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Franz Schubert
An Sylvia D.891 (William Shakespeare / Eduard von Bauernfeld)
Lucia Popp
Geoffrey Parsons
Live recording, London, 1.III.1982
Was ist Silvia, saget an,
Daß sie die weite Flur preist?
Schön und zart seh ich sie nahn,
Auf Himmelsgunst und Spur weist,
Daß ihr alles untertan.
Ist sie schön und gut dazu?
Reiz labt wie milde Kindheit;
Ihrem Aug’ eilt Amor zu,
Dort heilt er seine Blindheit
Und verweilt in süßer Ruh.
Darum Silvia, tön, o Sang,
Der holden Silvia Ehren;
Jeden Reiz besiegt sie lang,
Den Erde kann gewähren:
Kränze ihr und Saitenklang!
an silvia schubert 주제에 대한 자세한 내용은 여기를 참조하세요.
An Sylvia – Wikipedia
“An Sylvia”, D 891; Op. 106, No. 4, is a Lied for voice and piano composed by Franz Schubert in 1826 and published in 1828. Its text is a German translation …
Source: en.wikipedia.org
Date Published: 7/29/2022
View: 6963
An Sylvia, D.891 (Schubert, Franz) – IMSLP
An Sylvia, D.891 (Schubert, Franz) ; Year/Date of CompositionY/D of Comp. 1826 ; First Publication. 1828 ; Librettist, William Shakespeare (1564-1616) Eduard von …
Source: imslp.org
Date Published: 4/30/2022
View: 1612
An Silvia | Song Texts, Lyrics & Translations | Oxford Lieder
Kränze ihr und Saitenklang! Who is Sylvia. William Shakespeare. Who is Silvia? what is she,. That all our swains …
Source: www.oxfordlieder.co.uk
Date Published: 12/16/2022
View: 5342
An Silvia ‘Gesang an Silvia’, D891 (Schubert) – from CDA66136
Capell also rightly says that ‘Schubert has ousted the gentlemen of Verona and made Silvia his own’. It is clear that the composer is enchanted by the lyric. As …
Source: www.hyperion-records.co.uk
Date Published: 1/29/2021
View: 4639
Schubert: An Silvia by Isabelle Druet on Amazon Music
Check out Schubert: An Silvia by Isabelle Druet on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on Amazon.com.
Source: www.amazon.com
Date Published: 1/3/2022
View: 8010
An Sylvia (SATB ) by Franz Schubert/arr. Rag – JW Pepper
Buy An Sylvia (SATB ) by Franz Schubert/arr. Rag at jwpepper.com. Choral Sheet Music. Translated as Who Is Silvia?, this Schubert chamb.
Source: www.jwpepper.com
Date Published: 11/27/2022
View: 9375
Schubert – An Sylvia – Art Song Central!
Who is Silvia? What is she, That all our swains commend her? Holy, fair, and wise is she; The heaven such grace d lend her …
Source: artsongcentral.com
Date Published: 10/27/2021
View: 6283
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주제에 대한 기사 평가 an silvia schubert
- Author: incontrario motu
- Views: 조회수 54,053회
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- Date Published: 2015. 5. 23.
- Video Url link: https://www.youtube.com/watch?v=2IKaIZH56-4
An Sylvia
Lied Schubert
“An Sylvia”, D 891; Op. 106, No. 4, is a Lied for voice and piano composed by Franz Schubert in 1826 and published in 1828. Its text is a German translation by Eduard von Bauernfeld of “Who is Silvia?” from act 4, scene 2, of The Two Gentlemen of Verona by William Shakespeare. “An Sylvia” was composed during a peak in Schubert’s career around the time he was writing the Ninth Symphony “Great” (D 944), two years before his death.
Creation [ edit ]
Although considered to be myth, it is said that Schubert first came up with the idea to write “An Sylvia” as he was walking in Vienna and entered a beer garden with friends.[1] There, he found a volume of Shakespeare on a table and as he was reading, he apparently exclaimed, “Oh! I have such a pretty melody running in my head. If only I had some paper!”[1] His friend drew staves on the back of a menu, and, as it came to his head, Schubert spontaneously wrote melodies to the words he was reading in the play.[1]
The handwritten score was originally entitled “Gesang” and appeared within a small booklet labeled Währing, July 1826 (Währing was a town outside of Vienna where Schubert stayed with his friend Franz von Schober).[2] The score had no tempo markings and served as Schubert’s only draft of “An Sylvia” which allowed him to write additional notes in the score over time as ideas came to him.[2] In addition, the title “Gesang” was crossed out and instead “An Sylvia” was written in its place.[2] “An Sylvia” became one of three Shakespeare texts set to music by Schubert; the other two are “Ständchen” (“Hark, hark! the lark”) and “Trinklied” (“Bacchus, feister Fürst des Weins”, D 888).[3]
Schubert’s friend, Franz von Schober, kept the original manuscript and managed Schubert’s music after the composer’s death.[2] After the Lithographic Institute of Vienna published “An Sylvia” in 1828, Schober published it himself shortly after. In 1829, “An Sylvia” was assigned opus number 106 after Anton Diabelli published the work.[2]
Composition [ edit ]
“An Sylvia” is written in the key of A major with a time signature of alla breve. A four-bar introduction by the piano is followed by 25 bars, a strophic form identical for each stanza. The song is in bar form, which follows a pattern of A–A’–B: a main melody, or Stollen in German, followed by an ending melody known as the Abgesang. The majority of the piece stays in close proximity to the tonic and is generally simplistic in form.[2] However, the second phrase of the Stollen (A’) is the only phrase that passes through the third scale degree and demonstrates Schubert’s ability to bring out emotional qualities through unexpected changes in the harmonization.[4] In addition, the B section is the only phrase to cadence on the tonic. Other key features of “An Sylvia” include an echo on the piano at the ends of phrases, ascending figures in the piano accompaniment’s bass, and a separate melodic figure in the piano’s top (treble) staff at the end of the B phrase. All of these characteristics demonstrate Schubert’s emphasis on interdependency between the melody and the accompaniment.
