DIE SCHÖNE MÚLLERIN

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1977

Die Schöne Müllerin: The Creative Genius of Wilhelm Müller and Franz Schubert

David C. Rayl '77 Illinois Wesleyan University

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Recommended CitationRayl '77, David C., "Die Schöne Müllerin: The Creative Genius of Wilhelm Müller and Franz Schubert" (1977). Papers. Paper 2.http://digitalcommons.iwu.edu/music_papers/2

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I'

DE CHNE MUERN: E CRETE GENU OF

�HE MUER FRNZ CHUBERT

by

Dvid C Ryl

SPECIAL

bitted for Hoors ork

te ool of si

lliois esley Uiversity

Blooito lliois

19 77



epted by te Sool of si of lliois esley Uiversity i flfill

et of te reqireet for deptetl rese oors



PRACE

ie schne Mllein is a cce tent sngs sl vice and pian

ih pe by ilhel Mlle and usic b Fanz Schubet It is the antic

st a yung ille h beiends a stea hich leads hi t a ill He

als adly in lve ith the ille's beautiul dughte h eventually ejects

i in av a hunte In despai the ung ille s hisel in the

stea hich has been his cpanin thughut the ccle

On Feuy 17, 1977 I sang Die schne Mllein in its entiet. The cca-sin as y Seni Hn Recital given in ptial ulillent the equieent

the Bachel Music deee This peance ked the culinatin

nine nths athe intese klening the usic studing the pet and

eading aut the sngs It as in this last ea tha I encunteed the eatest

iicult I discveed that hile thee e any bks that say se thing

abut Die schne Mllein thee is eall n single cplete sce ina-tin abut the k This pape a itten at let ptiall a a eactin

t this dile Seh I needed t cpile and assiilate a lge bd in-

atin quied a ide viet suces. I sn ealized that a c-

ehesive k n al aspects Die schne Mllein culd eil un int a

athe lge vlue. Csequentl it has been necess t liit the scpe

this stud t ly a e ea

The pape begin ith a sht biaphy ilhel Mlle and an exainatin

his eputatin both ang his n cntepies and ang citics t The

actual ceatin the e is then dscussed and the stuct eleents hich

give the cycle unity e dealt ith. The sae apach is used ith the sngs

i



dssso of te detls of ter oposto d te lyss of erts

tees of fto stly olde t look t M ller d ert

d ter reltosp to e oter d to ter te

Ts prefe old e oplete f dd ot epress y ttde to te

eers of y er<ottee Dvd ott Mss Rt rckso, d Jo

eyl for ter terest ts projet d spel ts oes to R

Bedford tks project dvsor d r of te cottee, tot ose e

coreet d dve I old ever ve copleted ts pper



DIE SCHONE MLIN: E CREATIVE GENIS OF

WM MU AND FRANZ SCHUBT

The pet Wilhel Mlle lives n tda alst exclusivel thu the sng-

ccles Die schne Mein and Winteeise set t usic b anz Schubet Wee

t nt Schubet his ne uld babl be bied in bscitan inteest

ing and inic ate ne t h the Vienna Zeitschit Kunst Liteat

Theate und Mde eee he st nble ets 1

Mlle as bn n Octe 7, 17 in Dessau int a shemake's ail besetith illness and pvet One biaphe pints ut that his "alet ind and

petic tendencies asseted theselves even ding the schl es hen he

nn t cve the slate bds ith vese He enteed the Univesit Belin

i 181, but his studies ee inteupted the next e b the plitical situatin

and he seved a e in the ussian In 181 4 he etned t Belin

hee he studied phill and hist. In 1818 Mlle und himsel back in essau hee because a lack unds he as ced t te a tehing psi

tin The lling e he exchanged this tivit a psitin as peial

iian hich he hel until his death n tbe 1, 187-

Mlles lite achieveents ee extesive. He te cmenties n a

ide viet lite subjects includng a nube Eglish pets the

jnals the da He as als a taslat English and wnted espe

cil hisaslatin Chistphe Mle's Faustus (1818 n lit

Ott Eich De utsch The Schubet Reade: A Life f Fanz Schubet in�Lettes ad Dcuents tas b ic Bl (New Yk: W W. Ntn and C nc.

