.

A CRITICAL ANALYSIS OF THE SONG COLLECTION

SCHWANENGESANG BY FRANZ SCHUBERT

THESIS

Presented to the Graduate Council of the North

Texas State College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

BY

Robert Hull Foulkes, B. M.

i6S8413
Cleveland, Ohio

August, 1949
16 4i3

TABLE OF CONTENTS

Page
IST OF ILLUSTRATIONS.. ............. iv

INTRODUCTION . . . . . . . . . . . . . . . . . . .

Chapter
I. HISTORICAL BACKGROUND . . . . . . . . . . 3
Synopsis of Art Song
General Statements on the Song Cycle

II. CRITICAL ANALYSIS OF EACH SONG . . . . . . 15

Liebesbotschaft
Kriegers Ahnung
Fruehlings sehnsucht
Staendchen
Aufenthalt
In der Ferne
Abschied
Der Atlas
Ihr Bild
Das Fischermaedchen
Am Meer
Der Doppelgaenger
Taubenpost

CONCLUSION . . . . . . . . . . . . . . . . . . . 139

BIBLIOGRAPHY ... * * . . . . . . . . . .. . 143

iii
 LIST OF ILLUSTRATIONS

Figure Page

1. An unexpected and unprepared modulation with-

out a corresponding change in the text . . . 16

2. Modulation from section "A," key of E harmonic

minor, to section "B," key of C major . . . 17

3. First four measure phrase of section "C" . . . 18

4. Repetition of the first four measure phrase in

section "C," a minor third down . . . . . . 19

5. Second four measure phrase in section "c"

without expansion or modification . . . . . 20

6. Five measure phrase, section "C," made from

the material for four measures . . . . . . . 21

7. Modulation section "C" to last section "A,"

without the characteristics of other
modulations . .
*0** ... * . .. ... .* 22

8. Last six measures of the first "At" section . . 23

9. Six measures ending the first "A" section in-

serted in the middle of the last "A" sec-
tion, with vocal modification . . . . . . . 25

10. An entire melodic phrase from section "B" with-

out vocal fragmentary repetition . . . . . . 26

11. The entire melodic phrase from section "B"

with fragmentary repetition . . . . . . . . 27

12. An example of the rhythm characteristic of

Schubert's latter period, the main stress
occuring in the middle of the bar . . . . . 29

13. A deceptive cadence modulation . . . . . . . . 29

14. An enharmonic modulation from the key of Ab

major to F# minor . . . . . . . . . . . . . 30

15. Modulation from F# minor to A minor, by lower-

ing root and fifth of F# minor chord a
semitone . . . . . . . . . . . . . . . . . . 31

iv
Figure Page

16. Modulation from A minor to F minor by bass

descending semitone, right hand triad
contracting . . . . . . . . . . . . . . . . 31

17. Enharmonic modulation from C harmonic minor

to A minor . . . . . . . . . . . . . . . . . 32

18. Modulation from A minor to C major . . . . . . 33

19. Chordal type of accompaniment . . . . . . . . . 34

20. Broken arpeggio accompaniment . . . . . . . . . 35

21. Quick repeating accompaniment . . . . . . . . . 36

22. Arpeggio accompaniment, with the left hand

broken chord notes and rhythm suggesting
the pulsation of the heart .*.0.0. . .. . . 36

23. Broken chord accompanying thoughts of sleep

and farewell to the warrior's beloved . . . 37

24. Sudden modulation, first half of the last

stanza, from Eb minor to Db major . . . . . 40

25. Modulation from Db major to Bb major . . . . . 40

26. Vocal line from the first half of any of the

first four stanzas . . . . . . . . . . . . . 41

27. First eight measures of the fifth stanza in

the key of Bb tonic minor . .. ... . .. 41

28. Vocal line of the second section of the first

half of any of the first four stanzas . .. 42

29. Vocal line of the second section of the first

half of the fifth stanza. . . .. . . . .. 42

30. Vocal line of the last twelve measures from

any of the first four stanzas . . . . . . . 43

31. Final fourteen measures of vocal line from

the last stanza . . . . . . . . . . . . . . 44

32. Accompaniment which duplicates the melody in

both hands. . . . . . . . . . . . . . . . . 45

33. Doubting motive at the end of each of the

first four stanzas . . . . . . . . . . . . . 45

V
 Figure Page
34. First type of intrasectional interlude. . . . . 46
35. Second type of intrasectional interlude . . . . 47
36. Third type of intrasectional interlude . . . . 47
37. Fourth and only type of intersectional
interlude . - . . . . . . . . . . . . . . . 48

38. Last five measures of the song, the only five

measure phrase . . . .. . . . . . *. . . .. 49

39. Typical four measure phrase . . . . . . . . . . 50

40. Modulation from A major to B minor, the

result of oblique-disjunctive motion . . . . 52
41. Modulation from B minor to D major, a substi-
tution chord type. . . . . . . . . . . . . . 52

42. Transition from minor to major on the same

tonic, between measures 1-4 and 7-10 . . . . 53
43. Accompaniment imitating the serenaderts
mandolin, with rhythmical elaboration of
three against two. . . . . . . . . . . . . . 54

44. Last two measures of the first stanza, indi-

cating the use of thirds between the vocal
line and the accompaniment . . . . . . . . . 55

45. Climax of a phrase on a major dominant ninth

. . . . . . . . . . . . 55 chord . * - - - * *

46. Six measure phrase, the last two measures

used as a fragmentary interlude echoing
. . . . . . . . . . . . . 56 the vocal line . a

47. Four measure phrase beginning in the minor,

the repetition in the major which makes
up the interlude between the first and
second stanzas . - . - . . . . . . . . . . . 57

48. Canonic treatment between the vocal line

and the accompaniment. . .. . . . . . . . . 58

49. Fragmentary interlude between subsections

of the "Abgesang" . . . . . . . . . . . . . 58

vi
Figure Page

50. Modulation from section "B" to section "C". . . 61

51. Modulation from section "C" to section "B". . . 62

52. Alternating between major and minor modes to

support the emotional content . . . . . . . 63

53. Vocal line with repetitious melodic phrases . . 64

54. Typical example of accompaniment with repeated

triplet rhythm in the right hand . . . . . . 65

55. Rhythmical problem of the vocal line helped

out by the accompaniment in the left hand. . 65

56. Vocal line from section "B" . . . . . . . . . . 66

57. A five measure phrase from section "B". . . . . 67

58. Strong dominant introduction. . . . . . . . . . 69

59. Intensification of the melancholy atmosphere

by simultaneously placing all parts down
a half step at measure 18. . . . . . . . . . 69

60. Brief modulation toC major . . . . . . . . . . 70

61. Example of vocal line moving in stepwise

direction . . . . .. . . . . . . . . . . . 71

62. Example of intervals in vocal line spelling

out the harmonic structure of supporting
chords . . . . . . . . . . . . . . . . . . . 72

63. Chordal accompaniment used exclusively in

the first half of the binary form to help
portray the melancholy subject of the poem . 72

64. Arpeggio accompaniment with four notes

against three and three against two . . . . 73

65. First type of interlude, the seven bar

introduction . . . . . . . . . . . . . . . . 73

66. Second type of interlude used to round out

or finish a phrase, by repeating the
last vocal measure . . . . . . . . . . . . . 74

67. First interstanza modulation, from Eb to Ab . . 76

vii
Figure PE

68. Second interstanza modulation, from Ab major

to Eb major. . . . . . . . . . . . . . . . . 77

69. The third interstanza modulation, going from

Eb major to Cb major . . . . . . . . . . . . 78

70. The only intrastanza modulation (in the last

stanza) from Cb major to Eb major. . . . . . 79

71. Example of the vocal line showing the repe-

titious rhythmic pattern and intervals, a
combination which helps give the atmosphere
of riding a horse. . .. .*. ... .*
. 0. . 79

72. The beginning "Ade" (Goodbye) phrase of all

stanzas, implying lightheartedness because
of its flamboyant execution. . . . . . . . . 80

73. The "Ade" (Goodbye) phrase which ends each

stanza and owing to the slower execution,
gives a feeling of regret . . . . . . . . . 81

74. Example of the twanging mandolin accompani-

ment, which imitates the trot of the horse . 81

75. Example of lengthy interlude between stanzas. . 82

76. Modulation from G minor to B major by the

use of a diminished seventh chord built
on G#. . . .9 . *. *. *.9.*.a.0. *.*.0.9.0.0. 85

77. Second modulation reflecting a change in mood

from eternal rapture to eternal torment. . . 86
78. Final modulation, from E minor to G minor . . . 87

79. Ascending harmonic minor scale passage. . . . . 88

80. Style of accompaniment to either "A"l sections . 89

81. Triplet-figured accompaniment to section "B". . 90

82. Final emphasis on "Schmerzen" (woe) supported

by a major seventh chord in the third
inversion instead of the usual diminished
triad with a major seventh . . . . . . . . . 91

83. Modulation from Bb minor to tonic Bb major. . . 94

viii
Figure Page

84. Modulation from Bb major to Gb major. . . . . . 95

85. Modulation from Gb major to Bb minor . . . . . 96

86. First six measures of Ihr Bild illustrating

the simplicity of the harmonic background. . 97
87. Example of rich harmonic texture from second
half of section "A". . . . . . . . . . . . . 98

88. Piano interlude echoing the vocal part. . . . . 99

89. Bridge which ties the major key section "B"

to the second "A"l section. . . . . . . . . . 99

90. Concluding piano phrase of the song . . . . . . 100

91. Interlude between sections "A"t and "B" . . . . 101

92. Chordal type of accompaniment embellished by

suspensions, neighboring notes and passing
tones,. .0.0.0.*.*.0.0.0.0 .6.*.0.0.*.*.0.0.102

93. Sudden modulation from Ab major to Bb minor . . 104

94. Sudden return to Ab major from Bb minor . . . . 104

95. Second modulation from Ab major to Bb minor . . 105
96. Final modulation from Bb minor to Ab major. . . 106

97. First interstanza modulation from Ab major

to Cb major. . . . . . . . . . . . . . . . . 106

98. Returning modulation from Cb major to Ab

major . . . . . . . . . . . . . . . . . . . 107

99. Melodic outline from section "A". . . . . . . . 107

100. Melodic outline from section "B" . . . . . . . 108

101. Example of 6/8 barcarole rhythmic pattern . . . 108

102. Seven measure introduction . . . . . . . . . . 109

103. Diminished seventh chord supporting dramatic

qualities in the voice part. . . . . . . . . 110

104. Melodic line suggesting recitative. . . . . . . 113

105. Melodic line suggesting an air. . . . . . . . . 113

ix
Figure Page

106. Vocal line combining elements of recitative

and air. . . . . . . . . . . . . . . . . . 114

107. Impressionistic introduction. . . . . . . . . 115

108. Example of double dotted rhythm . . . . . . . 116

109. Stereoscopic view of the distant city and

the lonely watchers . ..... ..... 117

110. The final vocal phrase . . . . . . . . . . . 118

111. Quick modulation from C major to D minor. . . 120

112. Returning modulation to C major from

D minor*. .#.*.9.#.* .*.*.9.0.9 .*.*.0.# . 121

113. Dramatic effects of suspension. . . . . . . . 122

114. Vocal line a major third below the melody

of the accompaniment . . . . . . . . . . . 123

115. Portrayal of the dismal sea . . . . . . . . . 123

116. Melancholy setting. . . . . . . . . . . . . . 124

117. Intrastanza interlude . . . . . . . . . . . . 125

118. Interstanza interlude . . . . . . . . . . . . 125

119. Modulation from B minor to D# minor. .... 127

120. Modulation from D# minor to B minor . . . . . 128

121. Example of throwing forward the accent by

using a rest on the first beat . . . . . . 130
122. An example of syncopation . . . . . . . . . . 130

123. Echo of singer's cadence in first stanza. . . 131

124. A modified dominant ninth chord supporting

an emotional height. . . . . . . . . . . . 132

125. Subordinant key of section "A" . . . . . . . 133

126. Modulation from G major to D major. . . . . . 134

x
Figure Page

127. Modulation from Bb major to G major . . . . . 135

128. Chordal accompaniment . . . . . . . . . . . . 136

129. Accompaniment duplicating melody. . . . . . . 136

130. Repetition of the last part of the last

lilline131.
. . . . . . . . . . .C
. . . . 137

131. Chordal interlude . . .0 9..*

.9 .. .0 . 138

xi
 INTRODUCTION

The following analysis of Franz Schubert's (1797-1828)

song cycle Schwanengesang (1828) was undertaken in the hope

that such a treatment of the final contributions of this

important master of song literature would prove of interest

to students of this field.

The materials examined comprise the fourteen songs col-

lectively known as Schwanengesang (Dying Strains), taken

from the G. Schirmer's Edition of Schubert's Songs with

English translations by Theodore Baker. The song-titles,

translations and authors are as follows: Liebesbotschaft
(Love's Message), Rellstab; Kriegers Ahnung (Warrior's Fore-

boding), Rellstab; Fruehlingssehnsucht (Longing for Spring),

Rellstab; Staendchen (Serenade), Rellstab; Aufenthalt (My

Abode), Rellstab; In der Ferne (Afar), Rellstab; Abschied

(Parting), Rellstab; Der Atlas (Atlas), Heine; Ihr Bild

(Her Portrait), Heine; Das Fischermaedchen (The Fishermaiden),

Heine; )ie Stadt (The Town), Heine; Am Meer (By the Sea),
Heine; Der Doppelgaenger (The Double), Heine; Die Taubenpost

(The Carrier-pigeon), Seidl.

From a synopsis of the art song concluded with critical

remarks on Schubert's style and contributions to the art of

writing songs, the author has proceeded to a few general

statements on the song cycle itself. This is followed by an

1
 2

analysis of each song from the point of view of the text,

the general harmonic scheme, the vocal line, and the

function and type of accompaniment.

 CHAPTER I

SYNOPSIS OF ART SONG

Song, in the sense of vocal composition, a personal ar-

tistic creation, began in the earliest years of the Christian

era, although names of composers did not appear until the llth-

century, where they are encountered in the troubadour songs

of Southern France. From this time on, a greater activity

began to take place in the creation of song literature.

With the beginnings of the age of chivalry, the love theme

assumed an art expression in the songs of the French Trouba-

dours and Trouveres and continued with the German innesinger

and Meistersinger. The popular devotional songs of Italy and

Spain, known as "laude" and "cantigas,t" closely allied to the

church and the poems and songs in the vernacular classed as

"epics," may also be mentioned in this connection. In melody

most of the tunes were of a modal character, with the notable

exception of the 10th-century love song, "0 admirabile Veneris

ydolum," the melody of which is interesting on account of its

clear G major tonality.1 In the music of the troubadours,

trouveres, Minnesingers and Meistersingers, more often than

not, the words were considered the most important part of the

song. In its eventual development, this troubadour music

1"'Song,"
Harvard Dictionary of Music.
 4

probably should be considered as the earliest manifesta-

tion of all modern European secular art song.2

The above-mentioned songs had at most only an impro-

vised accompaniment, but solo songs with written instrumental

acconroaniments began to figure prominently in the musical

literature of the 14th-century in France and in Italy. This

development reached a climax in the chansons of the Bur-

gundian masters, Dufay and 0inchois. Around 1450 the rise

of the Flemish school, with its emphasis on polyphonic and

sacred music, put the lyrical song into an eclipse from

which it emerged again in the 16th-century, collections of

songs began to appear, songs in four part settings ;vhich

made use of the popular tunes of the day. Written with a

facility and expertness which certainly owe much to the

groundwork laid by the Flemish polyphonic masters, it is

almost impossible to make a distinction between what was

essentially polyphonic and what was intended as monophony.3

One of the chief influences which produced the art song

with accompaniment was the development of music for the lute,

which was by no means a new instrument in the 16th-century.

