Schubert "Heidenröslein, D. 257 (Op.3/3)" - Open Listening

The song begins without any introduction, or even a breathe by the vocalist. The melody simply starts and then moves forward.  When the first phrase begins it feels like the singer is skipping along while remaining in a legato style, as the piano bounces back and forth between the bass note and the chord (This piano part is consistent until the last few measure of the song, and it is the driving force of the piece.  The part bounces while remaining a distinct legato quality, which is probably due to a deliberate use of the sustain pedal). As the music moves toward the end of the first phrase, the dynamic grows from a gentle mp to a solid mf - this is especially emphasized in the piano part.  And as the tenor reaches the high note at the end of the phrase, he suddenly softens his voice and almost whispers the syllable.  Additionally, when the singer reaches the end of the phrase he employs rubato.   In fact, there is a rubato feel throughout the phrase from the beginning to the end, and moreover, the tempo fluctuates throughout the whole piece.    

The second phrase begins in the same resilient manner as the first.  However, an accidental is quickly introduced and suddenly the song is filled with an apologetic instability; yet in the next 4 bars this same accidental transforms the melody into a glorious statement that still bears a touch of remorse.  This middle portion of the song ends powerfully in the dominant key, and after a short held out note, the melody swiftly moves back to the original key without any hesitation whatsoever.

We hear an ascending scale that brings us up to the tonic.  It is held out for a moment, and then, as if letting out a deep sigh, the melody arpeggiates downward and lands on the tonic one octave below.  The piece comes to a close with a short restatement of the melodic theme in the piano.  This short composition is repeated three times through, which is the length needed to go to span the entirety of Goethe's poem.  The second time the song begins with more fury, at a slightly faster tempo, in a louder dynamic, with the ends of phrases being sung out rather than whispered.  The notes are almost sung staccato and the syllables seem to be pronounced more clearly, almost as if the singer is speaking or yelling rather than singing and is trying to emphasize the words to a non-German speaker.  Halfway through the second time, the vocals reach a calm legato again, and the rubato is more dragged out, and more dramatic.  During this portion, the piano is also much lighter than before.  Overall, the second time through we see much more stylistic and dynamic contrast.  And the third time through sees even MORE dynamic contrast than the first and second - the first half is ff and full of vigor and the second half is supple and forgiving.  Finally the piece ends, with the restatement of the melody that occurred each time in the piano voice - there is no large cadence, just a gentle affirmation of the tonic that is quickly left alone.

This piece is brief yet it packs a big punch.  It is full of dynamic contrast and deliberate details that bring a bit of magic to the song.  Also, Goethe's poem fits perfectly in the context of this lieb.  The syllables of the poem bounce and roll from note to note and the unbroken sound that springs from this relationship between music and text makes it hard to believe that the poem ever existed separate from the song.