17 p 366

Ala P. Cttell Wilhel Mulle's Lial SngCcles Chapel Hill:

ivesit Nth Clina Pess 1970, p 3

1

The



it is piculrly interesting that the ·O words o one o the poes

ro Die schne Mllerin, "Ungeduld" ("Id cre it in the bk eery tree

recl Eund Spencer's "Colin Clouts coe hoe again" o 15 91 ("Her nae in

every tree I ill endosse ) 1 As ill iscussed later, such "booing" is

coon in Mllers poetyAnother o Mller's eat accomplisents w te editorsip o te ist

ten volmes o the Biliotek detscer Dicter es 17 Jnderts Tis ree

sents a istinct contiution to the rediscoery o te ten neglecte Boqe

literate and is a cle example o the intense scolly activity ich com-

pleente Mllers own poetic creation

Appently, both Mller and his poetry ere igy reed y his contepories Heiich Keissle says o im: "He w known as one o te best o

en, a schol o very versatile acquiements, an one o te est lic poets

Those elements o his poey ich the tentieth centy inds distasteul his

sentientity and naivet) ere the ery thin which ere appealing in those

ely ays o Geran Roanticism As Richd Capell points out "There was nothing

ridiculous thenays in being sotheted and woeegone4 Vienna's estigious

Theatereitn in a reiew o Schuert's inteeise, ote:

Mller is naive, sentimental, and sets against nate a pallelo soe passionate soulstate hich tes its color and signiicance

ro the ormer Schubert h nderstood his poet ith the kin ogenis tat is his on Hs sic is as naive the poet's exes-sion; the eotions contained in the poems e as deeply relected in his on eelings, and these e so broght out in sound that no onecan sing or he them ihot being touche to the het

1Deutsch, The Schubert Reader, p 9 Cotell, Mullers ial SongCcles p 4

eiich Kreissle, The ie o Franz Schurt, tra by Arthur Duke Coleridge(onn: ongans, Green, and Co , 1869, Vol II, p 186

4Richd Call, Schuberts Son, rd eition (ondon: Dckworth an Co , t1973), p 1

Deutsch, The Schubert Reader, p 75 8



J

It is fashionable toda (among certain literati) to belittle lers poetr

in comparison with chuberts settings ne contempor writer has een gone so

far s to suggest that with these songs een the liter-minded listener

would do better to let the words sere as a general bkound ,1 ow-

eer Alan P Cottrell in his outstanding stud ilhelm Mller's Lyical Son-

Ccles aws a different conclusion While admitting that Mllers works abound

with clichs conentional imger and motifs awn from l manner of sources

2 he goes on to state that man of the poems are of the most lilting

musical and show a naie and original manner of epression which cannot be

accounted for simpl in terms of a dilettantes juggling of conentional themes 3

an praises Mller as a lric poet of depth and sensitiit

The final ersion of Mllers ccle Die schne Mllerin published in 1820

has an interesting deelopmental histor An opera b Paisiello La Molinia

188 had appeared on the German stage as Die schne llerin Using this as

a sorce of thematic material a oup of Mllers friends deised a plor oper-

etta (Liederspiel) to be written jointl b all members

The ious chacters of the pla were assigned to the arious members of the oup ach person was to write the poems necess for his pt according to the predetermined plot The pla was cen tered around Rose the prett millers daughter (Hedwig on Stgemann) She was loed b the miller (W Mller) a gardener (Luise ensel) a hunter (W Hensel) and a nobleman (Fr Frster) At first she pre ferred the miller but changed her mind and chose the hunter As the stor is now known it ends when the miller drowns himself Friedlnder reported that originall the millers daughter followed the miller todie in the stre m and that the hunter closed the stor s he sang to

the two loers

ack M Stein Poem and Music in the German Lied from Gluck to Hu 0 Wolf(Cambridge: ard Uniersit Press 1971 p 95

2 Cottrell Mllers Lyical Son-Ccles p 1

Cottrell Mllers Lyical Son-Ccles p 2

4Don L. E ar l ��h l�o-S �n G�er

Microfilms Internationl 97 (Ann Arbor: Uniersit



This ersion of "Rose, the loel aid of the mill " labelled b Alfred instein

a "semi-amatic audeille w erformed b the ou in 1816-1817

The comoser Ludwig Berger was also a member of this ou and had set ten

of the oems including fie of Mller's to music These were ublished in 1818

as Gesne aus einem esellschaftlichen Liedersiele "Die schne Mllerin 2

It was Berger who encouraged ller to eole his own set of oems on the lot

established b his friends The end-result was the lric ccle Die schne M-

lerin cosisting of twent-three oems lus a rologue and an eilogue The

ccle hich ller caled a "monoama was ublished in 182 as t of a col-

lection of Mller's oetr entitled Sieben und siebzi Gedichte aus den hinter-

lassenen Papieren eines reisenden aldhornisten (Seent-seen Poems from the oshumous Paers of a traelling Horn Plaer As instein oints out "It sas

uch for Wilhelm Mller that Heirich Heine thought highl of him and dedicated

to the 'horn laer' a co of his Lyisches Intermezzo, with the request that

he 'should honor it with his attention

The oung miller, the fair maid, and the hunter were faorite figures in

omantic oetr (as were such inanimate objects as the mill itself and the lute

According to Maurice Brown:

