Franz Peter Schubert (1797 – 1828) was an Austrian
composer of the late Classical and early Romantic eras.
Despite his short life, Schubert left behind a vast
oeuvre, including more than 600 secular vocal works
(mainly lieder), seven complete symphonies, sacred
music, operas, incidental music, and a large body of
piano and chamber music. His major works include the
art song "Erlkönig", the Piano Trout Quintet in A
major, the unfinished Symphony No. 8 in B minor, the
"Great" Symphony No. 9 in ...(+)
Franz Peter Schubert (1797 – 1828) was an Austrian
composer of the late Classical and early Romantic eras.
Despite his short life, Schubert left behind a vast
oeuvre, including more than 600 secular vocal works
(mainly lieder), seven complete symphonies, sacred
music, operas, incidental music, and a large body of
piano and chamber music. His major works include the
art song "Erlkönig", the Piano Trout Quintet in A
major, the unfinished Symphony No. 8 in B minor, the
"Great" Symphony No. 9 in C major, a String Quintet,
the three last piano sonatas, the opera Fierrabras, the
incidental music to the play Rosamunde, and the song
cycles Die schöne Müllerin and Winterreise. He was
remarkably prolific, writing over 1,500 works in his
short career. His compositional style progressed
rapidly throughout his short life. The largest number
of his compositions are songs for solo voice and piano
(roughly 630).
Lied der Mignon II ["So lasst mich scheinen" ("So let
me seem")] D.877 Op. 62 No. 3 is one of three poems set
by Schubert from Goethe's novel Wilhelm Meisters
Lehrjahre ("Wilhelm Meister's Apprenticeship"). First
set in April 1821, Schubert revisited the poem in
January 1826, recasting its musical setting and later
publishing it with two other of Goethe's poems as part
of his 4 Gesänge aus 'Wilhelm Meister', op. 62. The
poem is Mignon's response to seeing her transfigured
body prior to her impending death. Schubert's strophic
setting begins with a piano introduction in the key of
B major. The peacefulness of the opening chorale-like
melody immediately invokes Mignon's heavenly vision.
During the second verse (and also again in the fourth),
a unison passage between the voice and piano
"transfigures" the B major tonality into a brilliant D
major. However, as soon the image appears, it
disappears, first into a dark D minor and then B minor
before regaining the major tonic tonality.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Mignon_(Schubert))
Although originally composed for Voice & Piano, I
created this Interpretation of "Lied der Mignon II"
(D.877 Op. 62 No. 3) for Flute & Strings (2 Violins,
Viola & Cello).