Ständchen (Serenade) by Franz Schubert, arranged by Franz Liszt (music only, pianist Duane Hulbert)

Yearning. Tender. Hopeful. Franz Liszt transcribed Schubert's exquisite song for voice and piano in 1838 as one of his 12 Lieder von Franz Schubert, S.558.
Notes from pianist Duane Hulbert:
"Franz Schubert’s Standchen (Serenade) is one of the most beloved of all songs written for voice. This original lieder (song) was written in 1826 as a love song which opens with a staccato 8th note accompaniment. This sets the stage for one of the most beguiling and touching melodies ever written. Each of the melodic phrases weave a triplet rhythm in the melody that touches the heart of the listener in this opening theme.
At the opening of Liszt's arrangement, listen for the three different layers of sound: The long, dotted half-notes provide a foundation in the bass line; a plucking accompaniment in the middle voice, followed by the legato triplet groups, introduce the opening melody at (0:13).
An extension of the opening melody introduces a surprising phrase in the joyful key of B-flat major, (0:54) followed by a brief buildup to a forte dynamic at (1:17). A bridge section in G minor at (1:22) is marked mezzo-forte espressivo, with the always present pizzicato bass line plucking away.
The opening theme in D minor returns as a beautiful cello line at (1:51.) Liszt offers some suggestions here: espressivo canto, (sing expressively), dolce cantando (sweetly singing) and sempre pp gli accompagnamenti, (always softly in the accompaniment), all the while, the pizzicato plucking lines weave around the exquisite melody. This section ends with another forte high point in D major at (2:54.)
Suddenly, at (3:00), the mood turns dark again in G minor, but this time, Liszt throws some virtuoso double thirds (nine of them in all), followed by another set of them at (3:12).
There’s a recapitulation of the opening theme at (3:27). But this time, Liszt adds an echo of each triplet group throughout the 17-measure section. This keeps the right hand busy, for sure.
The final section at (4:26) is marked con agitazione, or agitated. A big climax marked energico takes place at (4:55), followed by a gradual diminuendo with beautiful rolled chords at (5:02) and a brilliant (but soft!) chromatic scale at (5:12). (FYI: Vladimir Horowitz plays a Mixolydian scale rather than the chromatic one. My edition has a chromatic scale with an alternate version that Liszt played that includes a cadenza with a chromatic scale that starts lower, and then a long trill in the right-hand & thirds in the left-hand. Then he puts in ten octuplets. Check out Horowitz's version in this video at 4:59 https://www.youtube.com/watch?v=EVnkriyGKXk)
Another dolce melody quietly returns one last time in G minor at (5:18), followed by a strange arpeggio in D major (both hands marked pianississimo (at 5:33) That’s 3 “p’s! Here Liszt gives the instruction quasi niente, or "almost nothing"! A quiet rolled chord in D major (5:41) creates a strange, but exquisite ending!
By the way, this piece sounds easy but it's rather difficult. But of course, it's by Franz Liszt!"

To learn more about Franz Schubert (who wrote the most beautiful melodies in the world), watch our three-part series with noted Schubert scholar Dr. Geoffrey Block.
https://youtu.be/Z7OATWkisww

If you value classical music and want to learn more, please subscribe.

Thanks for watching!