Der Doppelgänger German source: Heinrich Heine Still ist die Nacht, es ruhen die Gassen, In diesem Hause wohnte mein Schatz; Sie hat schon längst die Stadt verlassen, Doch steht noch das Haus auf demselben Platz. Da steht auch ein Mensch und starrt in die Höhe, Und ringt die Hände, vor Schmerzens Gewalt; Mir graust es, wenn ich sein Antlitz sehe - Der Mond zeigt mir meine eigne Gestalt. Du Doppelgänger! du bleicher Geselle! Was äffst du nach mein Liebesleid, Das mich gequält auf dieser Stelle, So manche Nacht, in alter Zeit? (English translation by Richard Wigmore): The wraith The night is still, the streets are at rest; in this house lived my sweetheart. She has long since left the town, but the house still stands on the selfsame spot. A man stands there too, staring up, and wringing his hands in anguish; I shudder when I see his face - the moon shows me my own form! You wraith, pallid companion, why do you ape the pain of my love which tormented me on this very spot, so many a night, in days long past?
@@grafplaten TL;DR: If you don't like the word (actually for poetry you have to consider at least the clause containing the word) it's incumbent on you to suggest something better. So first off it's poetry, and you have to consider the context in which "doppelganger" is occuring. It's "Du doppelganger", so it's someone the speaker is on intimate terms with (and actually, from the context it's fairly clear that the speaker is seeing himself). English doesn't really have a clear equivalent of "doppelganger" aside from the loan-word itself, and the loan-word isn't really appropriate here. So what do you propose in lieu of "wraith"? Spectre, or ghost, perhaps? To me those are as far off the mark as "wraith" itself is. Maybe, "You spectre! You pale image of myself," captures Heine's imagery better (or at least my interpretation of it), but perhaps it's also too explicit...but then again, perhaps not, because "doppelganger" is pretty explicit.
@@grafplaten Ich spreche Deutsch. "The double" is a literal translation, but as literal translations usually do, it glosses the connotations "Der Doppelgänger" carries in German that the loan-word does not carry in English. That is why, "the double" isn't a useful English translation in this context.
I recently read William Wilson, a spooky short story from Poe, after one other user post it here. I highly recommend it to better understand the romantic figure of Der Doppelgänger!
"This song's context requires some background in the Doppelgänger mythology to parse. Seeing one's own Doppelgänger in this mythology implies that you are dead, so the middle of the piece reaches a peak as the singer realizes that the stranger is their Doppelgänger. Immediately afterwards the piece becomes very quiet as the singer internally comes to terms with the reality that they did not, in fact, return from the war."
This is my favorite piece to teach in the classroom - there's so much to suggest the concept of duality, including that "shadow key" of E minor you mention at the end. I also love the fact that there's lots of *doublings* throughout the piano part, and the repetition of the conclusory motive (A - G- F#) in the first two stanzas by the piano also suggests the idea of something imitating your every move. I recommend any interested watchers also look at Richard Cohn's analysis of the piece in his book Audacious Euphony. If you don't have the book, the companion website (you can find it pretty easily on Google!) has an annotated score and animation outlining some of his analytical observations, under the chapter 6 resources.
I remember toying with this song when I was in college 40+ years ago. I never felt comfortable with it. Besides imposing immense demands on the singer's breath control, it is so stark and raw in its emotions. I guess 20-something me just didn't have the emotional reservoir to tap into to pull it off convincingly.
This was written after Schubert had received a copy of Bach's WTC. The fugue subject of the C# minor fugue (Book 1) is basis of the piano ostinato. It again appears in the Eb Mass (see the Agnus Dei). In the same mass, Schubert adapts Bach's E major Fugue (Book 2) for the Cum Sancto Spiritu fugue. Schubert also turns to Bach again in the organ fugue D.952, taking Bach's F-sharp minor fugue's (Book 1) subject and slightly adapting it. Finally, we also see the influence of Bach in the great Fantasie for piano duet, D.940..
This is the Darkest thing I've ever heard from Schubert, and I have also listened to the entirety of Winterreise and "Der Tod und das Mädchen" (both the Lied and the Quartet). This is the darkest thing I've ever heard from Schubert, and I loved it. I must listen to it with Fischer-Dieskau.
Doppelganger (also more horrifyingly called a "fetch"). While the term has come to mean other things, the original idea of the doppelganger is exemplified in Schubert;s lieder in that it was an apparition that looks exactly like you, but in death. Once you see your doppelganger, you don't have much longer to live, the prospect of coming face to face with your future dead corpse to me is a most unnerving one, irregardless this is undeniably a beautiful masterpiece.
According to the Oxford English Dictionary, irregardless is indeed a word. My father was an English teacher and did not recognize it as a word. But he was incorrect.
Thank you for this excellent performance. Schiff is an especially sensitive pianist here. I've always heard that Der Doppelgänger is the greatest of Schubert's 600-odd lieder. It's not hard to see why.
I've sung this piece, years ago when i was studying. Never had a chance to perform it though. Too bad! It is such an ominous, and foreboding piece of music!
I think I hear the ending more as an extended cadence to B than a modulation to E. The bII isn't inverted, but it functionally feels more like a Neapolitan chord > V7 > V/IV > IV64 > I to me. Those last chords over a tonic pedal are the ending to a lot of Bach pieces, and I wouldn't hear those as modulations either. Also, with all the incomplete chords in the accompaniment, the minor/major ambiguity seems to be an intentional part of this piece.
It is definitely one of two possible interpretations with respect to the tonal centre, but we believe that while it is true that there are several incomplete chords in the piano this is more a product of the oblique two-voice texture than of holistic harmonic thinking and the B minor triad is completed in several instances, with and without the melody. The mode change in Bach endings does not usually occur exactly this way, while a half cadence V7 - v64 - V over a dominant pedal is very common throughout the repertoire, moreover the key of E minor was twice suggested by means of the also dual augmented sixth chord, it's not just any modulation. Anyway, beyond these two possible interpretations we like the idea that the ending hides a duality which many authors discussed, almost proving the point of the lied. If you are interested in further reading about this discussion, here is a paragraph mentioning said authors in Richard Cohn's book Audacious euphony - chromaticism and the consonant triad's second nature: ‘Thus, for example, we need not submit to arbitration the question of whether the final harmonies of ‘Der Doppelganger’ move from minor subdominant to B major tonic (L. Kramer 1986; Kurth 1997) or to major dominant from e minor tonic (R. Kramer 1994; Code 1995; Schwarz 1997) or form some liminal blend of the two (Saslaw and Walsh 1996).’ Thanks for your feedback!. MM
Yeah, definitely. There isn't enough going on in the melody to hear this as a modulation to Em. This is a picardy third ending. The B7 simply extends the ending a bit, so that it doesn't reach the end too soon. This piece also uses the b2 degree to approach the tonic many times, so the final resolution to the tonic being a b2-1 also makes sense. I also don't hear the earlier uses of the b2 as augmented 6ths in Em. I hear them as augmented 6ths built on the b2, which is also possible, even if it's rarer than building it on the 6th degree of the minor key. I don't think a single chord is enough to change the key, especially when both the top note and the bass land strongly on the B octave, and stay there until the end. Also, the couple of last bars function as a double chromatic neighbor to B: B A# (D) C B. There's also a strong cadence in Bm just before that happens.
Regarding the climax at 2:32, note the use of "apparent" parallel fifths! I say apparent because as you mention the G in the Ger6th is treated as an accented auxiliary tone resolving to F#, thus the fifth C-G is not on equal footing with the previous D-A fifth. Interestingly this use of apparent parallel fifths is used once again in the final chords, when moving from C to B7.
And I thought I knew the _Lieder_ pretty well, both from hearing and singing them. I never noticed all this modal stuff in _Dem Doppelgänger._ And here me being a modal freak nowadays. Thanks. Subscribed. Cheers from Schubert's Vienna, Scott
For me, maybe because I am german, the Lied "Der Leiermann" is even sadder. While this one is more dramatic "der Leiermann" as the end to the "Winterreise" - and also because of the lyrics - is pure death
I saw the title and _knew_ it would be this (if you had any sense, haha)! I suggest to listen to the recorded rendition by Thomas LoMonaco. All due respect to P.Schreier, but he does try a bit more than he can deliver. I'm aware that the way TLM sings it is unusual, especially today, but it's the only I've heard that does justice to the mystical/horrible athmosphere of this piece (also after reading a bit about the subject in history)
That's a spooky song- slower and therefore not as catchy as The Erlking as spooky songs go. Rhythmy music sells as the Beatles could tell you. As for Heinrich Heine, he was one of the 3 great double H's of German literature along with Herman Hesse and Hugo von Hofmannsthal.
This is one of those chord progressions you learn in theory class of what not to fi, yet it works beautifully here. I would have gotten an F if I had turned this in.😊
The final chord is not a fifth degree, it is a first degree, given the context. The sequence, from eight bars before the end, is as follows: | Bm (I) | F#/A# (V6) | Bm/D (I6) | C (Frigian bII) | B7 (V7+/IV) | Em/B (IV) | B (I with picardy third) ||
Hi Alberto, The ending of the lied has definitely sparked discussion among musicologists, and even if you browse through the comments section, you'll find strong opinions justifying one tonal interpretation or another. While we lean toward identifying the final chords as part of a cadence in E minor, our main goal was to highlight the ending as yet another dual element within the piece’s environment (hence the emphasis on the word "duality" at the end). That said, our format is a video-analysis of the score, which has the disadvantage of progressing with the music, leaving us with little time to provide sufficient information in some instances. As a result, a lot of data gets left out of the video (hence our preference for slower musical passages). However, we always endeavour to provide additional bibliography and respond to any comments that merit a response to repair this minor issue of format. Returning to Der Doppelgänger, while we agree with David Løberg Code’s assertion in Listening for Schubert’s Doppelgängers (1995): "At the very least, one can state that the ending does not unambiguously resolve either of these large-scale harmonic concerns," there are several elements that lead our ear to E minor. The first of these is the b6-5 bass motion following the pivot chord, which makes less sense if interpreted as a bII - I7 progression (both in root position). Also the plagal cadence with a Picardy third at the end feels somewhat out of place in a work dominated by the i-V rhetoric from the outset, where chromatic neighbour tones serve as the primary motivic building blocks. Then there is also something strangely victorious in the B major triad, that also feels misplaced given the ominous fate that awaits the one who meets his Doppelgänger. Finally the number of times E minor is suggested throughout the lied. But for that, Code explains it better in his analysis, which I’ll now share with you: "The transformation from dominant to subdominant is a dynamic movement which structures the piece. It is, like Elizabeth Bowen’s (1974, 170) description of the story, an “action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.” Looking back, we see the inevitability of the subdominant harmony first implied by the augmented-sixth chords. Unlike the German-sixth of measure 51, these chords are not the augmented-sixths one would normally expect in the key of B. Rather, they are, respectively, the French- and German-sixth chords derived from the key of E. Therefore, although they function as dominant substitutes in the context of B minor, they imply a dominant preparation in the key of the E minor. Similarly, the modulation to D♯ minor in measures 47-51 seems to point toward a resolution in E, moving step-by-step, chromatically from the note B, hanging on the D♯ leading-tone before it can reach the pitch E. In the end, this resolution is irreversibly granted. The C-major chord in measure 59 functions as VI chord in E minor, this time followed by a proper dominant-seventh and, at last, in E minor chord, albeit over a B pedal tone. Furthermore, as the penultimate chord of the composition, the subdominant appears in the position at which one most expects to find the dominant." We love that quote from Bowen "action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.” Hope you find our response useful! MM
@@-MomentsMusicaux- There may be musicologists who justify that the earth is flat and that the sun revolves around the earth. There may be some musicologists who say that the instrument that accompanies is a flute, and who justify it in a convincing way, at least for the deaf. Eppur si muove. For me it is very clear what I am saying. It is something that is heard, it is not a mathematical theorem on a piece of paper. What matters is the reality of what sounds in the music. It's like arguing about what color a common violet is. A philosopher or a physicist may come and argue that colors do not exist... and they may have reasons, but that does not matter to me.
@@albertovina-proyectolunfardo Well, it’s not the scientists who say the earth is flat... but never mind. I think you missed the point. See you next time! MM
@@-MomentsMusicaux- Read again. I'm not saying that scientists say the earth is flat. I'm talking about musicologists and music critics in general (they like to criticize by saying nonsense, but not to be criticized), who are not musicians, they are pseudoscientists and pseudomusicians. I think you missed my point, but there are no glasses for ears. A fifth gives a feeling of tension, not resolution. It's the first degree that gives you the feeling of resolution. Argue what you want, if it makes you happy, but you hear what you hear. Music is not a science, it is an art. And if a physicist says that technically colors do not exist, he will be right, but you see them in the painting, right? Or are you also color-blind? And you know which is red and which is blue, right? Well, here it is the same, the tonic is heard in one way and the dominant in another, and it is determined by the context. Two bars are not going to change an entire context.