This instrument made it possible to sing a tune with simple,

unpretentious suoport for the voice. Notable examples are

to be found in the lute songs of Spanish composers like Luis

de Milan (1500-1561) and the English lutest composers

2 Goddard
Lieberson, "Song," The International Cyclopedia
of Music and Musicians, edited by Oscar Thompson.
3
op. c4.t.
 5

John Dowland (1563-1626) and Thomas Morley (1557-1603).4

This simplification is also found in the work of Giovanni

Gastoldi, in 1591,5 where there is a "chord-for-note"

harmonization of the melody. f ingers found it convenient

and desirable to adapt madrigals for their solo use by

singing one part only (not always the top part either),

and utilizing instruments to play the other parts. They

even composed madrigals specially for solo voice 6 with

accompaniment and these became the forerunners of the

tairs-de-cort" and other simple solo songs of 17th-

century France. 7

Around 1600 there developed, as a reaction against the

polyphonic style of the previous century, a particular type

of accompanied song known as "monody" (i.e., music in which

the melody is confined to a single part). Influenced in

many cases by the speech-like rhythms and inflections of

contemporary recitative, and by the thorough-bass accompani-

ment, it brought fresh impetus for the composition of songs.

It is interesting to note that in Italy, where this movement

originated, it did not lead to a lasting tradition of song-

4"Song, "The Oxford ompanion to Music.

5 See
Giovanni Gastoldits "Balleto," in Sn-und Spiel-
musik aus aelterer Zeit, by J. Wfolf, No. 47, p. 105.
6 See
example of a solo madrigal by Luzzasco buzzaschi
in Arnold Schering's Geschichte der Musik in Beispielen,
No. 166, pp 176-177.
7 Goddard
Lieberson, "Song," The International Cyclopedia
of Music and Musicians, edited by Oscar Thompson.
 6

writing, for the reason that all the interest was focused

on the opera and cantata which demanded a pretentious and

elaborate type of vocal music, the aria, rather than simple

lyrical songs. In Germany, however, the new tendencies

led to a period of genuine songs which opened the glorious

tradition of the German "Lied.t"8

In Germany, the solo song with "Basso-continuo" accompa-

niment made its first appearance in Johann Nauwach's (c.1595-?)

Erster Theil teutscher Villanellen mit 1, 2 und 3 Stimmen

(1627), in Johann Staden's (1581-1634) Hertzenstrosts-Musica

(1630) and Geistlicher Musik-Kln (1633), followed by H.

Albert's (1604-1651) Arien (1638-50),9 Andreas Harmmerschmidt's

Weltliche Oden (1642-1649),10 and Johann W01olfgang Franck's

(1657-1714) Geistliche Lieder (1681-1700), among others. It

declined in popularity, however, in favor of the more elabo-

rate operatic aria during the first half of the 18th-century,

to be revived later in the century by Johann Adam Hiller

(1728-1804), J. F. Reichardt (1753-1814), K. F. Zelter (1758-

1832) and others. 1There were a few examples produced by

8 "Song,"
Harvard Dictionary of Music.
9 Foran example of his music, see "Drei Lieder," No. 193,
in Sing-und Spiel-musik aus aelterer Zeit, b Johannes VIfolf.
10
For an example of his music,
see "Kusslied," No. 194,
in Sing-und Spiel-musik aus aelterer Zeit, by Johannes Wvolf.

ll"Lied," Harvard Dictionary of Music. See, however, the

"Trinklied" of U. P. Teleman (1681-1762) in J. H. ,eitzelts
Die Liedformen, (Musikalische Formen in historischen Reichen,
ed., H. Martens, Vol. X,)p.21.
 7

Haydn 1 2 and Mozart,13 but it was not until the advent of

Beethoven and Schubert that the real development of the

"durchkomponiertes" (thorough accompanied) "Lied" began.

This new type of "Lied" was the antithesis of strophic

song, in that, instead of repeating the same music for suc-

cessive stanzas, it was a continuous entity from beginning

to end. Actually, the difference is that between a con-
ventional form and a free one. 1 4 The regard for the spirit
of the words, as exemplified by this new type of song, was

yet another move toward the freeing of composers in their

approach to song.
In earlier settings of poems, Beethoven's accompani-
ments were nothing more than simple harmonizations of the

melody in "volkstumlich" style. For example, in the six

poems An die ferne Geliebte (Goethe), Opus 48, Beethoven
adhered to the strophical divisions but satisfied the dramat-

ic requirements in the piano part. Beethoven's two definite

contributions to the art song writing were the power of
modulation for dramatic stress and expert writing for the

piano.15
Franz Schubert's songs express all the wonder, guile-
lessness and love of youth. Elements of the folksong

1 2 See
Haydn's Bind auf dein Haar.
1 3 See Mozart's Das Veilchen.
14 Goddard
Lieberson, "Song," The International jyclopedia
of Music and Musicians, edited by Oscar Thompson.
15
L.C.
 8

(e.g., Haiden-Roselein), the piano sonata (e.g., Ungeduld),

the operatic scene (e.g., Der Wanderer) and the string

quartet style (e.g., Das Wirtshaus) all made their way into

his songs. His grasp of poetry enabled him to treat words

without formality and yet with complete understanding so

that they were conveyed with the fullest expressiveness.

The melodies he put into songs are comparable in quality to

those we hear in symphonies, opera or oratorio. All songs

of Schubert owe a great deal of their essential quality to

two conditions of the romantic period; the rise of the

romantic poets (Scott, Goethe, Heine) and the relative

perfection and universal popularity of the pianoforte.1 6

In Schubert's songs there is an amazingly wide range

of form and subject matter. Many songs are in strophic

form like the folksong with its music repeated for suc-

cessive stanzas; others are in the "developed strophic"

form, in which the spirit of the simple stanza is main-

tained while certain changes take place to allow a freer

interpretation, as in Gute Nacht, where for the final

stanza, the music for the greater part changes from the

minor to the tonic major. Schubert also used freer forms,

employing every variation possible as in Aufenthalt and

Der Doppelgaenger. Schubert's song cycles differ from

Beethoven's in that they are bound together not by actual

6"Song,"TheOxford Companion to Music.

 9

musical welding, but by the maintenance of a consistent

spirit throughout the group.1 7

While Schubert was arriving by degrees at individu-

ality in sonatas, quartets and symphonies, he was pouring

forth songs. After 1822, when his health began to fail and

life had become a terrible reality, his thoughts turned in-

ward. It is from this that he wrote such great song cycles

as Die Schoene Muellerin (The Maid of the Mill) and Winter-

reise (Winter Journey). It is very difficult to draw a

comparison between the songs of the later period and those

of the earlier one. The difference resides mainly in the

subjects themselves. Subjects of romance are natural to the

imagination of youth; but in maturer years, when the mind is

calmer, it dwells more strongly on personal subjects. Such

is Schubert's case. After 1822 the broader subjects (e.g.,
Der Wanderer) and ballads are rare and the themes which

he chooses belong chiefly to individual feeling. His modu-

lations are fewer, except for changes from major to minor

mode on the same tonic, and while his accompaniments had

always been suggestive and interesting, they gain in force,

variety and quality of ideas in the later period.

One of the most obvious characteristics in Schubert's

settings is the close way he adheres to the text, rarely

repeating throughout. The music changes with the words.

 10

One of his great means of expression is modulation and he

often uses it to express a change of mood depicted in the

poem. Superior even to the wealth of modulations is the

wealth of his melodies. The beauty of these is not more

astonishing than their variety and their fitness to the

words. Unlike Beethoven, spontaneous musical ideas rushed

to his mind upon the reading of a poem. And diversity is

characteristic not merely of the melodies in the Schubert

songs; the accompaniments are as varied and as different

as the voice parts and as important to the general effect

(e.g., Who is Sylvia). They are often extremely elaborate

as in Der Neuierige. The voice part and the accompaniment

sometimes form so perfect a whole that it is impossible to

disentangle the two (e.g., Gretchen am Sprinnrade).

Schubert's basses are always splendid and are so used as

not only to be the basis of the harmony, but to add essenti-

ally to the variety and effect of his songs (e.g., Erlkoni).

Schubert's passion for rhythm comes out as strongly in many

of the songs (e.g., Aufenthalt) as it does in his marches

and scherzos. The alternation between major and minor (on

the same tonic) occasionally found in earlier composers, is

rather characteristic of Schubert and may be found in nearly

every piece of his. Generally he has an especially happy

way of bringing a minor piece to a conclusion in the major

(e.g., Rosamunde). With Schubert the minor mode seems to

 11

be synonymous with trouble and sadness and the major with

joy and relief. 1 8

Schubert continues, in a sense, the work of the great

Viennese classicists, notably Beethoven. The influence of

Beethoven on Schubert's artistic development was of infinite

importance, regardless of the fact the natures of the two

artists were of opposite character and their subsequent

aims in life took different directions. What the symphony

was to Beethoven, the opera to Mozart, the musical drama

to Wagner, the song was to Schubert. It formed the summit

of his artistic creativeness and, in turn, his "lieder"

formed the kernel and turning point in the whole history

of song.

18
George Grove, "Schubert," Grove's Dictionar of
Music and Musicians, edited by H. C. Colles, Vol. IVT1945).
1 9 Karl
Kobald, Franz Schubert and His Times, translated
by Beatrice Marshall, pp. 155-159.
 SCHWANENGESANG

The songs of the Schwanengesang (1828) are not a cycle

like the two Mueller cycles, ,-ie Schoene Muellerin (1823)

and Die Winterreise (1827), but are a collection
of settings
of seven poems by Ludwig Rellstab (1799-1860) and
six by
Heinrich Heine (1797-1856), together with Johann Seidl's

(1804-1875) Taubenpost .2 0

The title Schwanengesang was given after Schubert's

death by the publisher, Tobias Haslinger (1787-1842).

These songs can hardly have been intended by Schubert

as a
cycle, since they have neither poet nor poetic idea in

cormion. In the first song, Liebesbotschaft, the lover asks

the brook to carry messages of love to his lady fair;
in
Kriegers n the second song, the central figure is a
warrior on guard whose thoughts take him back to the love

he clasped in his arms; while Fruehlingssehnsucht sings the

praise of the sweet season of Spring. Staendchen is the
well known serenade, an effusion of youth's desire; the
fifth song, Aufenthalt, is one of a youth's despair.
In
der 4erne is an expression of melancholy and rapture and

Abschied is a students farewell song to his college town.

Der Atlas, the eighth song, reveals the hapless Atlas

who
bears upon his shoulders the world of sorrows; while the

2 0 Richard
Capell, Schubert's Songs, p. 247.

12
 13

ninth song, Ihr Bild, is one of quiet sorrow and touching

memories; Das Fischermaedchen is a light-hearted and

charming love-song; Die Stadt, the eleventh song, presents

a forsaken lover gazing into the lake where his loved one

was lost; Am Meer is a combination in expression of emotion

with a picture of the emotional milieu; the last of Heine's

songs is Der Doppelgaenger, which portrays for an unfortu-

nate lover the anquished days of olden times. The song

cycle concludes with Seidl's Taubenpost, in which the lover

praises his carrier-pigeon who never fails to carry his

love-messages, the messenger's name being "Love-longing."

The only thing which the songs of Schwanengesang have

in common is the fact that they were written by Schubert

in the year of his death, 1828. After Beethoven's death,

the previous year, Schubert's attention was directed to a

number of poems the great man had meant to set and being

unable to resist the temptation to associate himself with

Beethoven's thoughts concerning the matter, he attempted

to realize his intention by putting them to music himself.

His genius, electrified by this association, found for

those last songs of his a beauty which bears comparison

with the best of his output. 21

In them beauty and emotional force are balanced

to perfection and their chief technical attribute is the

simplicity that marks the work of the great. Economy of

21C. E. LeMassena, The Songs of Schubert,

p. 117.
 14

means as an invaluable aid in obtaining effects is one of

the hallmarL'sof these songs, either in the lyrical forms

such as Liebesbotschaft, the pathetic monologues like

Ihr Bild, the great emotional outbursts of Der Doopelgaenger

or the realism of Die Stadt. 22

22
E. G. Porter, The Songs
of Schubert, p. 100.
 CHAPTER II

LIEBESBOTSCHAFT

(Rellstab)

The story is of a lover who asks the sparkling brook

to carry a message of love to his fair one, to comfort her

and to sing her to sleep with a love song. Four stanzas

are used, the last three of which are extended by the repe-

tition of the last line. The setting is "durchkomponiertes"

(i.e., new music is composed for each stanza) to the extent

the first three stanzas are set to different melodies,

while the fourth is a variation of the first.

There are three principal key and melodic schemes used

in an A-B-C-A pattern. Each principal key change is indica-

tive of an equal change in the poetic thought. However,

within each principal key section there may also be unex-

pected and unprepared modulations which do not reflect a

corresponding change in the poetry.

The first "AA" section is in the key of G major, the

tonic key for the song. It is in this section that the

lover makes his introductory address to the brook, asking it

to comfort his fair one. The sudden modulation of the last

six measures of this section into the relative key of E minor,

without a corresponding change in the text, serves only as

15
 16

Fig. 1.

Haste to my fair one with ea - ger delight,

eilst zur Ge-lieb-ten so mun ter und schnell?

aies- sen-ger trust-y when

ach, trautes Bachlein, mein

near her you are,

Bo - te sei du;

~F I

Tig. 1.--An unexpected and unprepared modulation

out a corresponding change in the text (Liebesbotschaftwith-
mm 6-13).
 17

another avenue of coloring for the song. (See Figure 1.)

Fig. 2.

love from a- far.

Fer - nen ihr zu.

All the sweet flow'rs she has nursed and caress'd,

All ih - re Bu -men im Gar - ten gepflegt,

I I

Fig. 2.--Modulation from section "A,t key of

minor, to section E harmonic
B,H" key of C major (Liebesbotschaft mm
16-19).

Figure 2 illustrates the modulation from

section "A" in the
key of E harmonic minor to section "B" in
the key of C major.
Schubert modulates by the use of a pivot chord, allowing
the
minor tonic of E to become the minor chord
built on the third
degree of the new key, C major. At this point it is interest-
ing to observe a pattern which the modulation
from section
 18

"A" to section "B" suggests. Modulations in this song,

regardless of direction, are a major or minor third in

distance.

In section "C" the lover asks the brook to comfort his

fair one with friendly regard. Based on two fundamental

four measure phrases, Schubert extended this section to a

Fig. 3.

