Die Burgschaft, D246

This is obviously an epoch where 'family values' are taken seriously. The solid long lines and reliable harmonies of his set piece contrast with the devious chromatics of Dionysus's reply. It seems that the tyrant will take a sadistic, almost voyeuristic, pleasure in monitoring the outcome of what seems to him an untenable bargain. He speaks peremptorily and, despite his power in the land, emerges in Schubert's music as some what of a petulant, even lightweight, figure.

This section D major is prefixed by the word 'Ruhig'. This is the type of friendship which Schiller wrote about between Posa and Don Carlos and which Verdi was to depict in noble duetting of baritone and tenor. Perhaps Schubert intends the long succession of semibreve chords accompanying this aria in simple unquestioning fashion to stand for a strong, silent and supportive character rendered mute by the speed of Schiller's pen, but whose constancy in the background is the mainspring of the action. The first two lines of this strophe are recitative, quickly dispatched.

Schubert marries off the sister with an interlude of old-fashioned courtly wedding music in B fiat major marked 'Lieblich'. Further recitative places the traveller on his way homeward to face his sentence. The four verses which make up this episode are joined together in one large musical structure, more or less in D minor. The patter of non-stop semiquavers 'Geschwind' in the pianist's right hand and jabbing quavers in octaves in the left throughout Verses 6 and 7 paints the relentless fall of rain.

This is relatively gentle at first but gathers force apace. The hero's calls of distress resound on a long line of Ds melody is suppressed in order to suggest shouting supported by strident sforzando chords on the off beats. The shape of the vocal line as the voice soars imploringly heavenward is most affecting. The rain has caused a flood.

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Heavy swollen quaver chords, flowing water, contrast with the falling water lighter semiquavers of the previous verses. Bass octaves climb ever upwards in semitones as the river overflows. The tremendous effort of the swim for survival is mirrored by a vocal line which also climbs ever higher until it reaches the bank of a high G fiat on the word 'Gott'. We do not remain there long as more trouble is afoot. No sooner are the last words of Verse 9 sung than Verse 10 begins, two beats later.

The traveller's trials now come thick and fast. It seems that Schubert is more in the mood to respond to natural disasters than man-made ones; this episode seems to have engaged his attention least in terms of illustrative detail. The felling of three villains is effected without much vocal or pianistic effort. At least the story is quickly told and the retreat of the defeated hooligans is amusingly commented on by the piano after 'die andern entweichen'. Although it seems that the composer has missed certain opportunities here, there is no doubt that the quick dispatch of this part of the story benefits the pace of the whole.

Even Goethe questioned the wisdom of this verse and wondered if it was likely that after a heavy dousing in rain and river the hero would be in danger of death by thirst a few hours later!

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The first three lines are weary recitative drugged by heat, supported by a blurred haze of tremolandi. After a great deal of hectic music this seems the right musical moment for a moment of repose. It is the music from this section that Schubert chose to use again in his opera of the same name a year later. In the cycle and in the opera and in this ballad this stream is so life-saving and so important that it has a magical quality; it bubbles forth with a type of holy water—holy at least to Schubertians.

The B flat section marked 'Langsam' of 'Und die Sonne blickt' seems almost too leisurely for someone who needs to hurry at all costs. However, the solemn moment which registers the beauties of nature is soon over. Could there ever have been more confusing climatic conditions within a space of a day, and within a few miles, than in this story? Let us be charitable and put everything down to the changeable island weather of Sicily which Goethe, if not Schiller, knew at first hand! From 'Und zwei Wand'rer sieht er' we return to a substantial fast movement marked 'Geschwind' which balances the storm music earlier in the piece.

The shape of the accompanying figure here is prophetic of the music for Viola Volume 3 from the sixth verse, 'Du Viola, zartes Kind. In the little scene with the majordomo Philostratus a confrontation between master and retainer which is often found in Greek theatre there is a touching melody in Verse 16 at 'Von Stunde zu Stunde', but by this time we almost want to shake the old man as he slowly recounts his news 'Etwas langsamer' when every second now counts. But this is part of the plan; in terms of tempo we have to reculer, pour mieux sauter.

The tempo becomes more agitated as our hero decides to return even if he is too late, and whatever the consequences. The statements of Verse 17 are the ultimate articles of faith of friendship. The piano interlude after und glaube an Lieb' und Treue' is of a tempestuous Beethovenian turn of phrase. The music is very directional; it bears down on the key of E flat as if pushing aside any onlookers and following a narrowing road into a city.

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Schubert manages to save one of the most powerful moments in the piece for the heartfelt cry of '"Mich, Henker! It seems to hit exactly the right note of distress and great-hearted self-sacrifice. The hushed piano interlude after his outburst is very simple but leads effectively into the dumbstruck music of the astounded crowd of verse These are the four blocks of chords separated by rests which effect the conversion of the tyrant—juxtapositions of fortissimo harmonies which reflect quizzical disbelief as well as the miracle of something extraordinary being revealed to someone formerly blind.

John Reed finds this music prophetic of Scarpia's chords in Tosca. If this is so one has to imagine here a converted Scarpia, or rather a Saint Paul on the road to Damascus.

The final aria for Dionysus is warmly genial, and suddenly humanised. He could pay the tyrant no higher compliment than to clothe him in new garments, the musical apparel of his own home town. Auf der Riesenkoppe D. An den Mond in einer Herbstnacht D. Blondel zu Marien D.

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Orest auf Tauris D. Berthas Lied in der Nacht D. An die Freunde D. Die Liebende schreibt D. Grenzen der Menschheit D. Der Blumen Schmerz D. An die Leier D. Die Liebe hat gelogen D. Du liebst mich nicht D. An die Entfernte D. Willkommen und Abschied D. Drang in die Ferne D.

Auf dem Wasser zu singen D. Die Mutter Erde D. Dass sie hier gewesen D. Du bist die Ruh D. Lachen und Weinen D. Lied eines Kriegers D. Die junge Nonne D. Der blinde Knabe D. Auf der Bruck D. An mein Herz D. Der liebliche Stern D.

Die Bürgschaft ("Zu Dionys"), song for voice & piano, D. 246

Der Wanderer an den Mond D. Der Vater mit dem Kind D. Glaube, Hoffnung und Liebe D. Lied der Anne Lyle D. Gesang der Norna D. Eine altschottische Ballade D. Vor meiner Wiege D. Der Wallensteiner Lanzknecht beim Trunk D. Pensa, che questo istante D. Son fra l'onde D. Auf den Sieg der Deutschen D. Die Befreier Europas in Paris D. Pflicht und Liebe D. Vedi quanto adoro D.

La pastorella al prato D. Gretchen im Zwinger D. Lied eines Kindes D. Franz Schubert set it to music twice: From Wikipedia, the free encyclopedia. This article is about the Schiller poem. Songs by Franz Schubert. Schubert's song cycles , including: What is universal history and why does one study it? Wirtembergisches Repertorium Thalia Die Horen. Retrieved from " https: