Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. At this stage of Schubert's life there is little doubt that he was beginning to feel his own god-like powers, and that his sympathies were with pagan rather than Christian ideals.
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Anyone can learn for free on OpenLearn, but signing-up will give you access to your personal learning profile and record of achievements that you earn while you study. Start this free course now. Just create an account and sign in. Enrol and complete the course for a free statement of participation or digital badge if available. Ganymede was a boy of exceptional beauty, and Goethe's poem describes the feelings of the young lad as he is transported up to heaven by Zeus to become cup-bearer to the gods.
What has Schubert done to Goethe's poem? Hide tip ]. But unlike Prometheus, who is raging against the gods because of past events, Ganymede is expressing his feelings while the most important event of his life is actually taking place.
In this sense, he has more in common with Gretchen at her spinning-wheel though even she is describing her feelings about what has already happened. Schubert has used these gaps in the vocal line to emphasise the sense of ecstatic calm in the poem, as if Ganymede is looking around him, drinking everything in.
There is a charmingly naive touch just before the mention of the nightingale, where, during the pause which Schubert has introduced in the vocal line, the piano plays trills to suggest the bird's song.
The song drives through, reaching two climaxes. This repetition is certainly taking liberties with the poem, but the changing character of the music is, one could argue, simply a response to what is already in the verse, as the lines and phrases become shorter and more urgent towards the end of the poem. It all flows smoothly on, and even when the voice pauses, the piano continues.
This helps to convey the impression of events unfolding which are not within Ganymede's control — the piano, like Zeus, sweeps him away. Schubert ends the song with six bars of the piano, rising higher and higher, pianissimo. Like the song of the nightingale earlier, this has an effect which is both powerful and naive: it conveys both a strong sense of mystery and the suggestion of Ganymede physically disappearing up into heaven.
It starts in A flat major and ends in F major. During the song, the music progresses through a variety of keys so gradually that the listener is not necessarily aware of how far from the original key it has travelled.
But if you replay the beginning of the song immediately after listening to the ending, you will hear the contrast between the F major of the ending and the A flat major of the beginning.
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Schubert’s Ganymed and the transfiguration of self in poem and music
He was taught the piano and violin by his father at an early age and continued to study piano at the local primary school. His secondary education was unsuccessful, leaving his school in Graz after one term and then the Benedictine abbey school in St Paul after two years for failing Latin. When, in , his lack of interest in all subjects other than music led to him leaving his next school in Marburg after another two years, it was decided that he should live with his aunt in Vienna and study at the conservatoire. In Vienna he attended the opera with his new circle of friends, which included the young Gustav Mahler, and became a devotee of Wagner. However, after only two years he was unfairly dismissed from the conservatoire for a breach of discipline, after a fellow student sent the director a threatening letter, signing it Hugo Wolf.
Ganymed, D.544 (Schubert, Franz)
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