'Jhen on the green bank to

!e nn sie am U - -- fer, in

slum - - ber re - signed,

T r eu - - me ver - senkt.,

.AAJ _

7ig. 3. --First four measure phrase of section TC"J

(Liebesbotschaft mm 32-35).
 19

length of twenty measures, including in the last three

measures an interlude and modulatory section to conclude

the phrase. Figure 3 shows the first four measure phrase,

Fig. 4.

My love re - call - ing, her

niei - ner ge - den - kend, das

1_4

head's de- clintd,

Kopf- - chen hangt,

Fig. 4.--Repetition of the first four measure phrase

in
section "C,1" a minor third down (Liebesbotschaft
mm 36-39).

while figure 4 is the repetition a minor third

down. Figure 5
is the second four measure phrase without expansion
or modifi-
cation. A comparison of this with Figure 6 reveals how a

five measure phrase was made from the material for

four
 20

Fig. 5.

P r k LZ==A

CoM-fort the darling with friend-ly re-gard,

tro-ste die Su-sse mit freund-li-chen Bick,

He who a- dores her will not re-tard.

denn der Ge-lieb - te kehrt bald zu-ruck,

Fig. 5.--- 3econd four measure Dhrase in section "0"

without expansion or modification (Liebesbotschaft
mm 40-43).

measures. The material from measure 4, Figure 5, is ex-

panded into two measures, measures 4 and 5, Figure
6, which
gives the effect of a well regulated retard.
By means .of
the repetition of the first four measure phrase
and the
corresponding harmonies, Schubert passes through
keys of A
minor, D major, F major, C major and finally
ends in E minor.
 21

Fig. 6.

Com - fort the darling with friendly re-gard,

tro-ste die Su'- sse mit freund-li-chen Blick,

He who a-dores her will not re-

denn der Ge-lieb- te kehrt bald Zu-

tard.
ruck.-

Fig. 6.--Five measure phrase, section "C,1" made from

the material for four measures (Liebesbotschaft mm 44-48).
 22

This in turn gives way in the second four measure phrase,

Fig. 7.

When the sun sets in

Neigt sich die Sonne mit

-Fig. 7 .--Modulation section "0" to last section "A, 1 4

without the characteristics or other modulations
(Liebes-.
botschart mm 48-51).

to the true key of the section, the key

of B major. The
modulation from section "0" to the last
section "A"
(Figure 7) is another example of the pivot
chord type that
occurs without the familiar characteristics
of surprise and
 23

Fig. 8.

Messenger trust., hen near er, you a 11

ach, trautes Bacnilein, _mein giote seitu

Am- IIF f

I i I

Fig. 8.--Last six measures of the first "Al section

(Liebesbotschaft mm 12-17).
 unpreparedness which distinguished the other modulations.

Schubert definitely brings in here recollections from the

beginning of the song, using identical and similiar melodic

and accompaniment figures to bring a finish to the lover's

day dreaming. The tonic of section 1C,1" a B major chord,

becomes the major chord built on the third degree in the

key of G major, the tonic key for the last "A" section.

The six measures which ended the first "A" section are

found to be inserted, with slight vocal modification, in

the middle of the last "A" section. A comparison of Figure

8 (from the first "A" section) with Figure 9 (the
last "A"
section) will reveal the slight changes. It is this last
"A" section in which the lover pleads with the brook to

sing his fair one to sleep with a love song.

The vocal line of the song, with its fragmentary repe-

titions with and without modification, resembles an expanded

civilized folk song. A civilized folk song is one which

shows the influence of art music (the artistic expression

of musically trained individuals), the text dealing with one

of the various phases of daily life--in this instance, love. 1

Figure 10 is an entire melodic phrase, from section "B,"

as it would be without the vocal fragmentary repetition.

Figure 11 is the same phrase with the repetitions. Comparison

reveals the phrase, like so many others in this song,
is
fundamentally six measures in length. To support the text,

1 "Folk
Song," Harvard Dictionary of Music.
 25

Fig. 9.

I VI
V..

I-,

.Liur-muring lull he, to sweet re pose,

Rau - sche sie mur-melnd in su - sse Ruh',
i=9=1 ==T=*==4 #=*=*=4 1=*=*=!
fAdftL Al
P7 m

-F

k~VL

Whis--ptring love Is dream as her

Flus - tre ihr Traume der
A m IL

Id 7F-- 4b'
I tab 4w

44bb 'ZI

op

'Oor

eye - lids close,

Lie - be zu,
1Ti l = = tI= ___--

Fig. 9.--Six measures ending the first "A"f section in-

serted in the middle of the last "A" section, with vocal
modification (Liebesbotschaft mm 58-63).
 26

two fragmentary repetitions are observed in Figure 11; one

without modification (measures 3-4) and one with modifica-

Fig, 10.

Fig. l0.--An entire melodic phrase from section "3"

without vocal fragmentary repetition (Liebesbotschaft mm
18-19, 22-25).

tion, measures 9-10. The modification (Figure 11, measure 9)

consists of transposing the first six notes of Figure 11,

measure 5, up a major third, the rest of the material in the

fragmentary repetition remaining unchanged. Figure 3 is

another example of the reoccurence pattern used in folk song

style. Instead of the usual two measure fragments, in this

instance the whole four measure phrase is transposed down

a major third.

The accompaniment suggests the imitation of the brook,

to which the lover sings, by the continuous use in the right

hand of broken chords in 32nd note patterns, against a slow

moving, largely melodic bass ni the left hand. An example

 27

Fig$ 11.

Fig. 11.--The entire melodic phrase Urom section "?B"

with Ifragmentary repetition (Liebesbotschaft mm 18-29).

of this may be seen in Eigure 1. The harmonic background

is relatively clear, lightened by the broken chord

arrangement of the harmony. (See F'igure 1.

)
 KRIEGERS AHNUNG

(Rellstab)

A dramatic song-projection of the figure of a warrior

on guard while all about him sleep his comrades. His heart
is heavy with resentment and yearning, recalling the
love
he clasped in his arms by the friendly hearth-fire. Here,
where the campfire's flames reflect only cold steel,
his
soul despairs and bitter tears fill his eyes. Yet he bids
his heart take courage for he has many battles yet to
fight.
As he lies down to sleep, he bids his sweetheart goodnight,

with a renewed injunction to himself not to abandon

hope.
The setting is "durchkomponiertes" with the thematic and

chordal material of the prelude used to support the vocal

line of the codetta.

The song opens solemnly in the key of C minor, de-

scribing the warrior with his heavy heart and his comrades

lying around asleep. The rhythm Schubert uses to render

the atmosphere of the camp and its surroundings is
one
rather characteristic of his latter period in which
the
main stress occurs in the middle of the bar. (See Figure
12.) The accompaniment sets the martial air of the camp,
while the vocal line displays the warrior's pent up
emotions.
The modulation to Ab major (a deceptive cadence type)

28
 29

Fig. 12.

In qui-et slum - ber on the plain My'

In tie-fer Ruht liegt um m.xich her der

____L

V: 0 v -4 vh'"
Fig. 12.--An example of the rhythm characteristic of
Schubert's latter period, the main stress occuring in the
middle of the bar (Kriegprs Ahnun-g mm 9-l1).

supports the recall of the warrior's love. The dominant

chord of C minor, instead of resolving to the tonic, resolves

deceptively to Ab major (the submediant chord of C minor),

the tonic chord of the new key, as Figure 13 illustrates.

Fig. 13.

3 3
~1.4

L~hi I ~
LLI~j7 - iI I

Fig. 13.---A deceptive cadence modulation (Kriegers

Ahnung mm 27-29).
 30

The enharmonic modulation from Ab major to F# minor brings

to close the warriors recollections of his sweetheart and

returns him to actuality (i.e., the campfire scene and the

tasks which lie ahead). The single-tone modulation is

brought to a successful issue by repeating the Db and its

enharmonic change C#, which is the dominant tone of the

new key, F# minor. (See Figure 14.) The key of F# minor

Fig, 14.

Fig. 14.--An enharmonic modulation from the key of Ab

major to F# minor (Kriegers Ahnung mm 42-43).

lasts only until "hier fuehlt die Brust sich ganz allein"

(my lonely heart is in despair), when the root of the F#

minor chord is lowered a semitone on the third beat of

measure 2, Figure 15, and the fifth on the following beat,

which places the song into the key of A minor. However,

this is very temporary, for at the end of three measures in

the key of A minor, Schubert boldly goes into F minor and

remains there until the end of the phrase. This brusk

modulation is brought about by contrary and step-wise voice

 31

Fig. 15.

My lone-ly heart is in de-spair,

hier fuhlt die Brust sich ganz al-lain,

I L14

.
'4
4.

Fig. 15.--Modulation from F# minor to A minor, by lower-

ing root and fifth of F# minor chord a semitone (Kriegers
Ahnung mm 48-50).

leading in the accompaniment; the octaves in the bass

Fig. 16.

My lone-ly heart is in de-spair,

hier fuhlt die Brust sich ganz al-lein,

=,=L,

4 4 -4.-,
-

Fig. 16.--Modulation from A minor to F minor by bass

descending semitone, right hand triad contracting (Kriegers
Ahnung mm 51-54).
 32

lowering a semitone while the right hand contracts from a

second inversion minor triad to one in the root position.

The warrior's address to his heart "Herz, dass der

Trost dich nicht verlaesst" (Heart, be Thou strong my fears

to quell) is supported by the keys of C minor and A minor.

The basis for the establishment of any key is particularly

difficult with the absence of the customary tonic and domi-

nant chord progressions. The basis for laying claim to the

key of C minor, therefore, rests entirely upon the chords

as outlined by the two arpeggios found in the first measure

of Figure 17. Built on G they outline a major seventh and

a flat ninth chord, respectively, and bring to light one of

the essential characteristics of the scale of C harmonic

minor (i.e., the step and a half interval from Ab to B

Fig. 17.

strong my fears to quell, Thee man - y a

Trost dich nicht ver - lasst, es ruft noch

Fig. 17.--Enharmonic modulation from C harmonic minor

to A minor (Kriegers A mm 64-66).
 33

natural). The modulation from C minor to A minor is re-

vealed through a comparison of the chords as outlined by

the last two arpeggios in the first and second measures of

Figure 17, showing the enharmonic change from Ab to G# with

subsequent resolution to A minor. This is another example

of Schubert's subtle use of the powers of the accompaniment

to support the rising emotional content of the text.

The modulation from the key of A minor to C major is

accomplished by ")ivoting on a common tone. Here again the

modulation supports a change in the mood of the text, from

that of the warrior's thoughts of his own restlessness and

fears to those of sleep and a bid of good night to his

sweetheart. The modulation (obscured by the hurried tempo)

is one of the most simple in the song cycle, as the fifth

Fig. 18.

I - soon
Bald ruh'

Fig. 18.--Modulation from A minor to C major

(KriegersAh mm 72-73).
 34

degree of A minor becomes the third degree of C major. (See

Figure 18.) Schubert apparently had a strong desire to make

the listener conscious of the soldiers address to his own

heart, for he divides this fifty measure section into two

identical subsections, before going to the final codetta

section, whose vocal line is supported by the chordal-the-

matic material used in the prelude.

The vocal line alone is cantabile in style. When used

with the accompaniment it bears close resemblance in mood

to an operatic aria, the combination creating the restless

Fig. 19.

Ae

lb

Fig. 19...Chordal type of accompaniment (Kriegers

Ahnung mm 1-8).
 35

agitation and dramatic tragedy which permeates the story.

There are five types of pictorial accompaniment. (1)

The chordal style (Figure 19) sets the mood of the camp

scene, the warrior with his comrades lying around asleep,

the rhythmic feature rending the atmosphere of the camp.

(2) The broken arpeggio accompanys the warrior's love

dreams. (3) The quick repeating accompaniment returns the

Fig. 20.

How oft I've dreamed the

Wie hab ich oft so
A + - ;- :I -. :

Fig. 20.--Broken arpeggio accompaniment (Kriegers

Ahnung mm 29-30).

warrior to the campfire activity (see Figure 21). (4) The

arpeggio accompaniment, with the left hand broken chord

notes and rhythm suggesting the pulsation of the heart,

brings to light the warrior's heart's fears and restlessness.

(See Figure 22.) (5) The broken chord accompanying his

 36

Fig. 21.

where the camp - fires sul - len glare,

wo der Flam - men dust'rer Schein,

Fig. 21.--Quick repeating accompaniment (Kriegers

Ahnung mm 43-44).

Fig. 22.

He artbe Thou strong my ars to quell,

Herz, dass der Trost dich nicht ver-lasst,
dase

..To4 r

I-
I r I
I

Fig. 22.--Arpeggio accompaniment, with the left hand

broken chord notes and rhythm suggesting the pulsation of
the heart (Kriegers Ahnung mm 63-65).

thoughts of sleep and farewell to his beloved (see Figure 23).

 37

Fig. 23.

slum - - - - ber well: Good

I Schla - - - - fe fest, Herz-
I MEMO 1 m -
I ps'- .00
. cA

-
9 4 iL--Ir
A 4h - 1-1 1 W, *kmoo r*-.
I
I t
Awl- C IL
4b dw--

I I

,
-1- FI -- " i lop

-
I 4%d- ---- f
-F iI
L-- 571 L7
1 A&, _

d e a r es - love

I
night, then, de ar - 4- est lovely
lieb - ste I gu - - te Nachtl

cd7

I
f (I.jII
I IL ~

Fig. 23.-- roken chord accompanying thoughts of sleep

and farewell to the warrior's beloved (Kri-eers Ahnung mm 77-83).

The rhythmic texture of the song is the most varied of

the entire cycle, having as it does two movements in 3/4 time,

two in 6/8 and another in common time (4/4): there are how-.
ever no signs of discontinuity, for the middle section in

common time has an accompaniment in triplets which thus

bridges the gulf between the 3/4 and 6/8 sections.

 38

The harmonic texture varies according to the mood of

the song. An example of this is to be found by comparison

of the construction between the chords which open the song

describing the campfire's sullen glow and those which ac-

company the warrior's thoughts while he recalls his love.

Both sets of chords are about equal in note range; yet

those depicting the campfire are thicker in texture and

more closely knitted than those which accompany the

warrior's recall of his love. The former is straight

chordal accompaniment while the latter is a broken chord

accompaniment figure.

The entire accompaniment never reaches beyond the

first octave above middle C and indicates the sombre and

gloomy mood which permeates the song.

 FRUEHLINGSSEHNSUCHT

(Rellstab)

The five stanzas of this poem are a metaphorical de-

scription of love. Each stanza (except the last) concludes

with a question of unappeased desire. The setting is a
modified strophic form with the first and last lines of

each stanza repeated.

The song remains within the limits of Bb major until

the fifth stanza. Here the tonic minor and a modulation to

its relative major (Db) mirrors the change from the joy of

nature in springtime to the singer 's inquiry of his own

heart's vain restless longing. This modulation is ac-

complished quickly, quietly and without preparation as the

song moves from the root position of a 'b minor chord to a

similiar position of the dominant chord of Db major. (See

Figure 24.) The reiteration of the singer's inquiry in Db

major (without a root-positioned-tonic chord) builds the

emotional content to such an intense degree that it figura-

tively bursts into the returning Bb major key as the singer

answers his own dilemna. The modulation (Figure 25) is

realized in the left hand by chromatic ascending octaves and

in the right hand by repeating a broken chord common to

both keys, culminating in the second measure of Figure 25

39
 40

Fig. 24.

