Edition Breitkopf SCHUBERT F. - DER HIRT AUF DEM FELSEN D 965 - VOIX HAUTE CLARINETTE PIANO
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Summary of This Score
This score offers a piece by Franz Schubert for hSt, clarinet, and piano, in the spirit of early Romantic chamber music. It features the composer's characteristic melodic sense, with expressive lines, carefully crafted harmonic transitions, and writing that highlights musical breathing. The clarinet plays a particularly cantabile role, while the piano provides structural support and is sometimes very present, inviting genuine work on sound balance.
Designed for small ensemble playing, this score allows for working on ensemble cohesion and entry precision, while developing sound quality and articulation. It is suitable both for study and performance, thanks to a format that promotes clear reading and gradual preparation. For musicians and educators, it is a relevant resource for approaching the Schubertian style: long phrasing, subtle dynamics, and special attention to the dialogues between voices.
Technical specifications
| Musical Genre | Classical | Publication | Sheet music |
| Composer | Schubert, Franz | Pages | 22 |
| Instrumentation | hSt, Klar, Klav | ||
Questions frequently asked
What instrumentation is intended for Der Hirt auf dem Felsen D 965?
This edition is written for high voice, clarinet, and piano. The indicated instrumentation is hV, Cl, Pno.
Does the clarinet have an important role in this work by Schubert?
The clarinet part adopts a particularly cantabile role. It participates in musical dialogues with the high voice and the piano.
How many pages does this score have?
The work consists of 22 pages.
Is this score suitable for ensemble work with voice, clarinet, and piano?
The format for a reduced formation allows working on ensemble cohesion and entry precision. The piano provides structural support, sometimes very prominent. A balance in sound among the three parts is therefore required.
Is Der Hirt auf dem Felsen D 965 suitable for studying the Schubertian style?
The writing features long phrasing and subtle dynamics characteristic of the described approach. The piece enables work on harmonic transitions and musical breathing in the classical repertoire.
