161 to the group of Schubert's late quartets.

The four movements are in a minor key. The second movement, the Andante con moto , is a series of variations on the introduction to Schubert's 1817 art song Death and the Maiden , which goes back to a poem of the same name by Matthias Claudius . This gave the quartet its nickname and makes it a prominent example of the subject of death and the maiden known since the Renaissance .

background

Biographically, the creation of the string quartet fell during Schubert's most difficult time. He intended to gain a foothold in Vienna and - like Mozart - to be recognized as an opera composer. After numerous attempts since 1814, the now 26-year-old wanted to force a breakthrough with three operas in 1823. He failed because the libretti were considered poor and his music did not meet the audience's taste. At the same time he became seriously ill with syphilis and neurasthenia . These critical living conditions form the background of the composition, but they do not explain its recognized high artistic status.

layout

As absolute music , the quartet in D minor has nothing to do programmatically with the title. This means that death or the girl are not portrayed here musically, but the process is designed purely according to internal musical laws and forms of expression. The string quartet consists of four movements that together last about 41 minutes when all repetitions are played:

1st movement: Allegro , D minor, 4/4 time, sonata form , approx. 15 '
2nd movement: Andante con moto, G minor, 2/2 time, variation form , approx. 13 '
3rd movement: Scherzo Allegro molto, D minor, 3/4 time, three-part song form ABA, approx. 4 '
4th movement: Presto , D minor, 6/8 time, sonata form, approx. 9 '

First sentence

With the exception of the 2nd sentence, the sentences are determined by the “tragic sphere of tension between being and passing away. [...] Already the fourteen bars of introduction, with their speaking sequence of booming calls and warnings, quiet, anxious questions and anxious meditation, indicate, as it were, epigrammatically the deepest basic mood of the whole thing. Here, too, the restlessly driving triplet motif is catchy and dominates the first movement as an element of movement. ”The first movement is based on the sonata form, but without an extra development part, because exposition and recapitulation have already integrated this, because after the presentation of the themes The processing process begins soon. It is noticeable that the first theme presented in pianissimo (bars 15-19) does not play a role; after the octave repetition, it appears again shortened and hidden in the second violin shortly after the recapitulation (bar 152) and then finally in the coda (T. 311). In addition to the triplet motif from the introduction, which already supports the first theme in the openwork movement and is further processed, the second theme (bars 62–65) determines the movement. In constantly new formulations and contexts, it wanders through the four instruments that participate equally in the processing. By changing volume, pitch and harmony, Schubert opens up new variants of expression between harsh ( unison ) and delicate-smooth. Once a new motif flashes for a short time (bar 102), and once the second theme is reduced to the accompanying figure in the recapitulation, on which a small melody rises with the characteristic one and a half step of the harmonic minor scale (bar 187). The thematic work takes place in blocks, which are separated by sharp caesuras ( fortissimo , unison). The first 40 bars of the movement have no equivalent at the beginning of the recapitulation, the other sections are partly identical, partly transposed and technically changed, but the course and duration are the same in the recapitulation. The coda (m. 299) "leads through sore suspicion dissonances, thoughtfully sustained chords and a return of the first development of the first theme to a weary sinking into gloom and grief".

Second sentence

In the first part, the theme takes up the eight-bar introduction to Schubert's song “Death and the Maiden”, an eight-bar period consisting of two equal halves. In the second part, two more periods are added, the first forming the middle part of the topic and the second rounding off the topic with melodic references to the beginning. As in the original, the theme is presented pianissimo in the chordal setting. In the first variation, the bass voice the issue in Pizzicato is, the middle voices fill the chords with triplet repetitions, and the first violin figured triads and suspensions using a refined on the Pavanenrhythmus related rhythm model. The 2nd variation increases the volume, the brevity of the note values ​​(inner accelerando ) and expression, the latter through a high cello melody that picks up the pavan rhythm in every 2nd measure, which is in octaves and double note values ​​in the viola, plus harmony-supporting tones in Dots in the 2nd violin and triad breaks in sixteenths in the 1st violin. The preliminary climax of the increase is the 3rd variation, which achieves a very abrupt expression of the theme fortissimo, in unison and with again doubled note values ​​of the pavan rhythm. In the further course, the middle voices keep this new version of the pavan rhythm, while the outer voices play small melodic turns or complementary chords. The 4th variation gently redirects the energy that has built up in the meantime by changing the key to G major, pianissimo in volume, a supple melody in the two lower voices, which resume the theme in the original rhythmic form and some melodic twists. Later the 2nd violin also takes part, while the first figurines unobtrusive triplets. These can be found in the 1st part of the 5th variation in the bass, while the middle voices articulate the theme as in the variation and the 1st violin usually presents sixteenths as repeated notes. This already results in an increase that takes hold in the 2nd part of the room through chordal tone repetitions in sixteenths of the three upper parts, with the cello taking up the theme in a slightly figured manner. After a transition with triplets of the 1st violin on recumbent chords, the coda begins like a prayer in triple piano with the slightly different homophonic theme formulation of the beginning. In summary, Schubert wins numerous expressive variants and compositional refinements from the theme in the sense of absolute music.