Text [ edit ]
The poem introduces Sylvia who is characterized as a beautiful, fair, and innocent woman admired by her suitors. The question becomes whether or not Sylvia is as kind as she is attractive, because only kindness can make her beautiful. When Sylvia is in love with one of the suitors, her eyes appear softer, helping the suitor to see that she is a kind and caring person.
Was ist Sylvia, saget an,
dass sie die weite Flur preist?
Schön und zart seh’ ich sie nahn,
auf Himmels Gunst und Spur weist,
|: dass ihr Alles unterthan. 😐
Ist sie schön und gut dazu?
Reiz labt wie milde Kindheit;
ihrem Aug’ eilt Amor zu,
dort heilt er seine Blindheit,
|: und verweilt in süßer Ruh’. 😐
Darum Sylvia tön’, o Sang,
der holden Sylvia Ehren!
Jeden Reiz besiegt sie lang,
den Erde kann gewähren:
|: Kränze ihr und Saitenklang! :|[5]
Who is Silvia? What is she,
That all our swains commend her?
Holy, fair, and wise is she;
The heaven such grace did lend her,
That she might admirèd be.
Is she kind as she is fair?
For beauty lives with kindness.
Love doth to her eyes repair,
To help him of his blindness,
And, being helped, inhabits there.
Then to Silvia let us sing,
That Silvia is excelling;
She excels each mortal thing
Upon the dull earth dwelling:
To her let us garlands bring.[6]
Dedicatee [ edit ]
Schubert dedicated “An Sylvia” to one of his donors, Marie Pachler, a successful woman, talented pianist and composer from Graz who knew Beethoven personally and enjoyed bringing musicians over to her house for entertainment.[7]
An Sylvia, D.891 (Schubert, Franz)
Arranger Unknown Language English Pub lisher . Info. The School Music Review, No.341.
London: Novello & Co. Ltd. , 1920. Copyright Misc. Notes From uploader’s collection. Arrangement for SA. Purchase Javascript is required for this feature.
An Silvia | Song Texts, Lyrics & Translations
Baron Eligius Franz Joseph von Münch-Bellinghausen was an Austrian dramatist, poet and novella writer of the Austrian Biedermeier period and beyond, and is more generally known under his pseudonym Friedrich Halm.
He was the son of a district judge at Kraków in Poland, at this time part of the Austrian Empire.[2] Early in his literary career he adopted the nom de plume of Friedrich Halm (“Halm” means a blade of grass or a blade of straw), and became one of the most popular dramatists in Vienna around the middle of the 19th century. His novellas are now regarded as more significant from a literary point of view than his dramatic writings.
Münch-Bellinghausen was educated at the seminary of Melk Abbey and later at Vienna, where he studied philosophy and jurisprudence, and where he began his career in 1826.[2]
As a boy he took a keen interest in the theater, and from 1833 enjoyed the friendship of his former teacher, the Benedictine Michael Leopold Enk von der Burg, who encouraged the poet to offer his drama Griseldis to the Hofburg theatre. [3] Its successful production in 1835 established Halm’s reputation as a playwright and henceforth he continued to write for the stage with varying success.
Münch-Bellinghausen became Regierungsrat (government councillor) in 1840 and Kustos (chief keeper) of the Court Library in 1844, a position that Grillparzer had sought in vain. He was elected member of the Austrian Academy of Sciences in 1852, and life member of the Austrian Herrenhaus in 1861. In 1867, he was appointed superintendent of the two court-theatres, but three years later resigned this position which disputes had made distasteful to him. His health also had been failing.