Heart, why thi yearn-ing

Rast - lo-ses Seh - nen

Fig. 24.--Sudden modulation, first half of the last

stanza, from Bb minor to Db major (
mm 111-114).

L-
Fig. 25. 0 W

S__
____b

-I__

I, too, share the

Auch ich bin mir

I 7
I

Fig. 25.--Modulation from Db major to Bb major (Frueh-

lingssehnsucht mm 121-123).

first on a minor chord and then on a major chord built on Bb.

 41

The vocal line is in the style of a folksong (i.e.,

similiar melodic material in all stanzas) regardless of the

three modulations in the last stanza.

The first of these modulations (from Bb major to Bb

tonic minor) has, except for the lowering of the third

degree and the changing of one note, almost the same melodic

line as does the beginning of the other stanzas, A com-

parison of Figures 26 and 27 will reveal the changes

mentioned.

Fig. 26.

I Ok I

Fig., 26.--Vocal line from the first half of any of

the
first four stanzas (Fruehlingssehnsucht).

Fig. 27.

Fig. 27.--First eight measures of the fifth stanza in

the key of Bb tonic minor (Fruehlingssehnsucht mm 103-110).

The second modulation (from Db major to the relative

 42

Fig. 28.

ap Am

14
w F

Fig. 28.--Vocal line of the second section of the first

half of any of the first four stanzas (Fruehlingssehnsucht).

Fig. 29.

L IJ

Fig. 29.--Vocal line of the second section of the first

half of the fifth stanza (Fruehlingsseh1nsucht mm 113-116).

key of Bb minor) consists of transposing the second section

of the first half of the fifth stanza up a minor third.

(See Figures 28 and 29.)

The final modulation occurs in the last fourteen mea-

sures of the vocal part of the song. A measure by measure

consideration of the vocal lines between Figure 30 and

Figure 31 will reveal the extent and the similarity of the

modification. For the sake of clarity, a small "a" after

a measure number will indicate the measure in discussion is
from Figure 31.

Schubert begins each section on the same note, an octave

 43

Fig. 30.

Fig. 30.--Vocal line of the last twelve measures from

any of the first four stanzas (Fruehlingssehnsucht).

apart, measure 1 on the lower E natural the last half of

the last beat, measure la on the octave above, the

last
beat. Both resolutions are as expected. Measure 2 begins
on the resolution from the preceeding measure, the
lower F,
proceeding up to Bb and D, outlining the Bb major
chord in
arpeggio form. Measure 2a begins on the upper F, spelling

in contrary motion to measure 2 the Bb major chord (F-D-Bb)

in arpeggio form. Measure 3 begins on the upper F, followed

by two repeated eighth notes on the upper D, measure

3a
beginning on the lower F and going to Bb for a quarter
note.
The only common ground for comparison between measures
2-2a
3-3a is the tonic chord each outlines, in ascending
and
descending arpeggio forms, respectively. Measures 4-5 and

4a-5a have more similarity beneath the surface than

one
would expect. They both begin on an identical note, upper C.

Measure 4 has a lower neighboring note resolving to

the
 44

Fig. 31.

A
-1 CL
,or iL
Lip

to AL,
n am& &k.
.4w
,or Is W
A'
L

Ic-

Fig. 31.--Final fourteen measures of vocal line from

the last stanza (Fruehlingssehnsucht mm 131-143).

upper D in measure 5, while measure 4a has an upper neighbor-

ing note on upper D before the final resolution to D in mea-

sure 5a. Measures 5 and 5a both end on F, lower and upper,

respectively. Measure 6 and 6a have absolutely nothing in

common in the melody but with the accompaniment they help
outline a D minor chord. 'easures 7 and 7a are identical

as to pitches, but as to rhythm the former subdivides the

last beat evenly while the latter retains even beats in the

measure. Measures 8 and 8a, and, 10 and 10a, are respectively

identical. Measures 9 and 9a are identical. Measures 11
and lla start identically, but the former repeats the same

note to complete the measure going to an upper neighboring

note with resolution in the next measure in a mood of unap-

peased desire, while the latter employs an appoggiatura

with subsequent resolution for two .and a half measures, in

the final mood of the heart's joy of springtime.

 45

Fig. 32.

A1

Mur-muring breez-es Soft flowing by

Sau-selnde Luf - te, we - hend so mild,

Fig. 32.--Accompaniment which duplicates the melody in

both hands (Fruehlingssehnsucht mm 13-16).

The melody is duplicated in the accompaniment through-

out the song, sometimes in both hands.

There are two kinds of accompaniment. The eagerness in

Fig. 33.

A L

fare. But where? But where?

Bahn. WOo- hin? Wo hin?

Fig. 33.--Doubting motive at the end of each of the

first four stanzas (Fruehlingssehnsucht).
 46

the text "Saeuselnde Luefte, wehend so mild, blumiger Duefte

athmend erfuelltV" (Murmuring breezes soft flowing by, Sweet

are your kisses, Balmy your sigh!), is expressed in the

music by rapid triplet movement of the right. hand (with the

first beat of each triplet a rest) against a single chord

or note per beat in the left hand. The doubting motive at

the end of each stanza (Figure 33) is a simple chord pro-

gression over which the voice expresses its uncertainty.

The harmonic background is thin and simple; the only

rhythmic elaboration is the use of accompaniment triplets
against duplets of the vocal line, which adds to the musical

joy of springtime. (See Figure 32.) The "vivace" intro-

duction sets a joyful mood for the entire piece, except for
the few moments of uncertainty at the end of each of the

first four stanzas and the minor mode in the beginning of

the last stanza which reflects the restless longing of the

singer.

Fig. 34.

Fig. 34.--First type of intra-

sectional interlude (Fruehlings-
sehnsucht mm 31-32).
 47

Fig. 35.

Fig. 35.--Second type or

intrasectional interlude
(Frelinssehnsucht na 41).

Fig. 36.

1%
0 . %W-r
j

Mm
Are 1 "loin
'0% 1.
4.1%w- Um-ja2l ktAr2
I 4
I ''I -I

Fig. 36.--Third type of intra-

sectional interlude (Fruehlins-
sehnsucht mm 121-122).

There are four kinds of interludes, three intrasectional

 48

and one intersectional. Figure 34 illustrates the first

type of intrasectional interlude, two measures in length.
Schubert uses this interlude no less than ten times during

the five stanzas of the song, usually following each pair

of four measure phrases. The second intrasectional type

(Figure 35) is one measure in length, occurs in the last

half of each stanza and is used five times during the song.

The third intrasectional interlude occurs only once, that

in the last stanza. It is the modulating factor between

the reiteration of the heart's vain yearning (in Db major)

and the supreme joy of nature as expressed in the singer's

own heart, in the key of Bb major. (See Figure 36.) The

Fig. 37.

A
Vj
Apr F

1 64

,ao9 Be low9 Be low?

Sinnv hin ab? hi n ab ?
A
low
Al

I= IPF I T-
I
-

JF* 12
I

Fig. 37.--Fourth and only type of intersectional

interlude (Fruehlingssehnsucht mm 94-102).

fourth and final type of interlude, intersectional in

 49

Fig. 38.

duO

A1~
Id~

Fig. 38.--Last five measures of the song, the only

five measure phrase (Fruehlingssehnsucht mm 144-148).

function, is one which we find as the connecting link

(musically speaking) between each stanza. It is used four

times and is made up of two four measure phrases. The

first half of each of these phrases expresses the question

of unappeased desire. Except for the interludes and the

last five measures of the song (Figure 38), Schubert uses

four measures to a phrase. (See also Figure 39.)

 50

pig. 39.

Stre amle ts re -s ounding'r Rip -Ple and Swell.,

Bachlein s o nun- ter,, rau -s chend zu Mal,

'& II

Fig. 39. --Typical four measure phrase (Fruehlings-

sehnsucht mm 58-61).
 STAENDCHEN

(Rellstab)

This is not a formal serenade but an effusion of

youth's desires. The lover's song pleads in the silent,

moonlit night, bids his love to listen to the nightingales

who speak for him and begs her to let them move her heart,

so that she in turn will make him happy. The setting is

Barform, consisting of two sections of the same music with

different words ("Stollen") with an "Abgesang" or afterstrain.

The serenade stays closely to the key of D, major and

tonic minor, with the exception of the first eight measures

of the "Abgesang" which divides between the keys of A major

and B minor and returns to D major for the final fourteen

measures. The modulations involved are simple. The modu-

lation from D minor to A major is done by substitution; the

A major chord (the dominant chord) in D minor becomes the

tonic of A major. Modulating from A major to B minor, only

a step away, is the result of disjunctive motion, between

measures 1-2, and 2-3 as seen in Figure 40. The modulation

from B minor to D major is another of the pivot type: the

chord built on the sixth degree in the key of B minor be-

comes that built on the fourth degree in the key of D

major, as seen in the second measure of Figure 41. In the

51
 52

Fig. 40.

l I 1 -1 I

ne ar ? Ohl I tremble le t los e he aI

Mich, be - bend harr'ich dir entgegen,

Fig. 40.--Modulation rrom A major to B minor, the re-

sul t of oblique -dis junc tive mo tion (Staendchen mm 64-66)

.
Fig. 41.
-4p- k
h

Come, and bless me here!

komm, beglu - cke michf

Fig. 41.--Modulation from B minor to D major, a substi-

tution chord type (Staendchen mm 68-70).

two stanzas Schubert uses a pattern key scheme in which he

 53

works twice through the series tonic minor, relative

major
and tonic major. Frequent transitions from minor to major
on the same tonic are made, used not only as a means
of
additional color for the song, but also to depict an
alter-
ation of moods (e.g., melancholy and hope).

Fig. 42.

I 2k I.

AWN(aIl I ~

Fig. 42.--Transition from minor to major on

the same
tonic, between measures 1-4 and 7-10 (Staendchen
mm 17-28).

The vocal line is cantabile in style. The accompa-

niment imitates the serenader's mandolin and in the
inter-
ludes echoes his song in the form of a dialogue with
the
voice, while he strains his ears for an answer. (See Figure
43.) The frequent triplets in the vocal line against the
duplets in the accompaniment are the only rhythmical elabo-

tion. (See Figure 43.) Duplication between the vocal line

and the accompaniment does not occur; however, there are

parallel thirds as the last two measures of the first

stanza show. (See Figure 44.) The harmonic background is

 54

Fig. 43.

A
r r r.
_Ml lq I I-
#J Warm entreat- ies gently pleading Through-1the night to
Leise fle hen meine Lie der durch die Nacht zu

p10

0Thee,

dir,3

aft..

Fig. 43.--Accomnpaniment imitating the serenader's mando-

lin, with rhythmical elaboration of three against two
(Staendchen mm 5-10).

of necessity thin and simple, as the mandolin is a rather

limited instrument. Climaxes of words and phrases require

strong, vibrant chords, which Schubert uses and in doing so

must have been considered typically romantic. One such

example is the last "Komm, beglueck mich " (Come and bless
me here'), where the climax of the phrase is strengthened by
 55

Fg hf44?

A
Ed IL
Ar 6

tic

wVhere f ore dost thou fear?

furch tep Hol del$ nicht.
A
IL

AL
100'
b if
-1 INK,
L L 1 I I I . I I I I

Fig. 44.--Last two measures of the first stanza, indi-

cating the use of thirds between the vocal line and the ac-
companiment (Staendchen mm 25-26).

1-ig. 45.

Come, and bless me hereL

komm, be - clu - cke mich.

ppt

I . L I 1
I I I -'

i-ig. 45.--Climax of a phrase on a major dominant ninth

chord (Staendchen mm 71-72).
 56

a major dominant ninth chord, with the seventh degree of the

chord in the vocal part and the ninth degree in the accompa-

niment. (See Figure 45.)

Schubert uses a six measure phrase for the two stanzas

with the last two measures of each phrase repeated, due

Fig. 46.

I i

Warm entreat - ies gently pleading Through the night to

Leise fle - hen meine Lie - der durch die Nacht zu

A4.

-r~fP.
dir,

~0

Fig. 46.--Six measure phrase, the last two measures

used as a fragmentary interlude echoing the vocal line
(Staendchen mm 5-10).
 57

either to reiteration of the poetry or to the accompaniment

echoing the vocal line as a fragmentary interlude. The

eight measure interlude between the first and second stanzas

Fig. 47.

Fig. 47.--Four measure phrase beginning in the minor,

the repetition in the major which makes up the interlude
between the first and second stanzas (Staendchen mm 29-32).

is a four measure phrase in the minor mode, repeated in the

tonic major. There is no interlude between the second stanza
and the "Abgesangi" which is made up of three subsections.

The first is composed entirely of new material in which

is found an example of a canonic treatment between the vocal

line and the accompaniment (see Figure 48). Following this,

the subsection creates a fragmentary interlude--between

itself and the second subsection--by repeating the last

measure of the vocal part first over subdominant harmony and

then tonic harmony (see Figure 49). The second subsection

 58

Fig. 48.

Let thy pity then restore me, Dearest, art Thou

Lass auch dir die Brust bewegen, Liebehen, hore

Fig. 48.--Canonic treatment between the vocal line and

the accompaniment (Staendchen mm 61-63).

Fig. 49.

lest I lose theed

dir ent - e- gen,

i r ----

S I
"

Fig. 49.--Fragmentary interlude between subsections of

the "Abgesang" (Staendchen mm 66-68).
 59

"Komm, begluecke mich!" (Come, and bless me here!) is a

reoccurrence of the final four measures of the "Stollen"

melody, with three measures of new material added to the

end. The last subsection is another reoccurrence, that of
the material used for the interlude between the first and

second stanzas.
 AUFENTHALT

(Rellstab)

After the song of desire (Staendchen),comes the song of

despair. This intensely dramatic poem (in strophic form)

represents the eternally unsatisfied desire and despair of

youth, treated allegorically by the noise of the torrent,

the bleakness of the rocks and the solitude of the wind-

swept forest.

Schubert employs an arch-like form, A-B-C-B-A, each

section except "C" in the tonic key of E minor or its

dominant, B major. The "C" section, in the relative major

(G), is more lyrical in style than the other sections and

speaks of "rustling tree-tops" (Hoch in den Kronen) and

"heart-throbs" (Herze schlaegt). The modulation from

section "B" to section "C" is conventional in distance but

not in approach, as the following measure by measure analysis

of Figure 50 shows.

Schubert uses the minor tonic chord in measure 1 to

begin the nine measure modulatory interlude. Measure 2, with

an octave suspension in the right hand, builds a major seventh

chord on the lowered second degree of the B minor scale and

by using another suspension in the right hand (for the next

measure's beginning) builds a similiar seventh chord on the

60
 61

Fig. 50.

-. ib 4b% *4b

AO

II I

~~NIo",I i 7 X Z Z

Fig. 50.--Modulation from section "B" to section

"sC"
(Aufenthalt mm 47-55),

raised second degree of the B minor scale.

