OPUS 36.1 Program

program notes OVERTURE ROSAMUNDE FRANZ SCHUBERT (31 Jan 1797 - 19 Nov 1828) In his short but prolific career, Schubert left the mark of his genius on almost every type of music. A supreme melodist, many scholars feel that the finest examples of his art are found in his songs. His expressive treatment of the human voice fits perfectly with his instrumental settings. His wholehearted embrace of the Romantic ideal, which was just then beginning to flourish in literature, led him to thematic content which brought depth of meaning to his lyrics that had only been hinted at by others. One would think that his skills were perfectly suited for opera - but this is the one musical field in which he failed, almost completely.

Schubert’s catalog of over a thousand works includes only a bare twenty for the theater, only three of these were even moderate successes in his lifetime, and they are almost never revived today in their original form. Franz wanted desperately to break into this field (perhaps he would have. had he lived longer) and kept trying, even in the face of failure. The incidental music for the stage play Rosamunde was written late in his career, and represents some of his most mature writing. The play closed after only its second performance. Fortunately, Schubert saved some of its best music, and it was included in the critical edition of his complete work, however, he never composed an overtuire specifically for this play. Instead, for the opening of the play (and presumably its second performance), he revived the overture from a previously failed opera Alfonso and Estrella.

Surprisingly, the overture known today as “Rosamunde” is actually taken from yet another failed opera Die Zauberharfe (The Magic Harp, which was written at about the same time as his masterpiece Symphony no.8, the “Unfinished”. This overture is one of Schubert’s finest instrumental works. His Romantic ideals express themselves transparently in a piece that departs very little from Classlcal forms. After a powerful series of block chords, its quiet introduction establishes a mood of melancholy uneasiness with just a hint of tension. The rest of the overture is vigorous and energetic.

Its main theme appears at once, defining a sort of restless energy, which gradually accumulates momentum until the constant motion ends powerfully. in an only slightly restrained triumph.