To me the false relation between A# and A natural you mention could be explained by saying The A natural is an appogiatura of the 9th degree (the G) of the V chord (F# A# C# E G) Thank you for the analysis ! Nice piece indeed !
I think that from the context of the poem, the doppelgänger isn't an omen of death - it really is the author. It's himself, pining away obsessing over lost love, but seen "from the outside" in a moment of clarity. He looks at himself, and thinks that he's become like a ghost.
Why do mean this is a disturbing Song? I am from germany and this song is a song about the silent night and a man who loves a girl wich moves in a other city. He is so sad about this…. I love singing this song and loves the calmness about this song😊
Schubert's Heine lieder from "Schwanengesang" are marvellous. "Am Meer" and "Der Doppelgänger" are real highlights. Schreier's rendition ist terrible, though. Try André Schuen...
I would like to do a remark, respectfully. I don't agree with the harmonic analysis of the last 4 bars, the music doesn't modulates do E minor. The B7 chord is only a preparation for the Em chord (subdominant or iv) and then it returns to B (I or tonic) instead of the B minor chord of the beggining. Moreover, the B major chord in the end is not tense like a V (dominant) chord, doesn't requires a resolution because itself is the resolution. It's totally different, for example, of Schumann's "Im wunderschönen Monat Mai", that really creates a suspension/tension in the end.
Hi Rodrigo, The ending of the lied has definitely sparked discussion among musicologists, and even if you browse through the comments section, you'll find strong opinions justifying one tonal interpretation or another. While we lean toward identifying the final chords as part of a cadence in E minor, our main goal was to highlight the ending as yet another dual element within the piece’s environment (hence the emphasis on the word "duality" at the end). That said, our format is a video-analysis of the score, which has the disadvantage of progressing with the music, leaving us with little time to provide sufficient information in some instances. As a result, a lot of data gets left out of the video (hence our preference for slower musical passages). However, we always endeavour to provide additional bibliography and respond to any comments that merit a response to repair this minor issue of format. Returning to Der Doppelgänger, while we agree with David Løberg Code’s assertion in Listening for Schubert’s Doppelgängers (1995): "At the very least, one can state that the ending does not unambiguously resolve either of these large-scale harmonic concerns," there are several elements that lead our ear to E minor. The first of these is the b6-5 bass motion following the pivot chord, which makes less sense if interpreted as a bII - I7 progression (both in root position). Also the plagal cadence with a Picardy third at the end feels somewhat out of place in a work dominated by the i-V rhetoric from the outset, where chromatic neighbour tones serve as the primary motivic building blocks. Then there is also something strangely victorious in the B major triad, that also feels misplaced given the ominous fate that awaits the one who meets his Doppelgänger. Finally the number of times E minor is suggested throughout the lied. But for that, Code explains it better in his analysis, which I’ll now share with you: "The transformation from dominant to subdominant is a dynamic movement which structures the piece. It is, like Elizabeth Bowen’s (1974, 170) description of the story, an “action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.” Looking back, we see the inevitability of the subdominant harmony first implied by the augmented-sixth chords. Unlike the German-sixth of measure 51, these chords are not the augmented-sixths one would normally expect in the key of B. Rather, they are, respectively, the French- and German-sixth chords derived from the key of E. Therefore, although they function as dominant substitutes in the context of B minor, they imply a dominant preparation in the key of the E minor. Similarly, the modulation to D♯ minor in measures 47-51 seems to point toward a resolution in E, moving step-by-step, chromatically from the note B, hanging on the D♯ leading-tone before it can reach the pitch E. In the end, this resolution is irreversibly granted. The C-major chord in measure 59 functions as VI chord in E minor, this time followed by a proper dominant-seventh and, at last, in E minor chord, albeit over a B pedal tone. Furthermore, as the penultimate chord of the composition, the subdominant appears in the position at which one most expects to find the dominant." We love that quote from Bowen "action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.” Hope you find our response useful! MM
That was incredible. I feel it modulates acoustically to B major by the very end, by virtue of picardy third and minor-plagal harmony (b2-4-b6 to I). Hauntingly whimsical by the end, onerous yet almost blissful in the final.
This is one of the things that I find discombobulating about classical musical appreciation. Why did Schubert choose to set Heine to music? What do the words mean (I'm an incompetent alemanophone)? Why do you approach this as if the lyric is secondary to the music? Would it work better sung more artlessly (strangulated vowels, unnatural enunciation, though less affected than some singers of lieder I've heard)? The video ignores the author-it's ALL about the composer-did Heine approve/know/have a say in the matter? And how have we reached a state of affairs where in music where words are meant to have emotional meaning, no-one seems to pay any attention (or very little) to the writers of the words. Are the librettists of operas irrelevant to the art form? And are they irrelevant because the singing style renders the words incomprehensible?
Why do you make so many assumptions? Why do your sentences barely make sense? Why do you ask so many leading questions? Forgive the sarcasm - I just find many of your assertions to be extremely unfounded. It's assumed that those who do not speak German and are sufficiently curious (such as myself) will seek out a translation of the lyrics of their own volition - it is the 21st century after all. Also, this is primarily a harmonic analysis of the song, not an analysis of the text. Inevitably it's going to focus on the music, it's a music theory video/channel. I'm sure somewhere there are many pages dedicated to Heine and this text if that's your thing. On the singing style - it's a song about the shock, fear, impending dread and doom of finding your doppelganger in a mythology where that means you will soon be dead. I'm sure my own vowels and enunciation would be pretty strangulated and unnatural in that situation...
@@spiderwebb222 Your response is appreciated, and I'll confess that the antepenultimate sentence of my comment could have been more elegantly expressed. Sorry! I think I was prompted to comment because I found the video intriguing, and the performance attractive in a way I rarely do with lieder, so I listened till the end. I ask the leading questions because I very much enjoy a great deal of art music, but I find some aspects of it esoteric and frustrating, particularly how it's sung. I have performed (professionally) in a good deal of musical theatre, where the lyricist tends to be given equal billing with the composer, and where the lyric is held to be necessary to the drama. It has always struck me as odd that about the only librettist I could readily name is John Gay (or W.S. Gilbert-does he count?). I take this to imply that in art music the lyric is often subsidiary or secondary to the music, and I wonder how this has come about. Of course I understand that the video is an harmonic analysis, and very interesting it is in that respect; but I imagine that the musical choices emerge from the meaning of the text? I actually tend to prefer opera sung in languages I don't understand, because I can relax about not making out the words. It's more like listening to an instrument. Hence my complaint about strangulated vowels. It was intended to be general (and more relevant to sung English). I often find it difficult to make out the words! And I want to know what the words are! But so often I find that the classsical singing technique, and therefore the pronunciation of sung words (in English) renders them incomprehensible. I remember hearing a chorus from Billy Budd on the radio, and assuming it wasn't in English. Is classical singing technique based on Italian vowels, and therefore less well-suited to English?