Measures 4 and 5
are the conventional cadence endings of a tonic
six-four
chord, dominant and tonic chord progression.
Measure 6 is
a repetition of measure 2. Measure 7 begins with another
suspension in the right hand which actually
is the modulation,
for the introduction of an augmented chord
built on Eb with
an added sixth readily puts us out of key, so to speak. The
subsequent resolution to measures 8 and 9 finds
us in the
key of G major with similiar chord progressions
as found in
measures 4 and 5.

In the writer's opinion the uniqueness of this

entire
passage lies in Schubert's use of the supertonic
chords and
 62

the following chord progressions which lead up to the actual

modulation in measures, 7 and 8. So far, in this series of

songs, it is the first time a supertonic chord is used for

modulatory purposes. In measure 7 Schubert developed a Nea-

politan sixth chord out of the material of the supertonic

chord of the previous measure. The modulation from section

"C" to section "B," returning us to the key of B major, also

relys on a supertonic chord (measure 2, Figure 51), develop-

ing in measure 3 to the first inversion of a ninth chord

Fig. 51.

A,&__ __A _ _A,_

AW

vj .0 41P

lb1

Fig. 51.--Modulation from section "c" to sec-

tion "B", (Aufenthalt mm 77-80).

built on F#, which resolves to the tonic of B major in

measure 4. The modulation from section "B" to section "A"

is one quite similiar in material and form to the modulation

from section "B" to section "C." Schubert alternates homony-

mous major and minor modes, to support the emotional content,

as seen in measures 15-22 from the first "A" section,

 63

Fig. 52.

Dull mur-muring stream,

wild rus tling wood,
rau - schen-der Strom, brau-sen-de
A-L %.-,

-'-
-

Cold senseless rock, my lone

star - ren-der
a - bode,
Fels, mein Auf ent - halt,

Fig. 52.--Alternating between major and minor modes

to
support the emotional content (Aufenthalt mm 15-22).

Figure 52.

The vocal line is similiar in style to that of the

dramatic aria, despite repetitious melodic phrases which

recall strophic or folksong treatment. Examination of

Figure 53 reveals the simplicity of Schubert's vocal lines

even with the repetitious melodic phrases. In measures 1

 64

and 3 the melodic material is identical while in measures

2 and 4 the notes of the last beat are not identical. The
upbeats on measures 4 and 8 begin similiar phrases--though

on different notes--as the notes of measure 9 and the first

beat of measure 10 are transposed up a minor third, from

materials in measures 5 and 6, respectively. The ends of

Fig. 53.

Fig. 53.--.Vocal line with repetitious melodic phrases

(Aufenthalt mm 64-75).

measures 6 and 10 are identical, measure 11 is put in as a

regulated retard before executing the two modified turns in

measure 12. Measure 7 has material identical with the first

half of measure 12.

The main function of the accompaniment is to create--

even in the middle lyric section--the agitated atmosphere

in which the despairing youth finds himself. It is to be

noted that Schubert has chosen the "wild rustling"

(brausender Wald) of the wood rather than "the dull murmur-

ing stream" (rauschender Strom) as the fundamental mood.

Fig. 54.

Dull murmuring stream, wild rustling wood,

Rau-schender Strom, brau-sender .1ald,

Fig. 54.--Typical example of accompaniment with repeated

triplet rhythm in the right hand (Aufenthalt mm 7-10).

This is represented in the accompaniment by a repeated triplet

rhythm figure pattern in much the same manner as the Erlkoenig,

although in Aufenthalt there is a distinct absence of any

dialogue with the voice.

Fig. 55.

Rustling the treetops wave in the air, So all un-

Loch in den Kro-nen we - gend sichis regt, so un-auf-

Fig. 55.--Rhythmical problem of the vocal line helped

out by the accompaniment in the left hand (Aufenthalt mm
56-60).
 66

Rhythmical problems of the voice are carefully helped

out by the accompaniment in the left hand, which for the

most part, in such situations, duplicates the vocal line.

(See Figure 55.) The gradual raising of the pitch level and

the increasing width of the intervals in the vocal line are

means in which Schubert builds the phrase to its climax, as

an examination of Figure 56 from section "B" will reveal.

Fig. 56.

A4
M_ T- :j
-who.

LY AML
37 Ab

AA Ab
--- W-dfr I I I-
,or
I I I
I ee - Aw
1.1

Fig. 56.--Vocal line from section "B" (Aufenthalt

mm 27-47).

The harmonic background is of medium texture, rich in eu-

phonious progressions. After the six measures of introduc-

tion, there are four measures to a phrase until the middle

of the first "B" section, where a five measure phrase (Figure

57, measure 35-39) acts more in the capacity of a well regu-

lated retard than an unevenly balanced phrase. From then on,

 67

except for the other "B" section, the phrases are constructed

from an irregular number of measures.

There is only one type of accompaniment, a fast repeated

triplet figure in the right hand against a strongly rhythmic

bass part in the left hand. In the "C" section the bass

part gives way to a duplication of the melodic line (see

Figures 54 and 55).

Fig. 57.

Ai, i i A ? -2 -- l -Ivr

Efen so tears fol - - - low,

flie - ssen die Thra - - nen,

- I -- v i
*or T o 1tl Or

Fig. 57.--A five measure phrase from section "B t

(Aufenthalt mm 35-39).
 IN DER FERNE

(Rellstab)

This poem, an ecstasy of sorrow, tells of a wanderer

who bewails his fate. It is a curious combination of melan-

choly and rapture. The poem indicates passionate homesickness

even though its essence is a kind of Swinburnian revel of

triple rhymes, 2 as the following example illustrates:

Wehe dem Fliehenden, Welthinaus Ziehenden!

Fremde Durchmessenden, Heimath Vergessenden,
iutterhaus Hassenden, Freunde Verlassenden;

The three stanzas are set in a modified binary form

(A-B), the second stanza and the repetition of the entire

third stanza are modifications of the first and the third

stanzas respectively.

After a strong dominant introduction (Figure 58), the

first and second stanzas (each twenty-two measures) are set

in the key of B minor. The first ten measures remain in key.

At the eleventh measure (Figure 59, measure 18--from the

first stanza), the melancholy atmosphere is intensified by

simultaneously placing the vocal part and the accompaniment

down a half step, for a two measure period, then proceeding

2 For
an explanation of Algernon Swinburne's triple
rhymes, see The ned Horse, by Joseph Auslander and Frank
Hill, pp. 379-388.

68
 69

Fig. 58.

Lif -irk

low J--f
Awl

4L a

Z7 -e--a L io 1 -146

r
AM
pm, L
ZI
I
a
-I-

4 p
ra r

Fig. 58.--Strong dominant introduction (In der Ferne

mm 1-7).

Fig. 59.

Household leaving all Dearest friends grieving all

Mutter aus Hassen en, 'reunde Ver- 1 s - sen-den;

Fig. 59.--Intensification of the melancholy atmos-

phere by simultaneously placing all parts down a half step
at measure 18 (In der Ferne mm 17-20).

on through an unsettled period (harmonically speaking) to

end in the key in which each section "A" begins, B minor.

The third stanza, with one notable exception, remains well

 70

within the key limits of B, major and tonic minor. This

exception occurs in measures 111 and 112 (Figure 60) taken

from the second half (the repetition) of the final stanza.

Taking advantage of a deceptive resolution (measure 111),

Schubert utilizes a dominant-tonic chord progression which

puts the two measures in the key of C major, returning to

B minor immediately thereafter.

Fig. 60.

- -der - ing,
- - hen - den,

far a - way wan

-

WJelt - hin - aus Zie -

-

M I I
I A.qI.

A; 41~

-- 4 -- L -41 4% . - 1% %b

Fig. 60.--Brief modulation to major (In der Ferne

mm 110-113).
 71

The vocal line is cantabile in style and moves for the

greater part of the song in stepwise direction. Whenever

Fig. 61.

hope no more cherishing, Li rht of love pershing,

A - bend-stern blinkender, hoffnungs-los iRinender,

Fig. 61.--Example of vocal line moving in stepwise

direction (In der Ferne mm 50-53).

intervals are used they usually spell out the harmonic

structure of the chord which supports the vocal line

at that
particular point. (See Figure 62.) There is a conspicuous
absence of duplication between the melody of the vocal line

and any part of the accompaniment. The harmonic doubling

of the thirds give a wonderful richness to the melancholy

subject of the poem. (See Figure 63.)

There are two types of accompaniment, chordal and ar-

peggio. The former (Figure 63) is used exclusively during

the first half of the binary form to help portray the melan-

choly subject of the poem. The latter (Figure 64) with its
placing of four notes against three, and then three against
 72

Fig. 62.

IF I 1 m

Heart throbbing fearfully, Eyes swimming; tearfully,

Her-ze. das seh-nen-de, Au - ge, das thra-nen-de,
A A___

-4 Lj

Fig. 62.--Example of intervals in vocal line spelling

out the harmonic structure of supporting chords (In der
Ferne mm 36-39). ----

Fig. 63.

Far a - way wan-der-ing, Ne'er on home pondering,

Fremde Durch mes-sen-den; Heimath Ver-gessenden,

AL 14WAN #* 1ft__
w_ _ ftft_'t
___. _ __ _ _ _ _ _ J
j:~a diIN

or- *jr-
l V-

Fig. 63.--Chordal accompaniment used exclusively in

the first half of the binary form to help portray the melan-
choly subject of the poem (_In der Ferne mm 13-16).
 73

Fig. 64.

t)low amin i' un beams, l

krau fmsefn on nen -sra!

0.1 _ _ _ _ _ _ _ _ _ _ _ _ _ __%
-r-

)
OF ' 1 1

4 4 Aw 4 4
"

Fig. 64.--Arpeggio accompaniment with four notes against

three and three against two (In der Ferne mm 69-70).

two, gives a great sense of restlessness for the second half

of the binary form.

There are two types of interludes. The first is the

Fig. 65.

PS

F'40- 5

Fig. 65.--First type of interlude, the seven bar intro-

duction (In der Ferne mm 1-7).

seven bar introduction (Figure 65) which is repeated as

 74

interlude material between the first and second.stanzas

and again for the same reason between the second and third

stanzas. The other type of interlude is used to round out

or finish a phrase, Figure 66.

Fig. 66.

Woe to the flying one, O'er the world hieing one,

Ye-he dem Fliehenden, Welthinaus Ziehenden.

_ _ _ _(7

4 40I

%
Fig. 66.--Second type of interlude used to round out
or finish a phrase, by repeating the last vocal measure (In
der Ferne mm 8-12). ~~~

The accompaniment (with two minor exceptions) has the

same range as the accompaniment to Kriegers Ahnu (i.e.,
it does not exceed the first octave above middle C in range).

Such a low range has a decided tendency to impress upon our

hearing the underlying morbidity and restlessness of the

song.
 ABSCHIED

(Rellstab)

This is a student's song of farewell to the college

town in which he has spent so many jolly hours. As he

clatters through its outskirts and on to the unknown, he

bids "adieu" to "thou jovial town" (du froehlich Staedt),

"trees" (Baeume), "gardens" (Gaerten), "kind-hearted maidens"

(freundlichen Maegdlein), "golden sunshine" (liebe Sonne),

"glittering window-pane" (schimmerndes Fensterlein) and

"ye stars" (Ihr Sterne). The setting is a combination of

strophic and rondo forms, modified to an A-B-A-B-C pattern;

the first five stanzas are set to alternating but similar

tunes in Eb and Ab, while the sixth stanza begins as far

from the main key (Eb major) as Cb.

The interstanza modulations are the substitute type

(i.e., a chord from the old key changes its name and func-

tion to that of a new key) and are used as the interlude

material between stanzas. The first modulation (Figure 67)

takes place between the first and second, and the third

and fourth stanzas. The substitute (common) chord is found

in the first measure, the tonic of Eb becomes the dominant

of Ab. The second modulation (Figure 68) occurs between

stanzas two and three, and, four and five. The substitution

75
 76

Fig. 67.

* -L

Fig. E7.--First interstanza modulation, from Eb to Ab

(Abschied mm 33-36).

(common chor d) is round in the ssecond me asur e. Buil t on the

sixth degree in the key of Ab it remains as the chord built

on the second degree of the new key, Eb ma jor. In the third

substitute modulation (Figure 69), between stanzas five and

six, the common Eb minor chord becomes the minor mediant

chord in Ob major. The only intrastanza modulation (Figure

70) is found in the last stanza and proceeds from Gb major

 77

Fig. 68.

Good bye% ye
A- de ihr
C -. -I - - I I

. -IF-

NMI
,

Vb r

Fig. 68.--Second interstanza modulation, from Ab major

to Eb major (Abschied mm 56-59).

to Eb major. Unlike the other modulations in this song we

find here no preceeding period of harmonic unsettledness

which would call attention to the coming change. Schubert

steps, literally, into a major seventh chord on Eb which at

the moment sounds more like a dominant chord leading to Ab

major than a major tonic seventh chord. The method of

 78

Fig. 69.

P' D

Good-byeJ ye
A -del ihr

Fig. 69.--The third interstanza modulation, going from

Eb major to Gb major (Abschied mm 79-84).

modulation indicates a subtle mood; the rider leaving the

little town dear to him has tried to suppress his true

feeling or sadness by the apparent lightheartedness and at

this particular point the true feeling of actual sadness

which accompanes his departure creeps out more than desired

as he bids farewell with a heavy heart.

 79

Fig. 70
JhL

C an I stay no long-er, If
Darf ich hier nicht w1,eilen, mrus s

Le~.- ~ F I~ : Ir

.1 I i f'Joi

-J -y Y-

Fig. 70.--The only intrastanza modulation (in the last

stanza) from Cb major to Eb major (Abschied mm 94-95).

The melody of the vocal line is cantabile in style. The

combination of the intervals and the sameness of the rhythmic

Fig. 71.

All
row

Fig. 71.--Example of the vocal line showing the repe-

titious rhythmic pattern and intervals, a combination which
helps give the atmosphere of riding a horse (Abschied
mm 8-15).

pattern (Figure 71) seems to imply buoyancy and a general

suggestion of someone doing something which in its very

 80

nature is rhythmical (e.g., riding a horse). Schubert

expresses the rider's varied moods in a subtle fashion

(e.g., the "Adel" (Goodbye) phrase which begins and ends

each stanza). The former (Figure 72) implies light-

Fig. 72.

Good byel Ye
AM.~ A- del Illy ihr

Fig. 72.--The beginning "Adel" (Goodbye) phrase of all

stanzas, implying lightheartedness because of its flam-
boyant execution (Abschied mm 8-9).

heartedness on the part of the rider by the quick way it is

sung; the latter (Figure 73) because of its slower execution

imparts a feeling of regret.

The accompaniment produces the general effect of a

student's ditty played upon a twanging mandolin, the trot of

the horse represented by the continuous rhythmical flow of

the accompaniment. (See Figure 74.) Like the mandolin in

Staendchen, the mandolin in this song keeps the construction

 81

Fig. 73.

Good biei
A -el

w
F

Fig. 73.--The "Ade" (Goodbye) phrase which ends each

stanza and owing to the slower execution, gives a feeling
of regret (Abschied mm 26-27).

Fig. 74.