Goethe himself toed with the idea and wrote in 177 to Schiller:"The re e pretty things o f th .so rt in a certain o lder Ger man period,

and m uch can be exp resse in the f r m (i e. lyric convers a tis) ha beg such a onersation betweenalad who is in le with a miller's maid and the mill-stream and hoe to send it soon"

In site of the fact that these figures were conentional liter moties, instein

1Alfred instei, Schubert: A Musical Portrait ew York: ford Uniersitess 151, 257

2l The Solo Son cle, 77

3instein Schubert 258

aurice J Brown "Schubert Son," BB Music Guides (Seattle: Uniersit

of ashington ress, 167 33



that the ipiration behind llers w the folk

on the model of Des naben unerhorn 1 (a collection of anonymous rustic

verse published in 180 and edited by Achim von rnim and Clemens Bentano).

t is noteworthy that the opening lines of the second poem of the cycle, "ohin?"

ch hrt ein ein rauschen/Wohl aus em Felsenquell"), e patterne aterines from one of Brentano's folksong: "Ich hr ein Siclein rauschen/ol

rauschen uch d orn 2 Cottrell oints out tat such oowing e frequently

foun in M�lers oetry.

In spite of its lengh, Die schne Mllerin is a highly unifie litery

ork Cottrell states that " chitectual staility of form is a corner-

stone of the workings of ilhel Mller's oetic imagintion. Mller uses twoasic techniques to achieve unty an coherence within the cycle First of all

the oem e hel together ecause they escribe a series of related incients

ithin a efinite story. Secony, the poems e connected to eh other y

eas of textual repetitions and textual inerences. 4 The most important of these

ine liks" are iscusse below5

In the poem "ohin?" the miller aks the brook:"st enn meine Strasse? clein sich, wohin?"

"s that then my road? brooklet say whither?"

The awer to this question comes two oems later in "Daksagng an en ach":

"Zr Mllerin hin So lautet er in"("To he maid of the mill, it seemed to say.")

Another of these "line liks" is foun between the poem "Halt" an Daksagung

1Eintein Schubert p. 25 72 Mllers Lical Son�-Cles 10.Cottrell p3Cottrell Mllers Lical Son�-C;cles p. 11 4 Mllers Lic Son�-Ccles 10.Cottrell, p .

5 El The Solo Son C;cle p 7



an den he hd and foh of he le The fome en h he ods

"Ei Bchlein liee Bchlein es alo gemen?0 bookle bookle as ean o be so?)

he latte opes ith an exact epetition o thi line

"W e o geeint ein auchene Feun

Dein ngen ein Klingen e alo geeint?"("Wa it eant to e o ippling ien?Yo ong ou uic a it eant to e thu?"

Anothe liking eice i the colo een hich Mlle e thoughout the

lat hal o the ccle Becaue it i the aoite colo o the maien the il

le e he the een ion o hi lute as a smbol of s eeal loe

geen is a lso the hunte 's color a nd con sequen tly b ecom es the sym b ol of the m il-

es happnessO coe thee e othe oe utle techniue ue to uni the poe

t thee e gien ple teatent in Cottell upe ook Don El uote

H M Mut smmaon o Mlle' ccle

De shne Mllein i oe coheent in suue an an na-tie ccle o thi peio (85 830 Te nae poesses smooh- and onssenl an the an inne theatic lik help to ni the op The smmeal angemen of he em aodng to theiou tage o the to gie the oup ance an ace of o-

poton Mlle ucceul teatent of hs le seems o me obe due o t to it the einite nrae oulne hhee fom the eginning a a aeok an econ the act thathe poems ee en spefall fo hs oup and no smple ol-lecte an ange as et the ight. Mlle nee agan aheed e ae peectio o o in an othe ccle

Peha he mos aace qual of Mlle poet i it feel lo-

ig muicali 2 Ding hi lietie the Munich Allgemene usk-Zeng e-

ee to hm as e onul Wilhel Mlle 3 an n ou on a Coell has

made uch of hi "unuul keen uic sens 4 lle hmelf as ae

El The olo ong Cyle p 792

Cottrell, Mu ller'S Lica Song-Cycles, p. 10.

