Ihr Bild (Her Portrait), however, depicts a different kind of loss from Der Atlas. In this song, the poet is not faced with the stinging blow of rejection, but of the death of his beloved. He stands staring at the portrait of her who once filled his life with joy. He fancies that her image comes to life—her lips smile, and her eyes sparkle from tears of sadness. Then the poet’s own tears flow as he struggles to accept the loss his beloved.
Quiet, bare octaves begin Schubert’s setting of Heine’s poem, which then accompany an equally bleak vocal melody that depicts the tortured dreams of the poet. Following the half cadence that closes the first two lines of the opening stanza, Schubert brings the woman’s portrait to life in a shift to the key of the tonic major and the appearance of a four-voiced accompaniment beneath the affectionate vocal melody. The mood remains tender through the second stanza as the narrator envisions his beloved’s smile and tears, though its subdued dynamic (pianissimo) and the bare octaves that open each phrase keep close at hand the dismal reality that exists on the edge of consciousness. The final stanza is set to the same music as the first, completing the song’s tripartite form. However, the major key ending of the first stanza is thwarted as the piano pulls the music back into the minor mode for the final cadence. Joseph DuBose
This recording of Schwanengesang was made in the 1950s.
Classical Music | Baritone
Franz Schubert
Ihr Bild, from Schwanengesang Play
Recorded on 12/31/1969, uploaded on 01/22/2014
Musician's or Publisher's Notes
Ihr Bild
Ihr Bild (Her Portrait), however, depicts a different kind of loss from Der Atlas. In this song, the poet is not faced with the stinging blow of rejection, but of the death of his beloved. He stands staring at the portrait of her who once filled his life with joy. He fancies that her image comes to life—her lips smile, and her eyes sparkle from tears of sadness. Then the poet’s own tears flow as he struggles to accept the loss his beloved.
Quiet, bare octaves begin Schubert’s setting of Heine’s poem, which then accompany an equally bleak vocal melody that depicts the tortured dreams of the poet. Following the half cadence that closes the first two lines of the opening stanza, Schubert brings the woman’s portrait to life in a shift to the key of the tonic major and the appearance of a four-voiced accompaniment beneath the affectionate vocal melody. The mood remains tender through the second stanza as the narrator envisions his beloved’s smile and tears, though its subdued dynamic (pianissimo) and the bare octaves that open each phrase keep close at hand the dismal reality that exists on the edge of consciousness. The final stanza is set to the same music as the first, completing the song’s tripartite form. However, the major key ending of the first stanza is thwarted as the piano pulls the music back into the minor mode for the final cadence. Joseph DuBose
This recording of Schwanengesang was made in the 1950s.
Courtesy of YouTube
More music by Franz Schubert
Der Wanderer an den Mond
Tränenregen, from Die schöne Müllerin
Moment musicaux, D. 780 No. 4
Erlkönig
Piano Sonata D. 958, Finale: Allegro
Sonata in B-flat Major, Op. 30, D617
Impromptu Op. 90 No. 2 in E-flat Major, D. 899
Notturno
Standchen, Lieder for Flute and Piano
Impromptu No. 2 in E-flat, Op. Posth. D.946
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