Third sentence

The hard, angular scherzo (Allegro molto, forte, in unison the violins) is again finds an eight-bar period, which varies in the 2nd part of the Scherzo in the two sub-parts, including the upper parts cycles proceed in semitone down what the chromatic fourth corresponds which has been established as an expression of pain or agony in music since the Renaissance. On the other hand, "the tender and lovely singing trio" with its change to major, pianissimo and largely homophonic melodious sound forms a stark contrast, based on a 16-bar melody (two periods). Due to the da capo of scherzo, the original posture is resumed.

Fourth sentence

“In the Presto finale, the dark, menacing forces rule the field again, but even more moving, even more exciting than in the first movement. The four instruments with the restlessly scurrying D minor main theme enter in unison. It determines the overall character of the whole movement, which increasingly evokes the image of hunting. ”It consists of two eight-bar periods played piano, the first half of which is identical and the second half leads first to f, then back to the root after the new beginning d. The third bar is split off immediately after the topic has been introduced and used as an accompanying motif in the 1st violin, while the viola and cello take up the topic in an imitation voice. In the course of the manufacturing process, the motif becomes an independent, constitutive element. The 2nd theme (m. 88) forms a stark contrast, which abruptly stops the previously chasing movement with its compact homophonic movement, the jammed rhythmic movement (only one long note per measure), fortissimo and the sforzato that gives it gives a gruff expression. The processing, however, is mostly based on the main theme, namely in blocks, the frenzied movement of which is repeatedly stopped by hard fortissimo caesuras, which remind of the 2nd theme in their accords. Execution-like processing of the first topic follows. In the epilogue (bar 252) the split-off motif from the main theme forms the accompaniment for a slightly Hungarian melody in the 1st violin. The structure of the movement corresponds to the first movement: After the exposition, which already takes up the development through permanent thematic work, the recapitulation appears in the same layout, but of course varied in detail. The coda begins in m. 651 with the resumption of the first theme in its original form, and from m. 707 prestissimo it flows into a stretta , which in turn increases the chasing movement from pianissimo to threefold forte and both the movement and that Quartet concludes full of energy at the peak.

The analysis shows that Franz Schubert, despite precarious living conditions, succeeded in creating a compositionally rich masterpiece with this quartet. The almost constantly tense tone and the concentrated energy may be directly related to his crisis, the technical sophistication and mental penetration point far beyond that.

Machining

Gustav Mahler arranged the quartet for string orchestra . He performed the second movement (set of variations) of this arrangement on November 19, 1894 in one of his Hamburg subscription concerts. Mahler's transcription of the work remained unknown for a long time. The score with Mahler's entries initially remained in the possession of Mahler's daughter Anna , who eventually gave it to Donald Mitchell . He published the transcription in 1985 together with David Matthews .

literature

Web links

Commons : Death and the Maiden  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Kammermusik.org: Work details for String Quartet No. 14, D minor, op. Post., D 810 “Death and the Maiden” , accessed on December 28, 2011
  2. ↑ Chamber music chamber: Franz Schubert: Die Streichquartette , accessed on December 28, 2011
  3. ↑ cf. in addition the impressive presentation by Marcel Schneider: Schubert . Pp. 73-75
  4. ↑ Hans Renner: Reclam's chamber music guide . P. 393
  5. ↑ Hans Renner: Reclam's chamber music guide . P. 393
  6. ↑ Hans Renner: Reclam's chamber music guide . P. 394
  7. ^ A b Hans Renner: Reclam's chamber music guide . P. 395
  8. ↑ Cf., for example, Barbara Zuber: “Pick up and execute…” Some thoughts on Schubert and Mahler's arrangement of the string quartet Der Tod und das Mädchen D810. In: Music Concepts 91: Gustav Mahler. The unknown acquaintance . Text and criticism, Munich 1996, pp. 76–102, here: p. 78.