Entstehung[ Bearbeiten Quelltext bearbeiten ] Ganymed wurde, wie auch Prometheus, zwischen und verfasst. Beide Werke sind der Epoche des Sturm und Drang zuzuordnen. Die Figur Ganymed entstammt der griechischen Mythologie. In dem Gedicht gibt es kein festes Metrum und kein Reimschema.
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Interactive feature not available in single page view see it in standard view. But unlike Prometheus, who is raging against the gods because of past events, Ganymede is expressing his feelings while the most important event of his life is actually taking place. In this sense, he has more in common with Gretchen at her spinning-wheel though even she is describing her feelings about what has already happened.
Schubert has used these gaps in the vocal line to emphasise the sense of ecstatic calm in the poem, as if Ganymede is looking around him, drinking everything in. The song drives through, reaching two climaxes. This repetition is certainly taking liberties with the poem, but the changing character of the music is, one could argue, simply a response to what is already in the verse, as the lines and phrases become shorter and more urgent towards the end of the poem.
It all flows smoothly on, and even when the voice pauses, the piano continues. Schubert ends the song with six bars of the piano, rising higher and higher, pianissimo. Like the song of the nightingale earlier, this has an effect which is both powerful and naive: it conveys both a strong sense of mystery and the suggestion of Ganymede physically disappearing up into heaven. It starts in A flat major and ends in F major. During the song, the music progresses through a variety of keys so gradually that the listener is not necessarily aware of how far from the original key it has travelled.
But if you replay the beginning of the song immediately after listening to the ending, you will hear the contrast between the F major of the ending and the A flat major of the beginning.
Ganymed, D.544 (Schubert, Franz)
Schubert's Lieder: Settings of Goethe's poems