Hearing the suite "Dieschonemüllerin Beautiful Mill Girl", we get to know the sunny and cheerful young miller, and at the same time, like reading the miller's diary, we learn about his unrequited love story for the mill girl, and after the first two parts, the whole suite is about to enter the emotional climax of the whole suite at the halfway point. Although the tenth song of the suite is called "Tr Nenregen Tears and Rain", the first line of the opening lyrics, "I sat intimately with her in the shade of the alder tree", makes people naturally break away from the somewhat crazy confessions of the previous songs and feel the sweetness and heartbeat of the beginning of love.
As a continuation of the two parts, the tenth song, "Tr Nenregen Tears and Rain", still maintains the mode of stanza song for most of the length, using the same melody in three consecutive sections to advance the plot, while maintaining the crazy atmosphere of unrequited love. These three lyrics depict the scene as beautiful, with a quiet night, a clear stream, a bright moonlight, twinkling stars, a swaying forget-me-not, and young men and women in the shade of poplar trees. In order to set off such a picture with **, Schubert wrote the piano part of the whole art song lightly and subtly, like a **box accompanying young men and women, crisp and not noisy.
wirsaßen so traulich beisammen
imkühlen erlendach,wirschauten so traulich zusammen
hinabin den rieselnden bach.
dermond war auch gekommen,diesternlein hinterdrein,undschauten so traulich zusammen
inden silbernen spiegel hinein.
I sat intimately with her in the shade of the alder trees, and I gazed melancholy at the clear flow of the stream.
The moon rises in the sky, the stars are blinking, and we silently look at the moon in the water, like silver light flashing in the bright realm.
ichsah nach keinem monde,nachkeinem sternenschein,ichschaute nach ihrem bilde,nachihren augen allein.
undsahe sie nicken und blicken
heraufaus dem seligen bach,dieblümlein am ufer, die blauen,sienickten und blickten ihr nach.
undin den bach versunken
derganze himmel schien
I don't look at the bright moon in the sky, I also look at the twinkling stars, I only look at her beautiful figure and her charming eyes.
She looked down at the stream, as if envious of its calmness, and the blue forget-me-nots on the shore were nodding in salute to her.
The creek is so peaceful now, the moon illuminates the night sky, undwollte mich mit hinunter
inseine tiefe ziehn.
undüber den wolken und sternen,darieselte munter der bach
undrief mit singen und klingen:
geselle,geselle, mir nach!
I would like to jump into the cool water and be at peace in its bosom forever.
Beyond the reflection of the clouds and the stars, the stream still flows lively, and calls to me with a song: "Come, Partner, throw yourself into my arms."
Like several stanza songs in the previous section, the young and romantic grinder is too emotional, so that he is always witty when he pours out his emotions, but when he really stays with his sweetheart, it is difficult for his feelings to reach his sweetheart because of timidity, shyness or low self-esteem. A careful reading of the lyrics of this song "Tr Nenregen Tears and Rain" reveals this subtle sense of disobedience, the young miller and the mill girl's gaze never seems to be on a beat, whether the young miller's gaze wanders in the scenery or lingers on the girl, the girl always looks down at the flowing stream, looking embarrassed and cramped.
dagingen die augen mir über,daward es im spiegel so kraus;
siesprach: es kommt ein regen,ade,ich geh' nach haus.
Tears welled up in my eyes, the waves were rushing on the water, and she said: The storm is coming, let's go home quickly.
Of course, such a rare opportunity to be alone, the young grinder did not want to let go, just when his protagonist was difficult to drown in his heart, his eyes began to be full of tears, and he wanted to express his heart to the girl, but the girl suddenly interrupted this rare tryst time with the reason of "it is about to rain", and completely broke up the young grinder's courage to confess. There are many ways to interpret this story from the text, but Schubert gives his own interpretation with a changed **.
Example 1: Abrupt transposition at the end.
In this last short section, Schubert's major key, which had lasted for most of the work, suddenly turns into a minor key, making the simple stanza a variational stanza. The warm atmosphere that has been maintained for a long time is completely broken, and when describing the girl's movements in the last two sentences, he uses a lot of unstable chords, so that the direction of emotions suddenly turns sharply from ambiguous and warm, which makes people feel a little sad. One can imagine the scene where the tears in the eyes of the young miller were knocked to the ground by the girl who got up to leave, completely shattering the previous plane picture. What's even more interesting is that when the girl really leaves, the tone briefly turns back to the major, and here Schubert's description of the mood of the young miller with the tone can be said to be nuanced, and the mood of wanting to talk and rest is vividly expressed. And the whole art song is finally confined to a minor key, which once again emphasizes the sense of tragedy and also gives a hint of the subsequent development of the plot.