Heinrich Heine's chilling poem? Chilling??? Schubert understood the underlying meaning perfectly well. It's very much the same as in "Ich grolle nicht" to which Robert Schumann composed the music. Neither the poets nor the composers were naive.
Exactly! Kramer talks about the neurotic implications of the B minor key in his book Distant Cycles: Schubert and the Conceiving of Song. Check it out!
I had to look at the description to know what song it was because I got completely disoriented by hearing it in that key, 🤭 as I have two versions in my own collections, both by baritones. Nice performandce, but where was the analysis? I only heard the performance. If it was words on the screen, I missed them as I'm blind. Guess I'll have to bo looking elsewhere for the analyses.
Perhaps, and this is only a suggestion, you could have someone read the analysis at the top of the screen for each 11 measures? It is indeed a haunting and beautiful piece. It reminds me of the beginning of the Sonata n°20 in D major.
‘Thus, for example, we need not submit to arbitration the question of whether the final harmonies of ‘Der Doppelganger’ move from minor subdominant to B major tonic (L. Kramer 1986; Kurth 1997) or to major dominant from e minor tonic (R. Kramer 1994; Code 1995; Schwarz 1997) or form some liminal blend of the two (Saslaw and Walsh 1996).’ Cohn, Richard Lawrence - Audacious euphony : chromaticism and the consonant triad's second nature, page 116.
@@ignaciohillcoatso? Who the f is he? There is no way you hear that final chord as a V?! First of all, the supposed V7 resolves (to a 6/4 btw) anyway, so what, is Schubert just tacking on an extra V after the final i (which, again, is no i, just a suspension which reiterates the melodic descent of the first few cadences in the second soprano. Seriously, we are in a woeful state of affairs if people have to equivocate about this PAC.
@ maybe not if you’re still in undergrad. There is a clear V7-i on ‘Zeit’ with the root in the bass and soprano. The rest is just an elaboration of i, restating the original motif. At no time do i feel anything other than tonicity here personally.
There is a significant amount of tonal ambiguity in certain moments. However, I do not agree that there is a modulation to E minor at the end. The B7 chord clearly functions as V7 of V because B is well established. The ending is clearly a I (with a Picardy third) in conjunction with a plagal cadence (IV - I). The final chord feels conclusive.
Der Doppelgänger
German source: Heinrich Heine
Still ist die Nacht, es ruhen die Gassen,
In diesem Hause wohnte mein Schatz;
Sie hat schon längst die Stadt verlassen,
Doch steht noch das Haus auf demselben Platz.
Da steht auch ein Mensch und starrt in die Höhe,
Und ringt die Hände, vor Schmerzens Gewalt;
Mir graust es, wenn ich sein Antlitz sehe -
Der Mond zeigt mir meine eigne Gestalt.
Du Doppelgänger! du bleicher Geselle!
Was äffst du nach mein Liebesleid,
Das mich gequält auf dieser Stelle,
So manche Nacht, in alter Zeit?
(English translation by Richard Wigmore):
The wraith
The night is still, the streets are at rest;
in this house lived my sweetheart.
She has long since left the town,
but the house still stands on the selfsame spot.
A man stands there too, staring up,
and wringing his hands in anguish;
I shudder when I see his face -
the moon shows me my own form!
You wraith, pallid companion,
why do you ape the pain of my love
which tormented me on this very spot,
so many a night, in days long past?
Wraith is a mistranslation of Doppelgänger.
@@grafplaten
TL;DR: If you don't like the word (actually for poetry you have to consider at least the clause containing the word) it's incumbent on you to suggest something better.
So first off it's poetry, and you have to consider the context in which "doppelganger" is occuring. It's "Du doppelganger", so it's someone the speaker is on intimate terms with (and actually, from the context it's fairly clear that the speaker is seeing himself). English doesn't really have a clear equivalent of "doppelganger" aside from the loan-word itself, and the loan-word isn't really appropriate here.
So what do you propose in lieu of "wraith"? Spectre, or ghost, perhaps? To me those are as far off the mark as "wraith" itself is. Maybe, "You spectre! You pale image of myself," captures Heine's imagery better (or at least my interpretation of it), but perhaps it's also too explicit...but then again, perhaps not, because "doppelganger" is pretty explicit.
Gracias por la letra. Saludos desde Argentina
@@dennisclason3376 Der Doppelgänger = The Double
@@grafplaten Ich spreche Deutsch. "The double" is a literal translation, but as literal translations usually do, it glosses the connotations "Der Doppelgänger" carries in German that the loan-word does not carry in English. That is why, "the double" isn't a useful English translation in this context.
Today, we throw the word "Doppelganger" around like it merely meant "twin." But, originally to see one's Doppelganger was a sign of impending death.
Heavy, damn
Please don't tell such spooky stories!
Now I will dream of ghosts, demons, and doppelganger beings 😢
It’s just a belief people had; nothing to worry about.
I recently read William Wilson, a spooky short story from Poe, after one other user post it here. I highly recommend it to better understand the romantic figure of Der Doppelgänger!
@@DJKLProductions If you were referring to me, I was just kidding :D
But thanks any way for the consolation :)
It's a terror lied. It's incredibly well written and very effective in its creepiness. A masterpiece!
"This song's context requires some background in the Doppelgänger mythology to parse. Seeing one's own Doppelgänger in this mythology implies that you are dead, so the middle of the piece reaches a peak as the singer realizes that the stranger is their Doppelgänger. Immediately afterwards the piece becomes very quiet as the singer internally comes to terms with the reality that they did not, in fact, return from the war."
Gosh, that makes it even more shocking!
copied straight from Wikipedia with no added value
This is my favorite piece to teach in the classroom - there's so much to suggest the concept of duality, including that "shadow key" of E minor you mention at the end. I also love the fact that there's lots of *doublings* throughout the piano part, and the repetition of the conclusory motive (A - G- F#) in the first two stanzas by the piano also suggests the idea of something imitating your every move. I recommend any interested watchers also look at Richard Cohn's analysis of the piece in his book Audacious Euphony. If you don't have the book, the companion website (you can find it pretty easily on Google!) has an annotated score and animation outlining some of his analytical observations, under the chapter 6 resources.
