Die Forelle
Uma truta salta alegre na água de um ribeiro, mas o que sente o ser humano que vê o pescador astuto com a cana na mão?
Uma truta salta alegre na água de um ribeiro, mas o que sente o ser humano que vê o pescador astuto com a cana na mão?
In einem Bächlein helle, da schoss in froher Eil
Die launische Forelle vorüber wie ein Pfeil.
Ich stand an dem Gestade und sah in süsser Ruh
Des muntern Fischleins Bade im klaren Bächlein zu.
Des muntern Fischleins Bade im klaren Bächlein zu.
Ein Fischer mit der Rute wohl an dem Ufer stand,
Und sah’s mit kaltem Blute, wie sich das Fischlein wand.
So lang’ dem Wasser Helle, so dacht ich, nicht gebricht,
So fängt er die Forelle mit seiner Angel nicht.
So fängt er die Forelle mit seiner Angel nicht.
Doch endlich ward dem Diebe die Zeit zulang.
Er macht das Bächlein tückish trübe
Und eh ich es gedacht, so zuckte seine Rute,
Das Fischlein, das Fischlein, zappelt dran,
Und ich mit regem Blute Sah die Betrog'ne an.
Und ich mit regem Blute Sah die Betrog'ne an.
Schubert's song Die Forelle, Deutsche No. 550 is an ideal introduction to the genre of the Lied, in which the composer wrote many hundreds of songs exploring the art of writing German Leider which developed through the 19th century. Essentially the German Lied consists of singer and piano intertwined together. Often, as in the case of Die Forelle, the piano accompaniment contributes as much to the music as the singer and vice versa. In the case of Die Forelle it's perfectly possible to sing the musical line on its own but what you lose is the word painting in the piano accompaniment, which expresses so perfectly the rippling of the brook and which adds so much colour to the harmonies, especially in the final verse of the song.
The original poem, by Christian Friedrich Schubart, who was part of Schubert's wide circle of friends, was published in 1782. It contains four verses but Schubert decided to omit the last one as it is rather didactic in nature, warning young ladies against gentlemen with rods!
Schubert wrote no less than four published versions of the song, the earliest of which according to Reed dates to 1817. The final version was written in 1821 and the tune was then later used in the theme and variations movement within Schubert's great quintet Die Forelle D.667.
The story line of the song is not particularly exciting - the poet watches a fisherman and sees the trout in the clear waters of the stream. He realises that the fisherman is unlikely to have much luck because the trout is so quick - and then the fisherman muddies the water by stamping in it, and catches the trout. It's all so sudden that the poet can't believe it.
Schubert turns this simple poem into one of his greatest songs. The first two verses are simple melodic, slightly folk tune in style with the pretty rippling accompaniment though the best Leid singers will impact some drama into even these as they tell the story. Then in the third verse Schubert uses the dramatic change to the minor key with some near recitativo style singing, while the piano continues the rippling accompaniment to take the music back to the major key for the finish.
in, BellaOnline, The Voice of Women
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