Here it will come to pass; What cannot be described, The eternal feminine Draws us aloft. The tenor soloist then rises above the murmur of the chorus and starts to sing the last two lines of the text, emphasizing the power of salvation through the eternal feminine. The symphony ends in a glorious blaze of the choir and orchestra, backed up by sustained chords on the organ. Instrumentation[ edit ] The work is scored for an orchestral complement of piccolo , two flutes , two oboes , two clarinets , two bassoons , four French horns , three trumpets , three trombones , tuba , timpani , cymbals , triangle , organ , harp , and strings. A tenor soloist and TTB male choir two tenor parts and single bass part are also employed in the final movement.

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The intensity of her love for Faust has destroyed her ability to live any longer within the confines she had known all her life. She is young, inexperienced and has fallen madly in love.

She has not yet had sex with Faust; he will soon give her a sleeping potion for her mother, so he can seduce her at home. Her mother will never wake up. The very regular beats throughout the poem suggest the constant spinning of the wheel. This idea of representing the spinning wheel is explored further by the way Schubert has composed the left hand accompaniment using a dotted minim pedal tone, with a quaver note, then a quaver rest, then two quaver notes.

The constant spinning of the wheel is represented by the repetitive 16 note semiquaver pattern played by the right hand. These rhythmic ideas can be seen in the score below. These steady rhythms pulsate underneath a similarly symbolic vocal line which acts also as a musical metaphor for the pedal movements made by Gretchen with many quavers leading into longer dotted crotchets, much like the motions of the left hand melodic contours.

This distress is represented by the tonality of a minor key which is continued for much of the text. At the words "And the magical flow of his speech", the piece shifts to a major key, still rising up a scale, still crescendoing, gaining more and more intensity. The piece finally climaxes when she sings "And ah! His kiss". The top note of the piece on which she sings "Kiss" is paused, allowing her voice to die down before the music continues, once again demonstrating the important nature of that moment to her, as everything around her has ceased in that moment.

After this stuttering start, the motif from the beginning of the piece returns in a minor key once again is still aching, yearning for Faust.

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Schubert-Liszt – Gretchen am Spinnrade – Buniatishvili, Piano



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