That's a nice poetic interpretation on the piano echo! Thank you also for providing some bibliography. MM
So grateful to get these deep insights, big thanks to you and uploader :)
always good to read an expert´s say on the matter
@@lorenzor.o.6851 Nice appeal to authority, I will refrain from an ad personam though :)
I remember toying with this song when I was in college 40+ years ago. I never felt comfortable with it. Besides imposing immense demands on the singer's breath control, it is so stark and raw in its emotions. I guess 20-something me just didn't have the emotional reservoir to tap into to pull it off convincingly.
This was written after Schubert had received a copy of Bach's WTC. The fugue subject of the C# minor fugue (Book 1) is basis of the piano ostinato. It again appears in the Eb Mass (see the Agnus Dei). In the same mass, Schubert adapts Bach's E major Fugue (Book 2) for the Cum Sancto Spiritu fugue. Schubert also turns to Bach again in the organ fugue D.952, taking Bach's F-sharp minor fugue's (Book 1) subject and slightly adapting it. Finally, we also see the influence of Bach in the great Fantasie for piano duet, D.940..
Gorgeous. And a great voice in Peter Schreier 👍🏻👍🏻
This piece is tearing my soul apart and simultaneously attracting in a maniacal way... Thanks for the analysis!
Oh the duality! Thanks for the feedback!
This is the Darkest thing I've ever heard from Schubert, and I have also listened to the entirety of Winterreise and "Der Tod und das Mädchen" (both the Lied and the Quartet). This is the darkest thing I've ever heard from Schubert, and I loved it. I must listen to it with Fischer-Dieskau.
Understanding german gives this a whole different vibe. An incredible song
One of the most forward looking and innovative songs written
Indeed. Extraordinary.
Absolutely haunting! Thank you for helping bring this work to life!
Our pleasure!
Doppelganger (also more horrifyingly called a "fetch"). While the term has come to mean other things, the original idea of the doppelganger is exemplified in Schubert;s lieder in that it was an apparition that looks exactly like you, but in death. Once you see your doppelganger, you don't have much longer to live, the prospect of coming face to face with your future dead corpse to me is a most unnerving one, irregardless this is undeniably a beautiful masterpiece.
Like in Poe's story William Wilson
Lieder is the plural form of lied.
Lied means song.
Lieder are songs.
Irregardless is not a word.
Regardless IS a word
Irrespective IS a word.
According to the Oxford English Dictionary, irregardless is indeed a word. My father was an English teacher and did not recognize it as a word. But he was incorrect.
@@renzo6490 shaddup - u know wat i mean
@@raymondgood6555
What does irregardless mean?
Thank you for this excellent performance. Schiff is an especially sensitive pianist here. I've always heard that Der Doppelgänger is the greatest of Schubert's 600-odd lieder. It's not hard to see why.
My favourite Schubert lied by far - Fischer-Dieskau’s recording always succeeds in reducing me to tears
this is so intensely beautiful, the music and the recording. Thank you for sharing! I hadn't heard this piece before this!
that's so pretty, it actually reminded me of Radiohead's Exit Music for a Film
@@pauloteixeira9136 I heard that was based on Chopin's prelude in E minor. Wonder if this inspired Chopin.
Incidentally both are in Bm!
I've sung this piece, years ago when i was studying. Never had a chance to perform it though. Too bad! It is such an ominous, and foreboding piece of music!
Really impressive editing and analysis here. Never heard this before and its indeed disturbing!
Thank you! :)
i love this piece so much,so nice to get it recommended now,brings back memories
subbed
wow, what an ending! great analysis too, thank you
Thank you too!
Pianist making some great pedal decrescendi. Nerve racking.
Nerves help with flutter-pedalling!
Beautiful, thanks for posting
Terribly evocative! Thanks for sharing.
I think I hear the ending more as an extended cadence to B than a modulation to E. The bII isn't inverted, but it functionally feels more like a Neapolitan chord > V7 > V/IV > IV64 > I to me. Those last chords over a tonic pedal are the ending to a lot of Bach pieces, and I wouldn't hear those as modulations either. Also, with all the incomplete chords in the accompaniment, the minor/major ambiguity seems to be an intentional part of this piece.
It is definitely one of two possible interpretations with respect to the tonal centre, but we believe that while it is true that there are several incomplete chords in the piano this is more a product of the oblique two-voice texture than of holistic harmonic thinking and the B minor triad is completed in several instances, with and without the melody.
The mode change in Bach endings does not usually occur exactly this way, while a half cadence V7 - v64 - V over a dominant pedal is very common throughout the repertoire, moreover the key of E minor was twice suggested by means of the also dual augmented sixth chord, it's not just any modulation.
Anyway, beyond these two possible interpretations we like the idea that the ending hides a duality which many authors discussed, almost proving the point of the lied.
If you are interested in further reading about this discussion, here is a paragraph mentioning said authors in Richard Cohn's book Audacious euphony - chromaticism and the consonant triad's second nature:
‘Thus, for example, we need not submit to arbitration the question of whether the final harmonies of ‘Der Doppelganger’ move from minor subdominant to B major tonic (L. Kramer 1986; Kurth 1997) or to major dominant from e minor tonic (R. Kramer 1994; Code 1995; Schwarz 1997) or form some liminal blend of the two (Saslaw and Walsh 1996).’
Thanks for your feedback!.
MM
Yeah, definitely. There isn't enough going on in the melody to hear this as a modulation to Em. This is a picardy third ending. The B7 simply extends the ending a bit, so that it doesn't reach the end too soon.
This piece also uses the b2 degree to approach the tonic many times, so the final resolution to the tonic being a b2-1 also makes sense. I also don't hear the earlier uses of the b2 as augmented 6ths in Em. I hear them as augmented 6ths built on the b2, which is also possible, even if it's rarer than building it on the 6th degree of the minor key.
I don't think a single chord is enough to change the key, especially when both the top note and the bass land strongly on the B octave, and stay there until the end.
Also, the couple of last bars function as a double chromatic neighbor to B: B A# (D) C B. There's also a strong cadence in Bm just before that happens.
Genius from a genius. Stunning in every way.
A wonderful piece, very interesting both from a musical and esoteric point of view!
The pianoparts of the last songs of Schwanengesang (also die Stadt, am Meer etc...) are really unbelievable
Lovely video, as always ❤
Thank you! Cheers!
Wahnsinn . Sehr schön, wunderbar gesungen .