Song 11 "mein!"."Belong to Me" is the first climax of the whole suite, and it is an art song with the most direct language and the most intense emotions in the whole suite. In the previous successive tactful and romantic stanza songs, the young miller is accustomed to pinning his feelings on a certain thing or a certain landscape, hoping to let the mill girl understand his mind through such emotional substitution, but in this song "mein!".In "Belong to Me", the young grinder rarely confidently declares to nature that the girl will belong to him, and such a unique emotion also makes this art song the heaviest and more alternative in the suite, and the emotional surging one.
bächlein,laß dein rauschen sein!
räder,stellt euer brausen ein!
all'ihr muntern waldvögelein,großund klein,endeteure melodein!
durchden hain
ausund ein
schalleheut' ein reim allein:
diegeliebte müllerin ist mein!
mein!Stop making noise in the brook, be silent about the waterwheel, stop singing the joyful birds, stop singing, stop singing.
The same song echoed everywhere in the fields, and the same song echoed everywhere in the fields, and the lovely mill girl belonged to me. The lovely mill girl, she belongs to me.
This art song is much more positive and sunny than the previous euphemistic stanza songs, the young miller asks in ecstasy for all that the brook and river nature has to rejoice with him, and when you first hear it, it will be reminiscent of the first song of the suite, and it seems that after getting his sweetheart, the young miller jumped out of the quagmire of unrequited love and reappeared his sunny and cheerful appearance.
This art song adopts a single-tripartite structure with reproduction of a-b-a. The phrase that appears at the beginning of the A section with a continuous third jump and progression is very similar to the treatment of the first piece of the suite, and I believe that this is a re-reference of Schubert's sunny image of the young miller that he had created before, to express the mood of the miller now.
Example 2: A continuous small third jump at the beginning of the section.
The whole A part is the young grinder's mood is extremely high, and he can't let the whole world know that he has been declared love, not only repeating the poem twice at the beginning and end, but also naturally repeating some important verses between the lines, which plays an emphatic role.
Because of the continuous fragment form of the suite, we cannot know the real condition of the young miller and the miller girl at this time, in fact, whether from the ** or from the text, we cannot firmly judge what happened to them in the time between the tenth and eleventh songs, and the official confession of the young miller was accepted? Or is it the young grinder's self-talk derived from some detail of how the two get along? This also caused many people to have different opinions on the relationship between the two here, but Schubert was very naughty and gave ambiguous hints in many places, such as the sudden change of tone at the end of the tenth song of the suite "Tr Nenregen Tears Rain", and in this song, after such an excited confession and announcement, when entering the B part, Schubert did not continue to push the emotions of the young miller, nor did he describe some longing for the future life of the two but turned to B flat major, Then it shifts to G minor, which seems to imply that the previous announcement is not so certain, and the relationship between the two is still ambiguous.
Example 3: Ambiguous tonal changes.
At the same time as the tonality changes, the lyrics also change at the same time, the young miller once again uses the scenery as a metaphor for the mill girl, and seems to return to the self-absorbed rhythm of the previous stanza songs, perhaps the young miller wants to share his excitement with more people in the B section, but he is struggling to find someone who understands him, but here, my opinion is more inclined to the young miller is not confident enough in the fruit of his love, and the proof has not been sufficient, so he is psychologically comfortable, and returns to the state of suffering from gains and losses in unrequited love.
frühling,sind das alle deine blümelein?
sonne,hast du keinen hellern schein?
ach,so muß ich ganz allein
mitdem seligen worte mein
unverstandenin der weiten schöpfung sein!
In spring, how can the flowers compare to her gorgeousness, how can the sun compare to her luster, I am extremely happy, life is full of joy, as if entering an incomparably wonderful new world.
In addition, there is another detail in the seemingly positive and sunny Part A, where Schubert deliberately adds a minor chord after the young miller sings out the phrase "She is mine", the intention here is that it is difficult to speculate with common sense, perhaps we can simply understand that Schubert is not optimistic about the love in the story outside the painting, or is it a kind of irony of the image of the young miller reflected in his own heart?
In any case, in the psychology of the young grinder, his love did come to fruition, and he poured out the emotions that had been accumulated in several tactful stanza songs, and ignited the emotions of the entire first half with a warm announcement such as "she is mine", and it became the most emotional and courageous song in the whole suite.
