Without having studied Franz Schubert’s song Trockne Blumen from his song cycle Die Schöne Müllerin (for voice and piano), it can be difficult to properly approach his later composition, an introduction and variations based on that song (for flute and piano). While flutists’ abilities and limitations call for an approach to the “Introduction and Variations on Trockne Blumen” that is specific to them as instrumentalists, they can still gather inspiration and information from studying the original text as well as vocalists’ treatment of the original song.
Schubert’s Die Schöne Müllerin uses the unaltered text from Wilhelm Müller’s poem cycle of the same name. When flutists perform the Trockne Blumen variations the poem’s text is lost, but they are still responsible for evoking the story. In addition to understanding the poem, understanding how vocalists effectively combine both the text and music through song allows flutists to create a more successful evocation despite the absence of words in their performance.
This paper will draw from vocal studies (both generally of music in the style of Schubert and specifically of this song) and explain how flutists can directly apply them to their music as well. Often, articles and papers devoted to flutists’ performance practice of this piece draw mostly (or sometimes exclusively) from flute pedagogies and interpretations, leaving a gap between this instrumental piece and the literary and vocal art that preceded it.
That gap will be bridged by offering flutists an extensive approach to the variations within context of the original works, thus creating a new, well-informed, multidisciplinary performance guide to the “Introduction and Variations on Trockne Blumen.”
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|Commitee:||Barcellona, John, Anglin, David|
|School:||California State University, Long Beach|
|Department:||Bob Cole Conservatory of Music|
|School Location:||United States -- California|
|Source:||MAI 81/4(E), Masters Abstracts International|
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