By David Schroeder
Audiences in addition to different artists have replied to Franz Schubert's song with ardour, either in the course of his time and some time past centuries. Many musicians, painters, writers, and filmmakers have felt a powerful bond with him, integrating his tune into their very own works in ways in which have given their works better intensity. Our Schubert: His Enduring Legacy analyzes a few of the makes use of of Schubert's song, interpreting the guy, his compositions, and the methods audiences and artists, either his contemporaries and their descendents, hook up with him.
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Extra resources for Our Schubert: His Enduring Legacy
2). Text and music now progress together toward a climax, clearly placed in sensual, erotic terms by the text. The key can remain in the stability of the relative major key (F major) as she describes his manner of walking and demeanor, “Sein hoher Gang, sein’ ed’le Gestalt” (“His fine gait, his noble form”), but as the description of him shifts to the parts of his body that arouse her, upward stepwise modulation quickly takes over. She moves from his smiling lips, the power of his eyes, and the magical tone of his voice to physical contact, first to the touch of his hand and then to his kiss.
Still, it turned out to be the beginning of the end for Schubert as a teacher. Schubert ended his unwanted career in the classroom at the age of twenty-one, surely glad to see the last of the little wretches in his care, but even more to sever the grasp of his stern father. He could escape the disagreeable surroundings of home by slipping over to his favorite neighbors, the Grobs, where he lived “like an adopted son in the house,”22 attracted not only by the lively music making there but also by the daughter of the house, Theresa.
For Goethe the figure of the mother can relate to his own mother, with both good and bad associations, including possible preoedipal notions of a son/mother relationship. 42 SPEAKING IN THE FIRST PERSON 29 The allure of the daughters may seem more straightforward, although not so for Goethe, whose relationship with his own sister complicated matters greatly. 44 The Erlking also represents a perverse father figure in comparison to the riding father who cradles his son, and the two fathers, one good and one bad, compete for the boy’s life; the illusionary father outwits the real one and wins the child.