The title of the twelfth song of the suite is "Pause", which seems to be very inconsistent when placed behind the eleventh song that has just announced love, but in fact, it is not love that the young miller wants to pause, but what he likes**, which is a very strange move from the current point of view, but in 19th century European society there is indeed a contradictory idea that "love and art cannot coexist". Therefore, for the sake of love, the young miller must pause** and put his beloved lyre on the shelf.
This kind of abandonment also implies that the young miller has lost himself in love, and also lays the groundwork for the tragic love that follows, so in this art song, the contradiction between ** and love, the contradiction between lovers and self, and the minor key tragedy clues that have been ambiguously hinted at before are also manifested in this art song, which is the most emotionally rich and complex one in the suite.
Example 4: The piano part imitates the accompaniment of the lyre.
In the previous art song, the B-flat major in section B becomes the main key of this one, symbolizing the beginning of the spread of doubts and uncertain feelings about love in the B section, and the prelude of this art song is no longer a simple chord breakdown, but restores the effect of the plucked lyre, and the corresponding song "Pause" is one of the few in the lyrics that does not mention the creek at all.
Example 5: The beginning continues the B-flat major key of the eleventh song.
The prelude composed of such a tonal and rhythmic pattern also completely eliminated the excited emotions in the previous art song, and re-led the new mood for this suite, in addition, this art song is very subtle to separate the contradiction between love and ** and the contradiction between lovers and self. Schubert puts the contradiction on the surface, that is, "love and art cannot coexist", mainly in the lyrics of the text, and it can be seen that the long and short sighs of the young miller revolve around the contradiction between love and **.
meinelaute hab' ich gehängt an die wand,hab'sie umschlungen mit einem grünen band -
ichkann nicht mehr singen, mein herz ist zu voll,weißnicht, wie ich's in reime zwingen soll.
meinersehnsucht allerheißesten schmerz
durft'ich aushauchen in liederscherz,undwie ich klagte so süß und fein,glaubt'ich doch, mein leiden wär' nicht klein.
ei,wie groß ist wohl meines glückes last,daßkein klang auf erden es in sich faßt?
My lyre is often hung high on the wall, with a beautiful green silk ribbon.
Even though I had a thousand words in my heart, I didn't have the courage to play it.
My longing has made my heart tingle, my heart needs to be expressed to her, I am anxious to pour out the words of my heart, and the torment of love makes me unable to extricate myself. But a deeper analysis of the ** part of this art song, we can feel that the vocal part of this art song and the harmony of the piano accompaniment obviously have a sense of alienation, on the one hand, because the chord decomposition that we are familiar with representing the creek is replaced by the role of the lyre, and on the other hand, it is also another contradiction buried in the shadows of Schubert, that is, the contradiction between lovers and self.
Interestingly, in this art song, the melody changes from G minor to major several times, and this transition always occurs when the young miller mentions him, and whenever the key is turned back to minor, it is the young miller's sentence mentioning his suffering, and it is difficult to say whether this is Schubert's own answer to the contradiction between ** and love when he wrote.
nun,liebe laute, ruh' an dem nagel hier!
undweht ein lüftchen über die saiten dir,undstreift eine biene mit ihren flügeln dich,dawird mir so bange, und es durchschauert mich.
warumließ ich das band auch hängen so lang?
oftfliegt's um die saiten mit seufzendem klang.
istes der nachklang meiner liebespein?
solles das vorspiel neuer lieder sein?
I'm enduring a merciless whipping, who can convey this affection for me.
The beloved lyre hangs high on the wall, it is often gently blown by the breeze, and it is often unintentionally flapped by the wings of the bees, which makes my heart beat and makes me secretly wonder why the green ribbon is hung high on the wall, and the strings lament the pouring of fate.
Is it an echo of the pain of my love, or is the prelude to that new song about to burst out?
At the end of the twelfth poem, "Pause", the text once again mentions the green ribbon that hangs the lyre, and at the same time puts the contradiction between lovers and self on the surface, in which "why let the green ribbon hang high on the wall, let the strings lament the pouring of fate." Is it an echo of the pain of my love, or is the prelude to that new song about to burst out? This sentence is particularly touching and, in a sense, represents the young miller's deep pessimistic vision of the fruits of this love. At the same time, this phrase also leads to the last piece of the suite, "Mitdem Grünen Lautenbande's Green Lute Ribbon".