An Silvia ‘Gesang an Silvia’, D891 (Schubert)
This lyric is from the playwhich is difficult to date. It is taken by many scholars to be an early Shakespeare play, but it was first published in the 1623 Folio and there is no record of a pre-Restoration performance. It features two lovers (Valentine and Proteus), two ladies (Silvia and Julia) and two servants (the quick-witted Speed and the bumpkin Launce). This shows a debt to the writing of the Bard’s predecessor John Lyly, but there is also a strong commedia dell’ arte influence. The plot concerns the wooing of the lady Silvia, daughter of the Duke of Milan, by three suitors: Valentine, the preferred lover; Proteus his rival; and Thurio, a poltroon. This song takes place in Act IV Scene 2. The true lover Valentine has been banished from Milan, his plans to elope with Silvia betrayed to the Duke by Proteus. Thurio has also been duped by Proteus into believing that he has a chance to win Silvia’s hand. At Proteus’s suggestion, Thurio engages musicians to serenade Silvia in front of her bedroom window – and thus this lyric is sung by neither of Silvia’s serious suitors, rather by a small men’s chorus. The question as to Silvia’s finer qualities may be taken to be the genuine curiosity of outsiders hired for a gig; in context the lyric has a humorous edge which recalls the artistic efforts of the mechanicals in. Capell writes that the piano here is ‘idealization of a rustic music’.
Capell also rightly says that ‘Schubert has ousted the gentlemen of Verona and made Silvia his own’. It is clear that the composer is enchanted by the lyric. As he sat in Schober’s house at Währing, outside Vienna, his thoughts must have been on his friend Eduard von Bauernfeld who was having a holiday in the very same part of the world where the composer had spent such a wonderful summer the year before. Bauernfeld’s literary skills embodied Schubert’s operatic hopes, and the composer was impatient for the libretto of Der Graf von Gleichen to which he knew the poet was putting the finishing touches. What better home-coming present for Bauernfeld than a setting of his own translation (from the Wiener Shakespeare Ausgabe of 1825) of such a lyric?
The strummed-lute accompaniment of the right hand in quavers is already familiar from such a song as Florio. The mood here is utterly different however. Instead of tortured melancholy, merry geniality holds sway. The composer has decided to give the tenor ‘lead’ to a single voice, but he is true to Shakespeare in that the accompaniment suggests more than one musician. The left-hand figurations are those of a born comedian, a jazz bass player before his time, expert in cheeky interjections which add that essential ingredient of ‘swing’ to a hit, and which render him as much of a soloist as the singer. As the phrase ‘Who [dotted minim] is Silvia?’ is elongated by the voice in languid rapture, the bass more impatiently asks ‘Who is Silvia?’ in diminution, very properly treating the name as having only two syllables, and nudging the music forward as if to say with a wink, in this staccato version, ‘Go on, tell me!’ From time to time this bass figure yields as the pianist’s fingers are put to more legato use: the words ‘Flur preist’ are echoed in the soprano register as the left hand crosses the right, and gently sighs its approbation on a swooning suspension. There is another echo (modified this time for harmonic reasons) after ‘Auf Himmels Gunst und Spur weist’, although its most touching use is in the second strophe after the words ‘Dort heilt er seine Blindheit’. Here the pianist should have the feeling that in stroking the balm-like chord of the ninth which resolves on a dominant seventh, it is his very fingers which are healing Cupid’s blindness, like Oberon’s magic potion rendered into music. The melody itself is a miracle of inevitability; even the octave jumps in minims at ‘Dass – ihr al-les’ which seem eccentric on paper (and which are perhaps not the best German word-setting) are unarguably right. After having taken a lot of trouble (in vain) to make certain that his Scott songs could be made to fit the English originals, Schubert seems to have completely underestimated the potential of this song (and that of Ständchen) as far as the English market was concerned. Both songs can easily be sung to the English texts, but it seems unlikely that Schubert had access to these in Währing.
The manuscript of this song, written in a small book of pocket size with staves ruled by the composer himself, came to light in Hungary as recently as 1969. This shows us that the legend behind the Shakespeare songs (that they were written on menu cards and so on) was apocryphal, although one of the composer’s friends might have mistaken this small book for something the size of a menu. Schubert seems to have written the song down as both first draft and finished copy – although we can see in looking at the manuscript that the echo effects, as the pianist crosses hands, were added as an afterthought.
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An Sylvia (SATB ) by Franz Schubert/arr. Rag
Franz Schubert/arr. Ragnar Bohlin
– Hinshaw Music, Inc.
Translated as Who Is Silvia?, this Schubert chamber work for solo voice is now adapted for mixed choir. Text is in German throughout; an English translation is provided in the introductory notes.
Schubert – An Sylvia
Title: An Sylvia (D. 891)
English Title: Who is Sylvia?
Composer: Franz Schubert (1797-1828)
Author (German Text): Eduard von Bauernfeld (1802-1890)
Author (Original English Text): William Shakespeare (1564-1616)
Free at Art Song Central (PDF files):
Elsewhere on the Internet:
Mp3:
MIDI:
In German:
In English: (The original language of the text, which also works with Schubert’s setting.)
Who is Silvia? What is she,
That all our swains commend her?
Holy, fair, and wise is she;
The heaven such grace did lend her,
That she might admirèd be.
Is she kind as she is fair?
For beauty lives with kindness.
Love doth to her eyes repair,
To help him of his blindness,
And, being helped, inhabits there.
Then to Silvia let us sing,
That Silvia is excelling;
She excels each mortal thing
Upon the dull earth dwelling:
To her let us garlands bring.
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