I I I I I I I a -1 1 1 Ir I

5. ,~I, ~IV I Ash. I

I wki AWL

,qqw- -- r =1 =r'

Fig. 74.--Example of the twanging mandolin accompani-

ment, which imitates the trot of the horse (Abschied mm 1-3).

of chords and the progression of its harmonies in a simple

category.
 82

Fig. 75.

A
rX7 aI0
i

it D 'L 7 I~L~ %j,__ _ _ _ _ _

AfGood bye4

deD
A -

1 7low

I %-.

k I

Fig. 75.--Example of lengthy interlude between stanzas

(Abschied mm 55-59).

Lengthy interludes between stanzas suggest that the

student has ample time to reconsider his college days and

the enjoyable events of the town; and so, in order to re-

enforce his spirits, he burst into what appears to be a

joyful and happy song. For the most part phrases are not

made from the standard number of measures (four), regardless

 83

of the introduction and interludes (except between stanzas

five and six, and the seven measure postlude) which are based

on a four measure phrase. Each stanza contains four, five,

six and seven measures to a phrase, depending on the length

of each metrical line.

 DER ATLAS

(Heine)

This is the dramatic story of Atlast denunciation of

the endless world of woe which is his burden and the lordly

heart of his which willed it so. Set in the simple ternary

song form (A-B-A) the text and music combine to produce an

emotional spectacle which compares with the musical dramas

of Richard Wagner.

The key of G harmonic minor opens the song, modulating

to the remote key of B major for Atlas' condemnation of his

own heart. Another modulation to G harmonic minor (through

E minor) brings the song to a finish as Atlas bemoans his

"endless world of woe" (die ganze Welt der Schmerzen).

The first modulation--G minor to B major--emphasizes

the phrase "I bear the insupportable, and in my bosom my

heart is breaking" (ich trage Unertraegliches, und brechen

will mir das Herz im Leibe). At first the diminished seventh

chord on G# (Figure 76) seems to indicate a musical accent

under "Unertraegliches" (unsupported). Further consider-

ation not only confirms this, but brings to mind the actual

modulation which begins in the first part of the third

measure under the third syllable of "Unertraegliches."

Following the diminished seventh chord on G#, the ascending

84
 85

harmonic scale built on the dominant note of the new key

(B major) raises the emotional appeal of the poem to such

an intense degree that it seems to burst upon reaching the

climax to the phrase, "Leibe" (breaking).

Fig. 76

A i i

I bear the unsup-portable, and

ich,) tragre Uner-tragpliches, und

-N'k'J Ak

?4b4

in MV bo-so0. MY eat is b r e ak -inVJ

brechen will inrda -erz im Lei be.

Fig.76.-Modlatin rrm4 Gmino#tob maor b4th

use r a sevnth -hordbuit-on #(er4tla
iminshe
mm 15-I-20).
-
 86

Fig. 77

A Af it
a-Ia I
i 1J5r Lit -

rapture or else e- ter nal

C Ico
l is
AIA I I I

uor r-c n t, e tr-al

e lend, un ed- lich
era, I - -ft I I

V
)

K.3

Fig. 77.--Second modulation reflecting a change in

mood from eternal rapture to eternal torment (Der Atlas
mm 30-33),

The second modulation occurs in the latter half of

Atlas' condemnation of his own heart and reflects a change

in mood from thoughts of "eternal r capture " (gluecklich

sein) to "eternal torment" (unendlich elend). This is

 87

another pivot chord modulation, the tonic chord for B major

is used as the dominant chord for the key of E minor.

The final modulation returns the song to-G minor.

Since Atlast proud heart has brought its own punishment (by

demanding either eternal rapture or sorrow--and now has

sorrow), Schubert tries to further emphasize the punishment

Fig. 78.

--t

10ord-ly heart, nd
l es i'-rzu c s t
9'i

Fig. 78.--Final modulation, from E minor to G minor

(Der Atlas imn 35-36).

by this final modulation. To be s ure, the modulation is

quick, with real striking force on the word "Herz" (heart),

brought on by contrary voice leading in the accompaniment.

The style of the vocal line is the same as that of

Aufenthalt (i.e., dramatic). However, in this song, the

greater part of the dramatic effects come from the accompa-

niment, the singer is limited to dotted-repeated notes,

 88

which sometime outline a chord and sometime do not, and

an ascending harmonic minor scale. (See Figure 79.)

Employing a minimum of material, the accompaniment is

Fig, 79.

in my b?-sdm m heart is break - ing

Lre-chen will nir das Herz im Li

Fig. 79.--Ascending harmonic minor scale passage (Dr

Atlas mm 18-20).

of simple chords punctuated by outbursts and strong disso-

nances, as seen in the climax of the harmonic minor scale

passage, Figure 79.

In the a ccompaniment to the "A"t sections (Figure 80),

the right hand consists of tremolo chords, while the left

hand generally follows the melody, a procedure similar to

that in Aufenthalt--apparently a typically Schubertian device

for dramatic situations. The "B" section (F'igure 81) is

made up entirely of a triplet figure, the first impulse in

 89

Fig. 80.

Th me O'er lad-en At - las, -h

Ich un-luc-sel -ger At - las, ich

0
I::

Fig. 80.--Style of accompaniment to either "A" sections

(Der Atlas mm 4-6).
 90

Fig. 81.

A -1

Thou lord-ly heart, th-

Du stol-zes Herz, du
A3

self actrill'
has t es j

7 7 1

Fig. 81.--Triplet-figured accompaniment to section "B"

(Der Atlas mm 23-26).

the left hand, the other two impulses in the right hand in

chordal form. The bass part in this section does not bear

any connection with the vocal line.

The accompaniment serves to intensify Atlas' peculiar

situation as bearer of the world's woes. The urgency of

prominent words such as "Schermerzen" (woe), "Welt" (world)

 91

and "jetzo"? (now) is for the most part stressed by the

use of a diminished triad with a major seventh, a chord

which by the very nature of its construction creates an

atmosphere of excitement and agitation. However, in Figure

82, we see an example of the resourcefulness of genius; for

Fig. 82.

the endless world o2 woe is now :y bur- den.

die g anze Velt der chmezen muss ich tra- gen.

Fig. 82.--Final emphasis on "Schmerzen"' (woe ) sup-

ported by a major seventh chord in the third inversion in-
stead of the usual diminished triad with a major seventh
(Der Atlas mm 46-50).

in place of the diminished triad with a major seventh there

is a major seventh chord in the third inversion with the

fifth (F) left out. The exchange, in the writer's opinion,

indicates a dual purpose; it furnishes another outlet by

which the excited and agitated atmosphere of the song at

this point could be further heightened and, by virtue of the

chord progression which follows, it enabled Schubert to

 92

bring the song to an end more quickly than otherwise.

The accompaniment range follows the pattern set by

other dramatic songs (e.g., Kriegers Ahnung), by remaining

within the octave immediately above middle C.

The phrase-forms are made from a variable number of

measures. The first section with the introduction is 28

measures long, section "B" is 19 measures in length, while

the last "A" section is only 17 measures. None of these

sections can be convincingly broken up into smaller and

uniform, phrase-patterns.
 IHR BILD

(Heine)

Ihr Bild is a pathetic monologue of quiet sorrow and

touching memories. It is set in the ternary song form.

Her face in the portrait seemed to stir as I peered,

her lips to smile, her eyes to gleam with tears.
My tears came too. Ah, this is hard to believe,
the unbelievable, that she, she is lost to me.

There are three main keys; Bb minor pictures the lover

before the portrait of his beloved, Bb major illustrates the

stir in the portrait and Gb major describes "her lips" (ihre

Lippen), "the smile" (ein Laecheln), "and the tears of silent

mourning" (und wie von 7ehmuths thraenen). Commencing with

"Auch meine Thraenen" (Now e'er my cheeks, too,) Bb minor is

used again and the stanza concludes in the tonic major with

the lover's sudden realization of his lost love. Schubert

returns to tonic minor for the postlude.

The modulations are in keeping with the style of the

song (i.e., barren and precise). The addition or rejection

of even one note would alter their character and in the case

of one modulation (from Gb to Bb minor) would cause it to

collapse.

The first modulation to consider is in essence not

authentic, since the change from minor to tonic major involves

raising only the third degree a half-step. A glance at

93
 94

Figure 83 shows the point in question. The first inversion

Fig. 83.

And those be - lov - ed

und das ge - lieb - te

Fig. 83.--Modulation from Bb minor to tonic Bb ma jor

(Ihr1 Bd mm 8-9).

of the tonic chord with the D natural in the bass part of

the accompaniment presents the chord in the major mode,

while the same chord in the parenthesis is in the tonic

minor, D being the third degree of the chord. The second

modulation (from Bb major to Gb major) then, is the first

authentic one. This is another pivot chord modulation, the

chord built on the sixth degree of Bb minor is used as the

tonic chord of Gb major in a chord progression of tonic,

dominant and tonic. (See Figure 84.) In the beginning of

the modulation, the introduction of an Ab upsets the sense

of Bb major and one feels the song progressing to another

use of the tonic minor. However, the major seventh chord

 95

built on Db and which follows the pivot chord (the

last chord
in the third measure of Figure 84) lends itself to an au-
thentic modulation rather than a major to minor tonic,
change.

Fig. 84.

A - round her lips )hore hov-ertd the

Umi il-re Lip - pen zog sich ein

!mile I dear- ly priz e -Ind

La - oeln iwun -der - bar, und
tAT

Fig. 84
.-- Modulation from Bb major to Gb major (Ihr
Bild mm 14-18).

The third modulation (Figure 85) is the most

frugal of all
in the song cycle, since the addition or
rejection of one
note would alter its character and function as well.
 96

Fig. 85.

eyes. Now
paar, Xuch

__A

Pig. 85.--Modulation from Gb major to Bb minor (Ihr

Buld nmm 22-24)
.

Schubert begins the modulation (from Gb major to Bb minor)

with the use of the pivot note, Db. Tn Gb this is the

dominant note (the fifth degree), in Bb the mediant note

(the third degree). A suggestion of the new key is given

by the predominance of Bb's in the chord which follows the

single Db. After repeating the Db the new key is firmly

established by the open tonic chord (without a third) which

follows. Such a frugal amount of chord material shows

easily how the addition or re jection of one note could throw

a different light on the song.

The vocal line is in simple lyric style. The only

example of unison in the entire song cycle (between the

vocal line and the accompaniment) is found in this song,
 97

Fig. 86.

Fig. 86.--First six measures of Ihr Buld illustrating

the s implicity of the harmonic background.

the first half of each "A" phrase. This song with its sense
of tragic loss is an excellent example of Schubert's use of

the minor mode to depict the element of sadness. 3 The

harmonic background ranges from the simple (Figure 86) to a

rather rich texture (Figure 87). The piano interludes serve

to echo the prece ding vocal thought (Figure 88) with the

exception of the bridge which ties the major key section

"?B,t" to the second "A" section (Figure 89) and the conclud-

ing piano phrase of the song, Figure 90. The opening mea-
sures of the accompaniment merely duplicate, at one and

two octaves below, the vocal line, without harmonization.

3See pp. 10-11.

 98

Fig. 87.

nhd tho' 0Se-, be-b-ed feat -ur.4e s

und das ce - 11b -te ift -litz

I I

LOii Iuu E)- & DI.

F
I
I
I I

Fig. 87.--Example of rich harmonic texture from second

half of section "A t" (Ihr Bild mm 8-12).

This is the only instance in the song cycle where Schubert

uses such an accompaniment.

The brief interlude that follows "das geliebte Antlitz

heimlich zu leben" (the beloved features seemed to glow with

life), Figure 91, makes an interesting passage for analysis.

The three chords (a) are the inversions of those that

 99

Fig. 88.

A _ _ _ _ _ _ _ _ _ _ _ _ _

-y- And
s tarrt i r Pild-niss an, unid

Fig. 88.--Piano interlude echoing the vocal part (Ihr

Bild mm 5-e).

Fig. 89.

F A__ __ _ _ _ __ _ _ _ _

.9eyes. o
auch

Fig. 89.--Bridge which ties the major key section "B"

to the second "A"l section (Ihr Bild mm 22-24).
 100

accompany "geliebte" (beloved), (b) is the tenor part of the

"Antlizt" (features) and (c) are the chords of "leben begann"

(began to live).

Fig. 90.

%k I I~ im r 4 0..
A

V I V/ I I I E Jmv I - I-

Fig. 90.--Concluding piano phrase of the song (Ihr

Bild mm 33-35).

There are two types of accompaniment. The first half

of each "A" section is in simple octaves with the vocal

line (Figure 86) while the rest of the song has a chordal

accompaniment (Figure 92) embellished with suspensions,

neighboring notes and passing tones.

Fig. 91.

LP AT Le Abp

t v
as a 1 liO-giow ,ere
r

ose be-iov-ed feat-ures ihL

ge- leb-te nt-litz - zu b e.-benbe
das
II I I
A.
_oI

Vx-0I703moo 70

maL 7Jn
_ k_ __ _ _ ___A

0-C .-

Ike _ __ __ _as,_ FIj T

_ _ _ _ _ _
L
4v 1
). , . - - offal.
ow
- -j

Fig. 91.--Interlude between sections "At? and "B" (tIhr

Bild mm 9-14).
 102

Fig. 92.

at

FF

rFig.e e._i- 1 92.- herda te o acm niet mbl sherb

suspen I ons, '. Jw U ne
gbrnntsadpa
snoes
(hu
mm 1-1).7
 DAS FISCHERVIAEDCHEN

(Heine)

This poem unfolds the story of a lover who pleads to

the fishermaiden to come and sit with him. Since she trusts

the sea, she need not fear him whose heart is like the sea,

with its storms and tides and pearls buried deep within.

The setting is the A-B-A song form with the last line and

the last half of the last line of each stanza repeated.

The key schemes and their respective modulations are

like the fishermaiden, unsophisticated. The two "A" sections

are in the key of Ab major, the "B" section in Cb major. As

stated before, 4 Schubert made frequent use of modulations to

portray in a musical way a change in the text. After the

opening address to the fishermaiden, we find a very subtle

purpose for the repeated four measure modulation in the first

stanza. Undoubtedly Schubert feels the lover is not an

humble one, for at "Come to me and sit beside me" (komm zu

mir und setze dich nieder) Schubert suddenly shifts from

Ab major to Bb minor (Figure 93), as if to imply a sinister

atmosphere around the lover. The mechanics of the modu-

lation are simple, the chord built on the fifth degree of

Ab becomes the same on the fourth degree of Bb minor. To

4 See pp. 9-10.

103
 104

Fig. 9 3.

