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Come to a Schubertiad! Schubert gave only one public concert in his life, and that was in his final year. But he gave dozens - maybe hundreds - of private, informal performances in the homes of his friends around Vienna.These became known as Schubertiads - usually impromptu affairs where Schubert would play a piano piece he had written just that morning, join another pianist in a duet, accompany a singer in some songs, or perhaps pick up a violin or viola to play a string quartet with some other musicians.There would be dance music pounded out at the piano by Schubert (no DJs in those days!) and choral music for those who liked to sing. And some people in the room just listened. But everyone drank, ate, talked, joked and had a good time. You might even think of a Schubertiad as a kind of nineteenth-century“jam” session.Discuss with your classmates how you could create your own Schubertiad. 

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Come to a Schubertiad! Schubert gave only one public concert in his life, and that was in his final year. But he gave dozens - maybe hundreds - of private, informal performances in the homes of his friends around Vienna.These became known as Schubertiads - usually impromptu affairs where Schubert would play a piano piece he had written just that morning, join another pianist in a duet, accompany a singer in some songs, or perhaps pick up a violin or viola to play a string quartet with some other musicians.There would be dance music pounded out at the piano by Schubert (no DJs in those days!) and choral music for those who liked to sing. And some people in the room just listened. But everyone drank, ate, talked, joked and had a good time. You might even think of a Schubertiad as a kind of nineteenth-century“jam” session.Discuss with your classmates how you could create your own Schubertiad. 

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Rammstein - Dalai Lama

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text and description

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Each group will prepare a mini Schubertiade.

Individual assessment.

Each student will perform an individual selection:

- an instrumental piece

- a vocal selection

- a poem

Preference (but not requirement) for music and poetry from the romantic, or an earlier time period.

The entire group will perform 'Die Forelle' (only the part that we have practiced).

'Die Forelle' sheet music can be found on the below (complete piano score), as can the chords for guitar, ukulele or piano. If you need any help: s.barton@ejm.net

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Chords for guitar, ukele and piano

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Schubert - Die Forelle "The Trout"

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Schubert - Die Forelle "The Trout" Chords - Chordify

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Save this song to one of your setlists diagrams Overview improve These chords can't be simplified Simplify chords Tap the video and start jamming! Rewind to play the song again. Please wait while the player is loading. Schubert - Die Forelle "The Trout" Advertisement Advertisement

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complete sheet music

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lyrics

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Accompaniment

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1797- 1828

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Notes to be taken

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male singer

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female singer

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German original and English translation

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Franz Schubert (1797-1828) Gretchen am Spinnrade, op. 2, D118 Text: Johann Wolfgang von Goethe (1749-1832) from "Faust" Rika Shiratsuchi, Mezzo-sopran Malcolm Martineau, Piano "Meine Ruh' ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr. Wo ich ihn nicht hab Ist mir das Grab, Die ganze Welt Ist mir vergällt.

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Original score

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Der Erlkönig: Franz Schubert, Philippe Sly: Bass-Baritone, Maria Fuller: piano

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À Chloris is beyond doubt the summit of Reynaldo Hahn’s art as a pasticheur, and it ranks as perhaps the most successful example of musical time-travelling in the French mélodie repertoire (if one excludes that peerless masterpiece of the madrigal style, Fauré’s Clair de lune). À Chloris has charm, elegance, gravity and the ability to move audiences—what more could one ask of a song, whether or not it is a pastiche? The fact that it is based on the striding bass line of Bach’s ‘Air on the G-string’ seems irrelevant: one smiles at the composer’s audacity at the beginning, but one stays to listen to the music, Hahn’s music, in its own right. It uses one of his favourite devices where the accompaniment is a piano piece with its own momentum; over this the voice embroiders an inspired overlay which seems half sung and half spoken, moving with conversational grace between whispered confidences and declarations of love in full voice. Here is a different world from the Charles d’Orléans settings—this is seventeenth-century France where the medieval has ceded to the baroque. All the grace of Louis XIII’s epoch seems encapsulated here, but there is also an undertone of sadness.

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À Chloris is beyond doubt the summit of Reynaldo Hahn’s art as a pasticheur, and it ranks as perhaps the most successful example of musical time-travelling in the French mélodie repertoire (if one excludes that peerless masterpiece of the madrigal style, Fauré’s Clair de lune). À Chloris has charm, elegance, gravity and the ability to move audiences—what more could one ask of a song, whether or not it is a pastiche? The fact that it is based on the striding bass line of Bach’s ‘Air on the G-string’ seems irrelevant: one smiles at the composer’s audacity at the beginning, but one stays to listen to the music, Hahn’s music, in its own right. It uses one of his favourite devices where the accompaniment is a piano piece with its own momentum; over this the voice embroiders an inspired overlay which seems half sung and half spoken, moving with conversational grace between whispered confidences and declarations of love in full voice. Here is a different world from the Charles d’Orléans settings—this is seventeenth-century France where the medieval has ceded to the baroque. All the grace of Louis XIII’s epoch seems encapsulated here, but there is also an undertone of sadness.

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Franz Schubert - Heidenröslein (Sheet music and lyrics)

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Franz Schubert: An Die Musik, D 547 - Felicity Lott

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Jonas Kaufmann 'Der Lindenbaum' Winterreise

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Ach, wer bringt die schönen Tage,
Ah, who will bring back those fair days,
Jene Tage der ersten Liebe,
those days of first love?
Ach, wer bringt nur eine Stunde
Ah, who will bring back but one hour
Jener holden Zeit zurück!
of that sweet time?
Einsam nähr' ich meine Wunde,
Alone I nurture my wound
Und mit stets erneuter Klage
and, forever renewing my lament,
Traur' ich ums verlorne Glück,
mourn my lost happiness.
Ach, wer bringt die schönen Tage,
Ah, who will bring back those fair days,
Jene holde Zeit zurück!
that sweet time?

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Erster Verlust | Song Texts, Lyrics & Translations | Oxford Song

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Ach, wer bringt die schönen Tage, Ah, who will bring back those fair days, Jene Tage der ersten Liebe, those days of first love? Ach, wer bringt nur eine Stunde Ah, who will bring back but one hour Jener holden Zeit zurück! of that sweet time?

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Loreena McKennitt - The Highwayman - Karaoke Lyrics Instrumental

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The Tyger (William Blake poem set to music)