Auf jeden Fall :)
I knew that it would be the Doppelgänger before clicking.
I have never heard this before. It is remarkable.
Beautiful! Thank you.
Glad you like it! MM
Excellent analysis and presentation, as usual. This lied is more disturbing than any Klaus Kinski movie
Regarding the climax at 2:32, note the use of "apparent" parallel fifths! I say apparent because as you mention the G in the Ger6th is treated as an accented auxiliary tone resolving to F#, thus the fifth C-G is not on equal footing with the previous D-A fifth.
Interestingly this use of apparent parallel fifths is used once again in the final chords, when moving from C to B7.
And I thought I knew the _Lieder_ pretty well, both from hearing and singing them. I never noticed all this modal stuff in _Dem Doppelgänger._ And here me being a modal freak nowadays.
Thanks. Subscribed. Cheers from Schubert's Vienna, Scott
Thank you Scott! Cheers 👋🏼
For me, maybe because I am german, the Lied "Der Leiermann" is even sadder. While this one is more dramatic "der Leiermann" as the end to the "Winterreise" - and also because of the lyrics - is pure death
And i thought i wasn't fond of Schubert. That is so well writen!
It is quite impossible not to be fond of Schubert !
Yay! Happy ending! Clearly he got over his doppelgänger hangup.
Schubert y su incomparable capacidad para narrar una historia o sensación de profundidades abismales, en 3 o 4 minutos.
Fine performance of a disturbing Lied. But Schubert wrote more than one dark and terrifying piece--some of which equal this.
I saw the title and _knew_ it would be this (if you had any sense, haha)!
I suggest to listen to the recorded rendition by Thomas LoMonaco. All due respect to P.Schreier, but he does try a bit more than he can deliver. I'm aware that the way TLM sings it is unusual, especially today, but it's the only I've heard that does justice to the mystical/horrible athmosphere of this piece (also after reading a bit about the subject in history)
❤
So beautiful
Thanks
❤
😊
Really impressive.
Gefällt mir!!😊
Das freut mich! ☺️
Wow! Bellísimo. Desde el comienzo flashé con que terminaría con las notas B-A#-C#-B# (las notas de BACh, pero subidas un semitono).
Creepy schubertiade be like
That's a spooky song- slower and therefore not as catchy as The Erlking as spooky songs go. Rhythmy music sells as the Beatles could tell you. As for Heinrich Heine, he was one of the 3 great double H's of German literature along with Herman Hesse and Hugo von Hofmannsthal.
This is one of those chord progressions you learn in theory class of what not to fi, yet it works beautifully here. I would have gotten an F if I had turned this in.😊
The final chord is not a fifth degree, it is a first degree, given the context. The sequence, from eight bars before the end, is as follows: | Bm (I) | F#/A# (V6) | Bm/D (I6) | C (Frigian bII) | B7 (V7+/IV) | Em/B (IV) | B (I with picardy third) ||
Hi Alberto,
The ending of the lied has definitely sparked discussion among musicologists, and even if you browse through the comments section, you'll find strong opinions justifying one tonal interpretation or another.
While we lean toward identifying the final chords as part of a cadence in E minor, our main goal was to highlight the ending as yet another dual element within the piece’s environment (hence the emphasis on the word "duality" at the end).
That said, our format is a video-analysis of the score, which has the disadvantage of progressing with the music, leaving us with little time to provide sufficient information in some instances. As a result, a lot of data gets left out of the video (hence our preference for slower musical passages). However, we always endeavour to provide additional bibliography and respond to any comments that merit a response to repair this minor issue of format.
Returning to Der Doppelgänger, while we agree with David Løberg Code’s assertion in Listening for Schubert’s Doppelgängers (1995): "At the very least, one can state that the ending does not unambiguously resolve either of these large-scale harmonic concerns," there are several elements that lead our ear to E minor.
The first of these is the b6-5 bass motion following the pivot chord, which makes less sense if interpreted as a bII - I7 progression (both in root position). Also the plagal cadence with a Picardy third at the end feels somewhat out of place in a work dominated by the i-V rhetoric from the outset, where chromatic neighbour tones serve as the primary motivic building blocks. Then there is also something strangely victorious in the B major triad, that also feels misplaced given the ominous fate that awaits the one who meets his Doppelgänger. Finally the number of times E minor is suggested throughout the lied. But for that, Code explains it better in his analysis, which I’ll now share with you:
"The transformation from dominant to subdominant is a dynamic movement which structures the piece. It is, like Elizabeth Bowen’s (1974, 170) description of the story, an “action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.” Looking back, we see the inevitability of the subdominant harmony first implied by the augmented-sixth chords. Unlike the German-sixth of measure 51, these chords are not the augmented-sixths one would normally expect in the key of B. Rather, they are, respectively, the French- and German-sixth chords derived from the key of E. Therefore, although they function as dominant substitutes in the context of B minor, they imply a dominant preparation in the key of the E minor. Similarly, the modulation to D♯ minor in measures 47-51 seems to point toward a resolution in E, moving step-by-step, chromatically from the note B, hanging on the D♯ leading-tone before it can reach the pitch E. In the end, this resolution is irreversibly granted. The C-major chord in measure 59 functions as VI chord in E minor, this time followed by a proper dominant-seventh and, at last, in E minor chord, albeit over a B pedal tone. Furthermore, as the penultimate chord of the composition, the subdominant appears in the position at which one most expects to find the dominant."
We love that quote from Bowen "action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.”
Hope you find our response useful!
MM
@@-MomentsMusicaux- There may be musicologists who justify that the earth is flat and that the sun revolves around the earth. There may be some musicologists who say that the instrument that accompanies is a flute, and who justify it in a convincing way, at least for the deaf. Eppur si muove. For me it is very clear what I am saying. It is something that is heard, it is not a mathematical theorem on a piece of paper. What matters is the reality of what sounds in the music. It's like arguing about what color a common violet is. A philosopher or a physicist may come and argue that colors do not exist... and they may have reasons, but that does not matter to me.
@@albertovina-proyectolunfardo Well, it’s not the scientists who say the earth is flat... but never mind. I think you missed the point. See you next time! MM
@@-MomentsMusicaux- Read again. I'm not saying that scientists say the earth is flat. I'm talking about musicologists and music critics in general (they like to criticize by saying nonsense, but not to be criticized), who are not musicians, they are pseudoscientists and pseudomusicians. I think you missed my point, but there are no glasses for ears. A fifth gives a feeling of tension, not resolution. It's the first degree that gives you the feeling of resolution. Argue what you want, if it makes you happy, but you hear what you hear. Music is not a science, it is an art. And if a physicist says that technically colors do not exist, he will be right, but you see them in the painting, right? Or are you also color-blind? And you know which is red and which is blue, right? Well, here it is the same, the tonic is heard in one way and the dominant in another, and it is determined by the context. Two bars are not going to change an entire context.