A
nh
A-V /
4 4
(A iad sit be-
mn Cone to -,.,.e
Icormrl zu rair und. setze

_Y aL
-n %J__ OW

AN-

?b

IF* n hju
AE iz
104
U a
Fq IF Llor,
I r I r

Fig. 93.--Sudden modulation from Ab major to Bb minor

(Das Fischermaedchen mm 11-14).

further alleviate any mistrust the fishermaiden might have

concerning the seriousness of such a plea, Schubert returns

Fig. 94.

si de me, eie'll wis - per hand in hand, Come to

nie-der, wir kw - s iand in iand, komm zu
__ __ _ __ _ __l

Ao r WIL IN __ _ _ _

___ >zzzzh
Jh~.~l I~T I ~ aA

E Now
I I r

Fig. 94.--Sudden return to Ab major from Bb minor

(Das Fischermaedchen mm 15-17).
 105

quickly to the Ab major key in the second half of the phrase

"We Ill whisper hand in hand" (wir kosen, Hand in Hand),

Figure 94, with the thought in mind that in a major key all

is noble, fair and serene. In this pivot modulation the

tonic of Bb minor is used as the chord built on the second

degree of Ab major. The lover's sociable invitation is then

repeated in the key of Bb minor, Figure 95. This second

Fig. 95.

hand, Come to me and sit be - side me, ire il

1~,
ko zu n 13ndJ1se-tze dich nie-der, wir
z. iir

Fig. .95.--Second modulation from Ab major to Bb minor

(Da Fis chermae dchen mm 17 -19)
.

modulation from Ab major to Bb minor is accomplished by a

direct chord to chord progression. The tonic chord of Ab

major goes directly to the second inversion of a dominant

ninth chord in Bb minor. The final return to Ab major is

like the preceeding modulation, quick and direct. Schubert

again uses a second inversion dominant ninth chord (Figure

96) to reassure the unsuspecting fishermaiden.
 106

Fig. 96.

Aa I I d - - W-
I
I
1% ob T-

4%0 Saw
V 4w

an,, and 11 whi sper

nie-ders wir T o-sgllzrll., T-TLJ-',-D-
n u in T
an,--I.-. v i-O s J!

to l- N

III U
I lou- Ad at 1 40 AV
ob, :2-- 1 - -- I I I I- II
I mo
r
--%#- -Vol

Fig. 96.--Final modulation from Bb minor to Ab major

(Das Fischermaedchen mm 17-20).

The first interstanza modulation is accomplished by

using as the pivot chord the first inversion of a diminished

seventh chord built on the 2nd degree of Ab major and is

Fig. 97.

Then la- t- ; head. on m

Le.;t an Iein ierz dein

V, Ir I
r

Fig. 97.--First interstanza modulation from Ab major to

Cb major (Das Fischermaedchen mm 26-29).
 107

Fig. 98.

7TT beart is I i!.e th)e

-ie2n e rZ r.e,~ianz dem

_ _ _ Yb
_ _ _ __ _ _4t _

~:Pb Ak
-% 11j 4

I
I r '1
-

Fig. 98.--Returning modulation from Cb major to Ab major

(Das Fischermaedchen mm 47-50)
.

used as the same chord built on the 7th degree of Cb major.

This same diminished chord returns the song to its original

key, Ab major.

Fig. 99.

Fig. 99.--Melodic outline from section "tA" (Das

Fischermaedchen mm 7-15).
 108

style. The vast amount

The vocal line is cantabile in
however, found in and between
of similiar melodic content,
(Compare
each section suggests a folksong treatment.

Figures 99 and 100.)

Fig.; 100

section "B" (Das

Fig. 100.--Melodic outline from
Fischermaedchen mm 28-36).

Fig. 101.

Le alrt is like the sea - t vere, ' T oth

ein Terz 2 1 icLU ;;anz
dexe ee-re, hat

rhythmic pattern
Fig. 10l.--Example of 6/8 barcarole
(Das Fischermaedchen mm 49-51).
 109

The only rhythmic pattern is a 6/8 barcarole movement

(Figure 101) suggesting, because of its rhythm, the movement

of waves against the boat. The seven measure introduction

(Figure 102) and postlude along with the two five measure

Fig. 102.

AI
Eli~

A _ __

Thor
Du

r- r rrIIF

V- 1 KI K Ir

Fig. 102.-.Seven measure introduction (Das Fischer-

maedchen mm 1-7).

interludes between sections, suggest the movement of the boat,

 110

and the postlude leaves the lover's pleas unanswered.

The harmonies are conventional in progression. The

closely constructed chords (Figure 102) are thick in texture

and in range exceed those of Kriegers Ahnung in only three

instances. At this ooint it is interesting to note the

extremes to which Schubert uses similarly ranged piano

accomp animents. In Kriegers Ahn and Der Atias there

is a weighty, remorseful and dynamiic force portrayed by the

accompaniment, while in Das Fischermaedchen the accompani-

ment draws the likeness of a male quartet accompanying

the soloist, in a mood of lightheartedness such as marks

the mood of Abschied. Diminished seventh chords which gave

impetus to dramatic qualities of Der Atlas find their way in

Fig. 103.

Dai-l the storm - y sea, -

-

a,;-li-c1 dem1il-den eeer, --

Fig. 103.--Diminished seventh chord supporting dramatic

qualities in the voice part (Dassch;ermaedchen mm 41-42).
 ill

(See
Das Fischermaedchen, apparently for identical reasons.
constructed from an
Figure 103.) Phrases in this song are
The first "A" section is 23
irregular number of measures.
t measures while the last "Al"
measures long, section B" 21
There is a noticeable
section is 28 measures in length.
by the accompa-
absence of duplication of the vocal line
embellished by appoggia-
niment, which is chordal in style,
notes.
turas, passing tones and neighboring
 DIE STADT

(Heine)

This poem unfolds (in the first person) the story of a

lover who returns to view the grey waters where his loved

one was lost. The song breathes impressionism. On the far

horizon the misty town is seen in the sunset. A moist wind

stirs the grey waters on which the boatman rows in a melan-

choly mood. The sun breaks through once more and its last

rays reveal the spot where the tragedy took place. The

song is set in the ternary song form (A-B-A).

In previous songs using this song form, the middle

section was set in a new key. However, in this song--the

fourth from the last Schubert ever composed--we find an

example of the ternary song form without a new key. This

brings to mind statements made concerning Schubertfs use of

fewer modulations as well as his economy of material for the

songs composed in the last few months of his life. 5 The five

chords in this song--tonic, dominant, subdominant, supertonic

and a diminished seventh chord built on F#--are a notable

example of such an economy.

The vocal line, similiar to that of Der Atlas, combines

elements which we find in earlier Schubert had been

5 See pp. 9-10.

112
 113

Fig. 104.

(Die
Fig. 104.--Melodic line suggesting recitative
Stadt mm 6-14).

separated into recitative and air.

6 Figure 104 suggests a

recitative, Figure 105--because of its melodiousness--an

Fig. 105.

(Di Std
Fig. 105.-.-Melodic line suggesting an air
mm 17-25).

styles are
air, while in Figure 106 these two fundamental
we find
combined to finish the song. As in Kriger Ahnung,

6 Seefor example Der Wanderer and Schaefers KlaGlied,

the air and
composed in 1816 and 1814 respectively, in which
interwoven as in
recitative are complete in themselves, not
Die Stadt.
 114

in Die Stadt the reoccurence of a Schubert characteristic

Fig. 106.

Fig. 106.--Vocal line combining elements of recitative

and air (Di;|e Stadt mm 27-35).

(i.e., the placing of the important rhythmical stress in the

middle of the bar). (See Figure 109.) The accompaniment

duplicates the vocal line in the first "A" section (Figure

108) and gives a suggestion of the vocal line in the last "A"
section, Figure 110. The bass of the middle section lends

neither support nor gives an indication of the vocal line.

(See Figure 109.)

The entire accompaniment is one pictorial setting, the

two elemental constituents--the nebulous view of the distant

town and the gloomy soul of the man--are presented by unsur-

passed technique; the former with light etching in impres-

sionistic style and the latter with firmly crayoned lines.

The introduction (Figure 107), impressionistic in effect, is

a simple "drum-roll" on the tonic (C) in the left hand,

 115

Fig. 107.

JIF-
12

Tw

9 jL 7
3.

7 "ri-
%.Wiper
f Lf

AAr

.APr k
-TonF-- LIP

D
p 9

Ki6
IL
-4 -j -4 -4 ~4 -, ~~L- i -4

Fig. -107.--Impressionistic introduction (Die Stadt

mm 1-5).

combined in the right hand with a diminished seventh chord

built on F#-. This scurrying diminished seventh chord, which

recurs seventeen times without resolution, depicts the gusty

wind. The opening stanza in C minor harmonies with its double

dotted rhythmic pattern (Figure 108), gives the setting for

 116

Fig, 108.

'-'lihe t11n Trall her tow-ers, at

-bid, di~e stdi it i-ren Tbur-m n, in

Fig. lO8.----Example of double dotted rhythm (Die Stadt

mm 10-12).

"the city with its towers" (die Stadt mit ihren Thuermen)

and moves with the atmosphere of a funeral march. In the

second stanza (Figure 109) these two elemental constituents

are combined so that instead of seeing only the distant

view or the lonely watchers, we see both sterescopically.

In this second part the piano indicates the cold, damp wind

moaning over the grey waters with mist by the continued use

of the previously mentioned diminished seventh chord. The

final phrase focuses on the forsaken lover whose closing

outburst of passionate feeling in the last two measures "Wo

ich die Liebst verlor" (where I lost her I adore) brings the

song to an end. (See Figure 110.)

The length of phrases vary according to the particular

 117

Fig. 109.

c~i - P eeze iS
.- 1. f-,-. 'e

A-

-4-4L .. ,.I
-Ar

Fig. 109.--Sterescopic view of the distant city and the

lonely watchers (Die Stadt mm 17-20).

part of the song in which they occur. In the vocal sections

there is the conventional four bar phrase, repeated. The

interludes range from the six bar introduction to a three

and two bar interlude between stanzas, respectively. A five

bar postlude finishes the song.

 118

Fig, 110.

is --I

4w
%MAP

n., e whg-:, re I lost her I a- dore.

4-1
wo ich das Lieb-ste ver-lor.
A
F r Pal T .4
off.

ALA a
-,P, 06- -a I
Id 46 a - z I :;i
lqw I IWI

61 -Ift -44j'

Fig. 110.--The final vocal phrase (Die Stadt mm 33-

35)
.
 AM MEER

(Heine)

By a lonely fisher hut a young couple sit spellbound,

t
in silent ecstasy, before the ocean s infinite grandeur.

The mists rise, the swell surges, the sea gulls soar and

dart. The young woman cannot restrain her tears. Her com-

panion violently moved, hastens to drink the falling drops

and at once the fire of desire sweeps his soul. The setting

is in strophic form.

The song is in the key of C major except for the six

measures of D minor in the middle of each stanza. The quick

modulation from C major to D minor (Figure 111) is another

example of the pivot chord type. The dominant of the key

of C functions as the subdominant of D. The return from D

minor to C major is concise (Figure 112), the pivoting of

chords comes in the first measure. The tonic of D minor

becomes the super-tonic of C major, going to a third in-

version (diminished form) of the same chord in the following

measure, progressing in the next measure to the dominant of

C to centre the tonality. These two modulatory methods are

identical in both stanzas.

The style of the vocal line is a combination of the

dramatic intensity of the aria with the repeating features

119
 120

Fig. 111.

Lf
IL IL

low
C

The mist a-.rose '( --le a - te s

-ser
D r e el st"e das as

A
Ar A I
1 67 'N qw
Ap r

D--Jz u 6z I I
imri
I IF ow

Ice p t r,--) nd u s n,-:-

he-. a d UL
The sea -,ul1 f 1.)
s c nuo die '-o v e f lon, 111 und Vie d er.
A

ft I
A4 :4 I-W
low
POO

Fig. 111.--Quick modulation from C major to D minor

(Am Meer mm 11-17).
 121

Fig, 112.

fiy-in;, I gaz'd up-on thy beauteous eyes,

vie-der; aus dei-nen Au-gen lie-be- voll

Fig. 112.--Returning modulation to C major from D minor

(Am Meer mm 17-20).

of the folksong. "I gaztd upon thy beauteous eyes" (aus

deinen Augen liebevoll), Figure 113, marks the beginning of

the phrase in which we see the dramatic effects a suspension

creates over the word "beauteous" (liebevoll). In the

following measure the repetition of the three notes consti-

tuting the measure reveals the repetitive features of the

folksong style, in a dramatic aria. The vocal line is

entwined throughout the accompaniment. Figure 114 shows the

vocal line following the melodic flow of the accompaniment

a major third below, while Figure 112 illustrates the vocal

line which is taken from the chordal accompaniment.

The dismal sea is portrayed by the two opening and

closing chords of the song and their resolutions, Figure 115.

 122

Fig. 113.

I raz'd up - on thy beauteous eyes,

aus dei-nen Au - gen lie - be - voll

Sweet one, I saw thee cry ing.

fie -len die Thra-nen nie - der.

Fig. 113.--Dramatic effects of suspension (Am lvieer

mm 18-22).

The melancholy setting in the middle section of each stanza

is conveyed by the use of tremolo chords in both hands and

is aided by mode changes from major to minor tonic, minor

subdominant, the diminished seventh chord and the usual

cadence chords to final tonic minor in D. Outside of these

 123

Fig. 114.

Be-fore us Iancd t e wide-s'e ad se a, 11th

D'as Meer er-ganrz-te aeit -
hin aus, im

Z WI

Fig, 114.--Vocal line a major third below the melody

of the accompaniment (Am Meer mm 2-5).

two six-measure passages, the accompaniment is chordal in

Fig. 115.

Pig. 115.--Portrayal of the dismal

sea (Am Meer mm 1-2).
 124

in style, the melody either duplicating or filling in the

"alto" part of the right hand. The harmonic texture is for

the most part simiple in progression, thick in construction

and with the same range as Kriegers A

Fig. 116.

Tht mist a-rose, the wa-ters hav'd, The

Dor Ne-bel stieg, das Yasser sc'w41, die

Th- tVTkU'

Fig. 116.--Melancholy setting (Am Meer mm 12-15).

There are two examples of intrastanza interludes

(Figure 117) and one example of an interstanza interlude,
Figure 118. The former is used once in each stanza, the
actual interlude material is nothing more than a direct

repetition of the last four chords in Figure 117. The inter-

stanza interlude is also a repetition, not quite as exacting
as the intrastanza interlude, but of the same chord material

in another inversion. The phrases are constructed from an

irregular number of measures.
 125

Fig. 117.

rS t -ed.
- lei -n.

1mj

(%4

Fig. 117.--Intrastanza interlude

(Am Meer mm 10-11).

Fig. 118.

cry - ing.Th
nie - der. Ich

I 4A
I

Fig. 118.--Interstanza interlude

(Am Meer rmn 22-23).
 DER DOPPELGANGER

(Heine)

This poem (the last of Heine's set to music under

Schubert's pen) deals with an unfortunate lover whose heart

has run the gamut of agony--and, who wanders by night through

the deserted streets of the town his love has left long ago.

As he stands before the house in which she dwelt, he sees

another figure there staring up at her window and wringing

his hands in uncontrollable anguish. Stark horror seizes

the lover, for in the moonlight he sees the stranger as

himself, and cries:

Du Doppelgaenger, du bleicher GeselleZ

was aeffst du nach mein Liebeslied,
das mich gequaelt auf dieser Stelle,
so manche Nacht in alter Zeit?
(Thou ghastly fellow, my sorrowful double,
Why play this doleful pantomime?
Rehearsing still my woeful trouble
On many a night in bygone time).

