Schubert Songs for soprano: PART I
Exploring the Beauty of Schubert’s Music for Sopranos
Franz Schubert’s music is renowned for its unparalleled beauty and immense rewards, especially when it comes to vocal performances. For sopranos, though, there lies a dilemma that deserves exploration.
A Soprano’s Schubert Challenge
Picture this: you excitedly open up the first volume of the 200 Schubert Songs anthology, specifically curated for high voices, only to be greeted by two monumental and widely recognized song cycles – Die Schöne Müllerin and Winterreise. The twist? These cycles were originally crafted with male voices in mind.
Uncovering the Origins
The reason behind this conundrum can be traced back to Franz Schubert’s close association with Johann Michael Vogl, an aging yet extraordinarily expressive baritone. Remarkably, Schubert composed these iconic song cycles specifically for Vogl’s voice. Consequently, even when transposed to a higher key, these songs lean towards a more suitable range for male voices.
Embracing Soprano lirico leggero
Luckily, there are many fine Schubert songs for soprano voice. Here, we are focusing on those songs which are particularly useful for light, high soprano voice (lirico leggero).
Crafting a Schubert Lieder Program–for Sopranos!
Let’s look at a possible program of Schubert Lieder for soprano lirico leggero. You might be surprised at what you find!
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PROGRAM: PART I
Liebesbotschaft, (Schwanengesang) D. 957, No. 1
Frühlingsglaube, D. 686
Heidenröslein, D. 257
Die Forelle, D. 550
An die Laute, D. 905
Nähe des Geliebten, D. 162
Du bist die Ruh, D. 776
Liebe schwärmt auf allen Wegen, D 239
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Liebesbotschaft
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Metronome marking:
Tonic note pitch:
ACCOMPANIMENT ONLY:
FULL PERFORMANCE:
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Frühlingsglaube
(Click here to go to top.)
Metronome marking:
Tonic note pitch:
Frühlingsglaube
[HIGH VOICE]
DICTION TAPE:
ACCOMPANIMENT ONLY:
FULL PERFORMANCE:
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Heidenröslein
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Metronome marking:
Tonic note pitch:
Heidenröslein
[HIGH VOICE]
DICTION TAPE:
ACCOMPANIMENT ONLY:
FULL PERFORMANCE:
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Die Forelle
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Metronome marking:
Tonic note pitch:
ACCOMPANIMENT ONLY:
Also . . .[a little slower . . .]
FULL PERFORMANCE:
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An die Laute
(Click here to go to top.)
Metronome marking:
Tonic note pitch:
ACCOMPANIMENT ONLY:
https://youtu.be/2bPXliBT5IU
FULL PERFORMANCE:
https://youtu.be/88U-bmr0NV8
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Nähe des Geliebten
(Click here to go to top.)
Metronome marking:
Tonic note pitch:
ACCOMPANIMENT ONLY:
FULL PERFORMANCE:
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Du bist die Ruh
(Click here to go to top.)
Metronome marking:
Tonic note pitch:
ACCOMPANIMENT ONLY:
FULL PERFORMANCE:
https://youtu.be/PvdZ1xIgv08
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Liebe schwärmt auf allen Wegen
(Click here to go to top.)
Metronome marking:
Tonic note pitch:
ACCOMPANIMENT ONLY:
FULL PERFORMANCE:
https://youtu.be/gaUeKFUFFVg
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“What are all those ‘D’ numbers…?”
The “D”-plus-a-number entered after each Franz Schubert song title stands for “Deutsch”, as in, Otto Erich Deutsch. Mr. Deutsch compiled and published (in 1951) the latest, most comprehensive, and authoritative catalog of all of Schubert’s works in chronological order. For instance, the catalog incorporates compositions which, in earlier catalogues, were listed as “posthumous” (without opus number). Schubert’s works are so numerous, one can only marvel at what an accomplishment this was. Many thanks to Mr. Otto Erich Deutsch!