Great analysis
Love listening to this with the immense Hans Hotter.
The motif of the first four bars is practically identical to the subject of the fugue in C# minor from the first book of Bach's Well-Tempered Clavier.
Thank you! Thought that it is similar to something
Yes! It's the BACH motif in a different key iirc
Schubert's darkest lied for sure. It's crazy how he came up with such a piece.
I heard that was based on Chopin's prelude in E minor. Wonder if this inspired Chopin.
@SuperKripke No idea, I don't feel like they are very similar. But who knows.
@@Ivan_1791 Sorry, replied to the wrong message. My comment was on a person commenting on the similarities with Radiohead Exit music for a Film.
@SuperKripke Oh I see
That ending was so… resolving…
To me the false relation between A# and A natural you mention could be explained by saying
The A natural is an appogiatura of the 9th degree (the G) of the V chord (F# A# C# E G)
Thank you for the analysis ! Nice piece indeed !
Opening melody is the same melody as the BWV849 fugue (with the same ominous mood)
Im assuming this is the c#minor from book 1? Also a ‘cross’ motif
this is disturbingly good 👏
I think that from the context of the poem, the doppelgänger isn't an omen of death - it really is the author. It's himself, pining away obsessing over lost love, but seen "from the outside" in a moment of clarity. He looks at himself, and thinks that he's become like a ghost.
Why not both? Although your interpretation isn’t unlikely it is art.
Blimey! I haven't heard this since I did A Level music.
As soon as I saw the thumbnail I said to myself "That's got to be Doppelgänger!"
Hope you provide English translation of this lied
Awesome video, just correct that Schubert was born in the 1700's in the description. I really like your work and your insights! Very nice work
Always making silly mistakes. Thank you!! MM
Exelent work
❤
He sings „mir graust“ but the text says „mir graut“. Subtile difference
Wow...
Why do mean this is a disturbing Song? I am from germany and this song is a song about the silent night and a man who loves a girl wich moves in a other city. He is so sad about this…. I love singing this song and loves the calmness about this song😊
Schubert's Heine lieder from "Schwanengesang" are marvellous. "Am Meer" and "Der Doppelgänger" are real highlights. Schreier's rendition ist terrible, though. Try André Schuen...
💖💖💖💖💖
This is the Bach fugue BWV 849
Poignant!
I would like to do a remark, respectfully. I don't agree with the harmonic analysis of the last 4 bars, the music doesn't modulates do E minor. The B7 chord is only a preparation for the Em chord (subdominant or iv) and then it returns to B (I or tonic) instead of the B minor chord of the beggining. Moreover, the B major chord in the end is not tense like a V (dominant) chord, doesn't requires a resolution because itself is the resolution. It's totally different, for example, of Schumann's "Im wunderschönen Monat Mai", that really creates a suspension/tension in the end.
Hi Rodrigo,
The ending of the lied has definitely sparked discussion among musicologists, and even if you browse through the comments section, you'll find strong opinions justifying one tonal interpretation or another.
While we lean toward identifying the final chords as part of a cadence in E minor, our main goal was to highlight the ending as yet another dual element within the piece’s environment (hence the emphasis on the word "duality" at the end).
That said, our format is a video-analysis of the score, which has the disadvantage of progressing with the music, leaving us with little time to provide sufficient information in some instances. As a result, a lot of data gets left out of the video (hence our preference for slower musical passages). However, we always endeavour to provide additional bibliography and respond to any comments that merit a response to repair this minor issue of format.
Returning to Der Doppelgänger, while we agree with David Løberg Code’s assertion in Listening for Schubert’s Doppelgängers (1995): "At the very least, one can state that the ending does not unambiguously resolve either of these large-scale harmonic concerns," there are several elements that lead our ear to E minor.
The first of these is the b6-5 bass motion following the pivot chord, which makes less sense if interpreted as a bII - I7 progression (both in root position). Also the plagal cadence with a Picardy third at the end feels somewhat out of place in a work dominated by the i-V rhetoric from the outset, where chromatic neighbour tones serve as the primary motivic building blocks. Then there is also something strangely victorious in the B major triad, that also feels misplaced given the ominous fate that awaits the one who meets his Doppelgänger. Finally the number of times E minor is suggested throughout the lied. But for that, Code explains it better in his analysis, which I’ll now share with you:
"The transformation from dominant to subdominant is a dynamic movement which structures the piece. It is, like Elizabeth Bowen’s (1974, 170) description of the story, an “action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.” Looking back, we see the inevitability of the subdominant harmony first implied by the augmented-sixth chords. Unlike the German-sixth of measure 51, these chords are not the augmented-sixths one would normally expect in the key of B. Rather, they are, respectively, the French- and German-sixth chords derived from the key of E. Therefore, although they function as dominant substitutes in the context of B minor, they imply a dominant preparation in the key of the E minor. Similarly, the modulation to D♯ minor in measures 47-51 seems to point toward a resolution in E, moving step-by-step, chromatically from the note B, hanging on the D♯ leading-tone before it can reach the pitch E. In the end, this resolution is irreversibly granted. The C-major chord in measure 59 functions as VI chord in E minor, this time followed by a proper dominant-seventh and, at last, in E minor chord, albeit over a B pedal tone. Furthermore, as the penultimate chord of the composition, the subdominant appears in the position at which one most expects to find the dominant."
We love that quote from Bowen "action towards an end not to be forseen (by the reader), but also toward an end which, having been reached, must have been from the start inevitable.”
Hope you find our response useful!
MM
Yes, a very great song. I would have preferred that Schubert had ended it in minor, rather than B major. But what do I know!
very interesting, nice work!
That was incredible.
I feel it modulates acoustically to B major by the very end, by virtue of picardy third and minor-plagal harmony (b2-4-b6 to I). Hauntingly whimsical by the end, onerous yet almost blissful in the final.
compare with the Agnus Dei -- Mass 6
All I know is that I want to hear Till Lindemann singing this.
Somebody should pair this with Schoenberg’s Op. 15 in a recital
At least the girl survived. There is something positive in the song too.
Well, we know she moved away...
nicht schlecht
I've sung this piece with great success
Don't you mean _with great efficacy_ ?
@@LucasFigueiredoBRperhaps great accuracy?