This art song once again returns to the format of the stanza song, and at the same time returns to the beautiful and sunny melody, the whole process of singing the art song seems to be immersed in happiness, and the clues and hidden dangers buried by Schubert with transposition and other techniques seem to have disappeared, but in fact, this art song is also the last happy moment in the second half.
schad'um das schöne grüne band,daßes verbleicht hier an der wand,ichhab' das grün so gern!«
sosprachst du, liebchen, heut zu mir;
gleichknüpf' ich's ab und send' es dir:
nunhab' das grüne gern!
istauch dein ganzer liebster weiß,sollgrün doch haben seinen preis,undich auch hab' es gern.
weilunsre lieb' ist immergrün,weilgrün der hoffnung fernen blühn,drumhaben wir es gern.
nunschlinge in die locken dein
dasgrüne band gefällig ein,duhast ja's grün so gern.
dannweiß ich, wo die hoffnung wohnt,dannweiß ich, wo die liebe thront,dannhab' ich's grün erst gern.
I'm ashamed of my green ribbon, let it lose its luster on the wall, how lovely the green color is.
My dear, you said you were coming, and I would like to give you a green ribbon, how lovely the green color is.
Although pure white is beautiful, the green color is more popular and the green color is more lovely.
May our love endure, and may the flowers of hope always bloom. We all love green.
Please use this green ribbon to tie up your blonde hair, you love this green ribbon too, you love this green ribbon too.
We all have the same desires, and love will always be there.
Green is the cutest color.
The green ribbon, the young miller, was now intoxicated with the joy of first love, for the girl liked the color green, and green was a symbol of hope and youth.
Love. So he immediately untied the green ribbon tied to the lute and offered it to his beloved, the beautiful miller, to decorate his style.
In this art song, the young miller seems to have completely broken the pain and entanglement he poured out in the previous song, the text and ** returned to complete harmony, and the two contradictions proposed in the previous song were completely eliminated, but Schubert used the theme of this text to dedicate the green ribbon to the mill girl in the process, and gradually gave up his whole self, since the self does not exist, then the ** hobby and self-worth that contradict love will lose its meaning, and the contradiction does not exist.
In analyzing this part of "The Beautiful Mill Girl", I also saw some opinions from the eleventh song "Mein!".At the beginning of "Belong to Me", the young miller entered into a fantasy, and the so-called love between him and the mill girl did not actually exist, and I personally do not agree with this view, and in the second part of the analysis, we talked about the "Beautiful Mill Girl" suite, in which some of Schubert's shadows of Sdail's life are projected. In the previous analysis, we have also analyzed many times from the technique of **, when looking at this love, Schubert is expressing his attitude with the help of **, those extremely beautiful confessional melodies, those dissonant chords with irony, are obviously with the author's emotions and hearts, it is difficult to imagine that this emotion is imaginary out of thin air.
In addition, although Schubert began the composition of this suite in March 1823, unfortunately in the process of writing, Schubert delayed the progress due to illness, and it was not until October that Schubert broke free from the vileness, disaster and misery of the hospital, and completed the suite between October and November of that year, so the entire second half of the ** felt shrouded in a faint pessimistic atmosphere, even the thirteenth piece of the suite, "Mitdem." Grünen Lautenbande's Green Lute Ribbon has a subtle melancholy that contrasts with the sunny joy at the beginning of the suite, even though the melody is bright.
*The article is from Zhihu
Tenor in France, the highest diploma of the ** Academy of Marseille, France: Wang Shaocong
Performances recommended
Show time. Thursday, January 11, 2024 19:30
Venue: Changsha ** Hall, Xiangjiang Hall.
Ticket prices for the show. 680 480 280 180 80 (Huimin ticket).
Combo ticket for two. 480*2=768 yuan.
280*2=476 yuan.
Children under 1 meter will not be allowed to enter this performance.
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Programme].
Schubert: "The Beautiful Mill Girl", d 795
das wandern.
wohin?Where to go?
halt!Stop.
Danksagung An den Bach thanks to the creek.
Am Feierabend Outside of work.
der Neugierige doubts.
The Ungeduld couldn't wait.
Greetings from the morgengru morning.
The flower of the Müllers Blumen.
tr nenregen rain of tears.
mein!It's mine!
pause.
Mit dem Grünen Lautenbande green ribbon.
Der J Ger Hunter.
Eifersucht und Stolz is jealous and arrogant.
Die Liebe Farbe lovely colors.
Die B se Farbe nasty color.
Trockne Blumen's withered flowers.
Der Müller und der Bach Mill mill with stream.
Lullaby of the des Bakes Wiegenlied Creek.
The specific repertoire and sequence are subject to the day of performance.
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