舒伯特的《冬之旅》

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• The most notorious of these apparitions in real life was the “Spectre of the Brocken,” the Brocken being the highest peak of the Harz Mountains, notorious haunt of witches and sprites, and memorialised as such in Goethe’s Faust. Wanderers on the mountain reported observing a vast and shadowy figure which would spookily move about and mimic their own gestures. Coleridge made two, unsuccessful, attempts to get a look at it in 1799. The phantom, still observable today, is in fact just that: a haze or mist or cloud whose constituent water droplets reflect images projected by the sun, swollen to enormous apparent size by tricks of perspective. The Spectre of the Brocken is, then, “but a reflex of yourself,” as de Quincey put it in his Suspiria de Profundis (1845), making paradoxical Romantic us... (查看原文)

  nion 2018-09-06 19:36:02

• In both, a flexible musical figure is used as an analogy for the central material image which Schubert has selected from the poem. With “Erlkonig” it’s hammering repeated octaves (murderous for the pianist’s right hand on a modern piano); for Gretchen, a repetitive semiquaver arabesque. The technique is so familiar, so taken for granted, that it’s worth analyzing it just a little (especially as it is the basis of so much in Winterreise, in many, though not all, of its songs). (查看原文)

  water 2018-10-28 18:52:16

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