This is one of the things that I find discombobulating about classical musical appreciation. Why did Schubert choose to set Heine to music? What do the words mean (I'm an incompetent alemanophone)? Why do you approach this as if the lyric is secondary to the music? Would it work better sung more artlessly (strangulated vowels, unnatural enunciation, though less affected than some singers of lieder I've heard)? The video ignores the author-it's ALL about the composer-did Heine approve/know/have a say in the matter? And how have we reached a state of affairs where in music where words are meant to have emotional meaning, no-one seems to pay any attention (or very little) to the writers of the words. Are the librettists of operas irrelevant to the art form? And are they irrelevant because the singing style renders the words incomprehensible?
Why do you make so many assumptions? Why do your sentences barely make sense? Why do you ask so many leading questions?
Forgive the sarcasm - I just find many of your assertions to be extremely unfounded. It's assumed that those who do not speak German and are sufficiently curious (such as myself) will seek out a translation of the lyrics of their own volition - it is the 21st century after all. Also, this is primarily a harmonic analysis of the song, not an analysis of the text. Inevitably it's going to focus on the music, it's a music theory video/channel. I'm sure somewhere there are many pages dedicated to Heine and this text if that's your thing.
On the singing style - it's a song about the shock, fear, impending dread and doom of finding your doppelganger in a mythology where that means you will soon be dead. I'm sure my own vowels and enunciation would be pretty strangulated and unnatural in that situation...
@@spiderwebb222 Your response is appreciated, and I'll confess that the antepenultimate sentence of my comment could have been more elegantly expressed. Sorry!
I think I was prompted to comment because I found the video intriguing, and the performance attractive in a way I rarely do with lieder, so I listened till the end.
I ask the leading questions because I very much enjoy a great deal of art music, but I find some aspects of it esoteric and frustrating, particularly how it's sung. I have performed (professionally) in a good deal of musical theatre, where the lyricist tends to be given equal billing with the composer, and where the lyric is held to be necessary to the drama. It has always struck me as odd that about the only librettist I could readily name is John Gay (or W.S. Gilbert-does he count?). I take this to imply that in art music the lyric is often subsidiary or secondary to the music, and I wonder how this has come about. Of course I understand that the video is an harmonic analysis, and very interesting it is in that respect; but I imagine that the musical choices emerge from the meaning of the text?
I actually tend to prefer opera sung in languages I don't understand, because I can relax about not making out the words. It's more like listening to an instrument.
Hence my complaint about strangulated vowels. It was intended to be general (and more relevant to sung English). I often find it difficult to make out the words! And I want to know what the words are! But so often I find that the classsical singing technique, and therefore the pronunciation of sung words (in English) renders them incomprehensible. I remember hearing a chorus from Billy Budd on the radio, and assuming it wasn't in English. Is classical singing technique based on Italian vowels, and therefore less well-suited to English?
Disturbing? I think not. Just representative for that period of 'Sturm und Drang' and 'Weltschmerz'.
Bit creepy for my taste.
one of my all time favorite lieders ... i sang this for my recital years back. haunting but powerful ... loved the dark stuff lol
@@danieldonovan4063 lieder is plural
@@michaeltilley8708 One of my favorite songses, preciouss.
@ A particularly apt lied for Sméagol/Gollum!
Innocent Sin...
One of the rare recordings of this cycle, where the pianist is clearly superior to the singer.
Heinrich Heine's chilling poem? Chilling??? Schubert understood the underlying meaning perfectly well. It's very much the same as in "Ich grolle nicht" to which Robert Schumann composed the music. Neither the poets nor the composers were naive.
Not a very good rendition of this lied. Nothing beats Fischer-Dieskau and Brendel’s recording
Christian Gerhaher it also sings very well.
Crazy :)
Awesome!
The choice of B miinor key is itself ominous, booahahaaa!!!
Exactly! Kramer talks about the neurotic implications of the B minor key in his book Distant Cycles: Schubert and the Conceiving of Song. Check it out!
I had to look at the description to know what song it was because I got completely disoriented by hearing it in that key, 🤭 as I have two versions in my own collections, both by baritones. Nice performandce, but where was the analysis? I only heard the performance. If it was words on the screen, I missed them as I'm blind. Guess I'll have to bo looking elsewhere for the analyses.
Perhaps, and this is only a suggestion, you could have someone read the analysis at the top of the screen for each 11 measures? It is indeed a haunting and beautiful piece. It reminds me of the beginning of the Sonata n°20 in D major.
not even the best song to start with "still of the night"
It doesn’t modulate to E minor at the end. It’s a plagal cadence, with a Picardy 3rd ending.
sounds about right
‘Thus, for example, we need not submit to arbitration the question of whether the final harmonies of ‘Der Doppelganger’ move from minor subdominant to B major tonic (L. Kramer 1986; Kurth 1997) or to major dominant from e minor tonic (R. Kramer 1994; Code 1995; Schwarz 1997) or form some liminal blend of the two (Saslaw and Walsh 1996).’
Cohn, Richard Lawrence - Audacious euphony : chromaticism and the consonant triad's second nature, page 116.
@@ignaciohillcoatso? Who the f is he? There is no way you hear that final chord as a V?! First of all, the supposed V7 resolves (to a 6/4 btw) anyway, so what, is Schubert just tacking on an extra V after the final i (which, again, is no i, just a suspension which reiterates the melodic descent of the first few cadences in the second soprano.
Seriously, we are in a woeful state of affairs if people have to equivocate about this PAC.
@@michaeltilley8708 In no scenario is it a PAC...
@ maybe not if you’re still in undergrad. There is a clear V7-i on ‘Zeit’ with the root in the bass and soprano. The rest is just an elaboration of i, restating the original motif. At no time do i feel anything other than tonicity here personally.
Does it really modulate to e-minor in the last measures? It seems more like a typical pocardy third of the home key situation to me.
There is a significant amount of tonal ambiguity in certain moments. However, I do not agree that there is a modulation to E minor at the end. The B7 chord clearly functions as V7 of V because B is well established. The ending is clearly a I (with a Picardy third) in conjunction with a plagal cadence (IV - I). The final chord feels conclusive.
Agreed. 3:28
Das ist keine Harmonik-Analyse. Es müssen die Funktionen bezeichnet werde, etwa Dominante, Doppeldominante, Subdominante usw.
Stufentheorie ist auch ok (ich weiß: nicht für jeden.)
It's spelled "Lied." Not "lied."
Can’t stand Peter Schreier. The top of his voice is so strangled.
nomen est omen.
@ Indeed!