Ganymed- Franz Schubert
A mindmap covering the main points of an analysis of Schubert's setting of "Ganymed".
- Created by: Beth Haworth
- Created on: 12-05-13 19:45
View mindmap
- "Ganymed" (Franz Schubert)
- Scholars' views
- Suzannah Clark
- There is no scholarly consensus regarding how the harmony should be seen in Schubert's "Ganymed" but scholars agree the directional tonality reflects Ganymed being carried off to the heavens.
- Lawrence Kramer
- Music "strives upwards". Intensity increases on each occurrence of "all liebender vater".
- Each occurrence is illustrated with a cadential progression- according to Kramer this begins as a Half Cadence, then becomes a weak PAC (with a suspension over it) before finally reaching a strong PAC in the last line. The melody also becomes progressively more decorative.
- Section 1= bars 1- 46, concentrates on the Half Cadence. Tonality= Ab major to Eb major (1-27) then Cb major to Gb major (28- 46).
- Section 2= bars 46- 68, tonality= F#- B- E- A- Am. Moves around the circle of fifths.
- Section 3= "new pianistic texture", bars 68- 121, concentrates on full cadence. Includes grand series of cadences in F major.
- Music "strives upwards". Intensity increases on each occurrence of "all liebender vater".
- Harald Krebs
- "A reasonable explanation of the tonal structure of the song is the following: the song opens in the key of Ab and remains therein throughout sections prolonging the Ab, Eb, Cb and E triads (I- V- bIII- bVI). Confirmation of Ab as a key, however, is surprisingly withheld in the end; the dominant and tonic do not reappear, and the work veers suddenly into a second key area, F major".
- Suzannah Clark
- Lecture notes
- "Ganymed" starts in one key and ends in another.
- There is a homoerotic undercurrent, evident in the changes between masculine and feminine imagery.
- People would often recite poems before they performed them- Schubert's piece comes out of this context- melodramatic reading becomes song.
- Schubert responds to irregular structure in the text, or perhaps contradicts it, with no structural, sectional repetition, opting instead for motivic repetition.
- Uses mediant relations between pairs of cadences. Becomes gradually higher in pitch- transcendent.
- Sense of movement in text established harmonically.
- My ideas
- Why did Schubert start in one key and end in another? Probably responding to the text and for musical progression.
- Perhaps the homoerotic undercurrent is significant biographically- Maynard Solomon's 1980 article "Franz Schubert and the peacocks of Benvenuto Cellini" calls the composer's sexuality into question.
- Scholars' views
Comments
No comments have yet been made