I really like the melodic movement of both the melody and the basslines of the second piece. I was enjoying the suspensions in the bouncing left hand. The 3rd piece, in contrast, is legato, sustained, and constantly flowing and going somewhere. I like the inner movements (to extend the harmonic time/create suspensions?) around 2 minutes.

October 1, 2013 at 12:54 am

consistently highest note is “never”, chords at 1:47 sound like the few optimistic moments, very repressing sense overall though in Gretchen am Spinnrade

October 1, 2013 at 3:14 am

Erlkönig is a great example of how Schubert uses the piano to heighten the meaning of the text. Throughout most of the song, the texture in the RH consists of unceasing repeated triplet octaves or chords to convey the father riding on his horse. But on the 3rd page, 2nd system, the texture changes to playful alternations of octaves and chord between the left and right hands, where the text is the voice of the Erlkönig (“You sweet child, come along with me / such wonderful games I’ll play with you”). The texture changes again when the Erlkönig speaks on the 4th page, 4th system, with a “rocking” arpeggiated motion in the right hand (“they will rock you and dance you and sing you to sleep”). On the very last page Schubert gives the piano the loudest dynamic yet, fff, and adds more sforzandi. This combined with the accelerando creates a huge sense of urgency as the father rides even more swiftly.

October 1, 2013 at 3:29 am

Texture change in the Winterreise movement at 1:40, really brings out the text of the piece and a different mood that is needed to contrast the opening.

October 1, 2013 at 2:13 pm

Piano is no longer only a accompany in Schubert’s music, especially in songs. He wrote the equal parts for both pianist and singer and they support each other to make fantastic music. The way Schubert set up music emotion is also interesting. Different rhythms could simply describe emotions, moods and atmospheres.

October 1, 2013 at 2:52 pm