The three stanzas are set to a modified "durchkomponiertes"

form; the first stanza is divided into two identical sections,

while the second and third stanzas have completely new

melodic content.

The heavy persistence of B minor is felt throughout the

song, except for the brief modulation to D# minor (in the

third stanza) at the address to the spectre, "Du Doppelgaenger"

(Thou ghastly fellow). In the writer's opinion the modulation

126
 127

Fig. 119.

An AmA

- o-f ul Thou a s L.-l1y f el-low, ",ny sor v

DuDp-pel en- er, d u blei-crG-

AI4-~

FAM O 1 4 1
-

Fig. 119.--Modulation from B minor to D# minor (Der

Dppelaenger mm 43-48).

(Figure 119) is the most outstanding example of the later

and more mature Schubert modulations. It is not another

of the usual pivot chord modulations, nor the quick unpre-

pared modulations, but one which because of its austerity,

its rigorous simplicity would command respect if composed

even today. A close examination of Figure 119 will reveal

 128

a chromatic progression in octaves from B to D#, which with

a sustaining F# creates intervals of perfect fourths, di-

minished fifths, perfect fifths, minor and major sixths.

This wrenching chromatic progression must have created as

much dramatic declamation in the musical circles of the

days of Schubert as it does today. The excitement does

Fig. 120.

play this leful panitomime? eearsIng still my

af i'st'U du nach nLiebeslied, das mich 2(euait auf
A t #0'

M _32_ __-A_ _ _ _

troubleOn ma - ny a
Ctel-le, so man - che
AT -1.ff- 210O
,

T.7

Fig. 120.--Modulation from D# minor to B minor (Der

Doppelg aenrmm 47-52). ~~~
 129

not fade with this splendid modulation but becomes more

intense--a situation developed by the combined forces of

the vocal line and the accompaniment with its repeated

tonic and dominant chord progressions in D# minor. (See

Figure 120.) This remaining cataclysmic outburst is

punctuated by the sudden return to B minor through a de-

ceptive cadence modulation, Figure 120. To give additional

interpretative coloring to "Stelle" (place), Figure 120,

Schubert uses an appoggiatura over a D# minor dominant chord

and proceedes immediately into the next measure to what is,

to all practical purposes, a major seventh chord built on

the sixth degree of the scale of B melodic minor. The 6/4

tonic chord in the next measure completes the modulation to

B minor. Except for the final chord, there is a refreshing

absence of the major mode.

The vocal line maintains a higher level of intense dra-

matic emotion than in any other song of the cycle. Here

Schubert has written music to one of the most dramatic lyrics

he ever set, a song--in declamation and harmonic content--as

modern as Wagner. The vocal line reflects the lover's agony

by the use of a rest upon the strong beat of a measure (in

a majority of instances) which thrusts forward the main

accent (Figure 121) and develops syncopations, Figure 122.

The rhythm of the vocal line rather approximates speech and

together with the repetition of tones and the sustained,

simple chordal accompaniment (of which there is a good deal)

 130

Fig. 121.

Mi

Fig. 1 21.--Example of throwing forward the accent

using a rest on the first beat (Der Doppelgaenger by
mm 5-15).

Fig. 122.

in woe un-cron-tr31,rd:
vor ?chmr~o -zn-S-a;

. Mi ki

Fig. 122.--An example of syncopation

(Der Doppel-
gaenger mm 31-33).

gives the whole the effect of recitative.

It is interesting
to observe that throughout the song there is
a centering of
the melody on the dominant tone (F#), after the fashion of
the psalmtones of the Gregorian chant. Twice the accompa-
niment echoes the singers cadence (Figure 123) in the
first
 131

Fig. 123.

d\wJclt in~ dry rof yQr;

Fig. 123.--.Echo of singer's cadence in first stanza

(Der D g mm 11-14)

stanza: the first time as an interlude to divide the two

identical first sections and the second time to connect the

last of the two identical sections to the second stanza.

The vocal writing represents the culmination of Schubert's

art in setting quasi-dramatic lyrical verse to measured and

melodious recitative. It is strictly metrical and falls into

simple four bar sections, yet the effect is of free decla-

mation. This was Schubert's new lyric style.7

True to the treatment of emotional pinnacles in the

preceeding songs, Schubert in this song uses a modified

dominant ninth chord to support the intense emotion of

similiar phrases (e.g., "der Mond zeigt mir eine eigne Gestalt"

7 Richard Capell, Schubert's Songs, p. 125.

 132

(in moonlight my own form to behold), Figure 124. Curiously,

Fig. 124.

&ct nonlit ou Lmy O,,vn f2,nm'i to be -h-old I4

z (-:,4e.i. e es-~I t.

Id
. .1"
'0jt -A

.
moo

V, I' 1!
..........
z.......
Fig. 124. --A modified dominant ninth chord supporting
an emotional height (Der Doppelgaenger mm 38-42).

the third stanza which rebuilds the emotional content, is

supported by triads only, a major triad on A# with a minor

seventh, resolving into the so-called German sixth chord,

prepares us for the concluding phrase, "so manche Nacht in

alter Zeit?" (on many a night in bygone time). (See Figure

119.) It is to be noted, that the slow, simple chordal

accompaniment is strangely confined to a low range, never

exceeding the first octave above middle C. The phrases are

of irregular lengths.
 DIE TAUBENPOST

(Seidl)

A carrier pigeon is the subject of the poem, one who

never fails to carry his master's messages of love. The

setting is the song form A-B-A, with coda.

Each of the three sections has one fundamental key,

both "A" sections the key of G (the tonic key for the song),

section "B" the dominant, D major. In each section, however,

there are definite references in short passages to new and

subordinant keys, such as we find in section "A,t" Figure 125.

This short interlude in the middle of the stanza has a

Fig. 125.

A ii. a A
I
iS

Af0

AI~ Fa-,T,]> M

I f ---- f - I
LLL4 LW
WL~J LJ1WL

Fig. 125.--Subordinant key of section "A" (Die Tauben-

post mm 13-15).

133
 134

definite mediant key and serves as a genuine example of the

carefree Schubert. Almost without warning he will jump right

out and back again into key, so to speak, in an abrupt yet

enjoyable spirit, giving an added tonal lustre to the song.

Section "B"--in the key of D major--begins as only a

dominant chord to the key of G major. Yet in the two suc-

cessive measures (Figure 126) the addition of Bb and C#

Fig. 126.

t'1
syl t ep, 2n 3
sef iIlc3ine ivr, be-

C- I - 1 to

spies cv- Tv; move anuen Svj

Lauscht iY- en l~I und SchriTt, >;ibt

Fig. 126.--Modulation from G major to D major (Die

Taubnost mm 30-33).
 135

definitely leads the song from the previous G major. The

key of D major gives way to Bb major in much the same manner

as the previously mentioned subordinate interlude in the "A"

section, only Bb major finishes the section modulating to the

key of G major, by a major chord built on the third degree

of Bb major. The last "A" section remains close to the home

Fig. 127.

friend.

mIr

ILW- LIJ I I I I

Fig. 127.-.-Modulation from Bb major to G major (Die

Taubenpost mm 47-48).

key, more so than the coda, which leads us from C major to

G major through A minor, G major and Eb major. The harmonic

progressions are the simplest of any song in the cycle,

without so much as even a trace of the mighty harmonic

adventures in the preced ing three or four songs. The vocal

line is cantabile in style.

The chordal accompaniment (Figure 128) with syncopation

 136

Fig. 128.

N I- vceM
Uc 4t l-n 1re ~uti

'Apr_

-vA
_ __ _ __ _ __ _

-ail, 'll-:ejeane-ce a

TII

U 44

II I I-LI-I-I

Fig. 129.--Accompaniment duplicating melody (Die

Taubenpost mm 19-20).
 137

style, countrified in atmosphere by its saucy, jaunty,

Fig. 130.

DJ man-y a Leasant wa
bis zu der TiebstenuS

by any-a ple as ant

bis zu der i s e laus,

Fig. 130.--Repetition of the last part of the last line

(Die Taubenpoost mm 22-25).

rhythmic lilt. The quick duplet metre suggests the polka and

brings to mind the dance rhythms of the Slav and Magyar

peoples, ihose territories lay at so short a distance from

Vienna. This amiable dance rhythm is kept up regularly,

 138

except that once or twice the right hand feels compelled to

join the lover's tune, E'igure 129. The left hand imitates

the plucking of an instrument (such as a mandolin) through-

out the entire piece. Repetition of the last part of the

last line of each stanza (Figure 130) and the chordal inter-

ludes between stanzas are other details which further sub-

stantiate the folk-like qualities of this song. Closer

examination will reveal, that, with few exceptions, the

accompaniment in the right hand is made of notes which form

a simple triad, as if to imply the association of the un-

sophisticated in life, in this instance, the village folk.

Fig. 131.

i.- _ _ _ _ _ _ _ _ _ _

Fig. 131.--Chordal interlude (Die Taubenpost mm 27-29).

 CONCLUSION

In this song cycle are to be found the musical charac-

teristics that bring to light the essential features of

Schubert's music as a whole. Therefore, to bring about a

finer appreciation of his music, we may summarize the

results of the process of analysis which was made of each

song.

As mentioned previously,1 after 1822, when Schubert's

youth was gone and his health failed, life became a terrible

reality. As life changed, so did the type of subjects for

his songs. Das Fischermaedchen, Staendchen and Die Tauben-

post are the only ballads in this song cycle, the other

songs have subjects which derive from universal life and

individual feeling (e.g., Ihr Bild and Der Doppelgaenger).

The modulations are fewer in number and in type than

those of earlier songs. The common tone or common chord

modulations are used in the majority of instances, sometimes

with and other times without preparatory notice. An example

of the common tone modulation is to be found in the 99th

measure of Kriegers, while measure 57 of Abschied

is an example of the common chord modulations. In the

writer's opinion, the outstanding modulation of the entire

song cycle is to be found in Der Doppelgaenger, measures

1 See p. 9.

139
 140

43-47. If the critics were unable to accept the parallel

octaves in the final measures of Der Atlas--and they were--

how must they have reacted to this modulation in chromatic

sequence, which broke the fundamental rules concerning

parallel and consecutive fifths and octaves. The inter-

change of tonic modes represents an exchange of ideas

(e.g., Liebesbotschaft mm 18-35, major to minor), and also

is a means of additional accompaniment support when repeat-

ing a portion of the text (e.g., Liebesbotschaft mm 61-83,

minor to major). Schubert likes Neopolitan sixth chords

(measure 59 of Der Doppelgaenger) and augmented chords (mea-

sures 2-3 of Der Atlas). His normal phrase length is four

bars. Rhythms are syncopated by accents placed upon the

weak parts of the bar (e.g., Kriegers Anung, mm 9-11).

All songs establish their tonic key at once with the

exception of Die Stadt, whose prelude and postlude hint

at atonality. This effect is obtained through the use of

the diminished 7th chord F#-A-C-Eb (i.e., in the key of C

the dominant flat 9th of the dominant with root omitted)

resolving directly to the tonic triad of C minor, without

using the dominant triad (G-B-D).

The melodies are full of lyrical grace and special

turns of phrase (see measures 17-20 of Staendchen) over

which prevails a sweet melancholy, usually associated with

Vienna, but in Schubert's case traceable back to the folk-

 141

2
music of Moravia and Silesia, the homes of his ancestors.

evidence of Haydn's in-

Many of Schubert's melodies bear
of Schubert's Staend-
fluence (e.g., compare melodic lines

chen and Haydnts Bi auf deinHaar) and some melodies have

tones (e.g., the mediant

a way of lingering about certain
and
tone in the first four stanzas of Fruehlingssehnsucht
When he finds a
the dominant tone in Der Doppelgaenger).
with grace notes or
theme he likes, Schubert repeats it
pitch
elaborations of the phrase, sometimes at a different
the accompaniment
and with a rhythmical speeding up of

(e.g., measures 67-75 of Aufenthalt).

means
Schubert's basses are among his most powerful
them act many roles.
of effect and handled with care makes
melodies of its
In Liebesbotschaft the bass has independent
accompani-
own and forms with the voice part and the inner

ment a suitable texture for the words. In Staendchen

type of accompani-
(measures 17-22, 23-28) Schubert uses a
a note or
ment that he has perfected for his own purpose;
regular
chord with a slight alteration occuring at a
to minor mode.
distance, in this instance moving from a major
tone
Realism is used suggestively rather than in direct
a rhythm more than an
painting, usually the piano part is
Piano
atmosphere (e.g., the accompaniment to Aufenthalt).
voice
interludes frequently repeat phrases of the

2 T.C. L. Pritchard, "The Schubert Idiom," The Music of

Schubert, edited by Gerald Abraham, p. 240.
 142

(Staendchen, measures 5-10). The instrumental preludes

have essential features of their own which are always

intended to create the proper mood as an indication of what

is to follow (e.g., the prelude to KrieGers Ah

The opening paragraph of the "Introduction" contains

the statement of reason for the examination of the com-

ponent parts of this song cycle. Since these fourteen

songs are a fair sample, though a very small one, of the

infinite variety of material, form, sentiment and expres-

sion, which remains to be unearthed and brought to appreci-

ation, it is hoped this treatment has achieved its goal

and will stimulate the interest of others to similar

observations on the remaining songs of Franz Schubert.

 BIBLIOGRAPHY

Auslander, Joseph, and Hill, Frank, The Vinged Horse, Garden

City, Doubleday, Doran and Co., Inc., 1928.

Capell, Richard, Schubert's Songs, London, E. Benn, Ltd.,

1928.

Grove, George, "Schubert," Grovets Dictionary of Music and

Musicians, edited by H. C. Colles, Vol. IV, 1945.

Harvard Dictionary of Music, Articles "Folk Song," "Lied"

and "Song."

Kobald, Karl, Franz Schubert; and His Times, translated by

Beatrice Marshall, New York, A. A. Knopf, 1928.

Lefiassena, C. E., The Songs of Schubert, New York,

G. Schirmer, Inc., 1928.

Lieberson, Goddard, "Song," The International Cyclopedia

of Music and Musicians, edited by Oscar Thompson,
New York,~Dodd, Mead and Co., 1943.

Oxford CoManion to Music, The, Second American Edition,

Article,"Song."

Porter, E. G., The Songs of Schubert, London, Williams

and Norgate, Ltd., 1937.

Pritchard, T. C. L., "The Schubert Idiom," The Music of

Schubert, edited by Gerald Abraham, New York,
W. W. Norton and Co., Inc., 1947.

Schering, Arnold, Geschichte der Musik in Beispielen,

Leipzig, Breitkopf and Haertel, 1931.

Weitzel, J. H., Die Liedformen, (Musikalische Formen in

historischen~Reichen, ed., Martens, H., Vol. X),
Berlin, Chr. Friedrich Viewig, n.d.

Wolf, J., Sing-und Spiel-musik aus aelterer Zeit, Leipzig,

Verlag, QueJle and Meyer, 1931.

143
 144

Musical examples in this thesis were taken from:

Franz Schubert Songs, Vol. 342 of Schirmer's Library of

Musical Classics, New York, G. Schirmer, Inc.,
1895-1923.