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The first strophe is in G major in the original, untransposed key. The outdoor nightingales sing in freedom in the May breezes. The aerial atmosphere is enhanced by the fact that both staves of the accompaniment are written in the treble clef. For the second verse, the same motif which has begun the song is adapted to the minor key. Whoever has seen a bird caught within a confined space, attempting to escape and only succeeding in hitting, time after time, against the barrier that holds it captive, will understand this passage. The accompaniment is higher than at any other point in the song, as if the hands were trying to escape over the top of a keyboard fenced in by its size and without access to the outside world.

Elementals - Gefangenes Wasser by Lisa Skydla

We have already heard the gently rolling music of the interlude; it was the postlude to the first verse, but there it was in the major, and here it is in the minor key. The key signature of the third verse is five flats as we find ourselves, rather unexpectedly, in B flat minor for the darkest strophe of the song.

The vocal line is fashioned out of the same materials, and the accompanying motifs are similar, but there are new details. The piano adds to this impression of harshness with semiquaver triplets in the right hand, wing-flapping oscillations in octaves.

Digi-Baby-Boom

Where have we heard this in a more familiar song? At the end of the verse there is a seven-bar interlude which leads the music back to G minor.

The semiquaver triplets make a brief reappearance, but a succession of unadorned dotted crotchets has a calming effect on the music. We have heard the ill-effects of imprisonment; now it is time for a moral to be drawn. It is one thing for him to write bird music for singing throat and flapping wing.

But the philosophical envoi is never a particularly easy thing to set to music, and is best avoided. When it has to be included like here it is best to keep it simple and unadorned. Accordingly, the fourth verse of the poem is also the shortest.

Warum 95 Prozent der Kriegsgefangenen starben

It contains the moral, the key to the allegory, but Schubert sets this to music derived from earlier melodic and rhythmic patterns, gently floating along in the barcarolle rhythm which seems rather frivolous for a work with such a serious message. Richtig ist: Von den mindestens Die Verlustquote betrug also etwa 95 Prozent — deutlich mehr als in jedem Gefecht.

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Wenn es also keine Mordweisung gegeben hat — wie kam es zu dem exorbitanten Verlust von 95 Prozent der in Stalingrad gefangen genommenen Deutschen? Sicher ist: Etwa Zwischen Quantifizieren kann das niemand, zumal auch nicht bekannt ist, wann genau wie viele Wehrmachtssoldaten sich ergeben haben — seit dem Our research has never had any government or institutional funding, so if you found the information here useful, please consider making a donation.

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