3 esh The hube Reade p. 794 . C 0Cott rell, M ulle9 Lica ong- yc es p . •



hs poems and spoke of them as son He felt that a very

stron relatoshp exsted between hs etry and musc and was very much n1terested n te mscal anmaton o hs verses He wrote n hs diy on

ctober 8 1815 t can nether play nor snyet when I wte verses I sn

and pay after l If I could produce the tunes, y sons would please e better tan they do now But courae! A kned soul ay be found who wll he

2the tunes behnd the wor and gve the back to e

Several cosers of the ay had set hs es to usc, aon them the

gited soncoposer Berhd Josef Klen muscl diector o the Unversty

o Berln n Deceber 15 , 1822 Mller wrote Klen a letter of thaks upon publ

caton of two oks of Klens settngs o hs poes ncludng Der Neugereand Trockne Bluen ro De schne MUlern) For ndeed, my sons lead but

h a le, a paper lfe of black and whte untl usc breath lfe nto

the, or at least calls forth and awakes t t s aleady dorant n them.

ou t s, too, choosng my sons for preference or composton, who penetrate

ost deeply nto the 3 What a pty that Mller obably never knew that another

"knred spt h hed the tunes behnd the wor and had created one of

the ost beautful works n the ente lteratre o son.

How dd Schubert become acuanted wth the Mller poems Hrch Kressles

nterestn, but nauthentcated, verson o hs dscovery of the s recounted

low

ne day Schubert vsted the prvate secrety of Count Seczeny, Herr Benedct Randhtnger wth whhe was on ters of eat ntacyand frendshp He had oly ust entered the room when the secretywas sent for He wthew, after vn the composer to understand that he would retrn n a short tme. Franz went to the wrtntable,and found a volume o poetry lyn there; after readng one or two o

Eten, chubert p. 3022Newman Flower, Franz chubert: The Man and Hs Crcle 2nd edton New

ork Tudor ublshn Co 1928 p. 223

3Flower anz chubert p. 22.



th oms through, h sizd th bookw aiting for Randhtingrs rturnbak, missd his olum of pms, and to th th book

and wnt awayTh lattr, whn h am wnt thnxt day to Shubrt

hn his frind askd about th book Shubrt suosdy rlid Do not b

8

any with m d Bnditus th oms ha so insird m that I had to om

os musi to thm. ha alrady sn oms sts to musi. . . . 2 Th om

osr thn showd him th first llrlidr whih h had tly finshd dring

th night.

Did Shubrt ha his own fair mid? That an oy b assumd for w

know littl of his harts riat aff&irs. Howr it is known that h had

bn in lo with his uil Countss Karolin Estrh � zy but sh antly

nr rturnd his lo and it rmind an ida assion. Prhas sh is

Shubrts fair mid. His frind duard on Baurnfld alls th llrlidr

and works lik thm musi onfssions bathd in th glow of a d and ral

assion and transformd into gnuin works of art roding from th lor's

tndrst sntimnts. 3 On of Shubrts bioahrs Kl Kobald also main

tains that th yl is at last o som xtnt autobioahial

A bautiful mmori to th flings of his own ht th llrlidr On annot hl thinking that Shubrt has drawn hslf in th youth who lings to th lo of a woman, thoug sh has stabbd his young ht to ath. I is an outouring of musial motion; it is th lr's sring awning

4 th glorifid

aothosis of th tist's sffring ausd by lo

Th songs of n llrin wr omosd during tr rios of th

y 1823 Th first songs wr wittn in May of that y, but th blk of

thm wr omposd latr that summr whil Shubrt was a atint in Vinna's

Krisl, Lif of Shubrt, 3 16317

2 tto ih Dutsh, S��b��t�:_

Ly and John Nowll (Nw Yok Th trans by Rosamund 2 02

p.

3 Kl Kobald, ranz Shubrt and is Tims, trans by atri Mshall ashinon Knnikat Prss, 1969), 201

4 Kobd, Franz Shubrt, 200



Hopital. He wa in the epth of loom an epair over what he knew

to be an incrable eae (yphilli) an hi ental tate rely

the tone an color of hi on. The cycle wa complete by the en of 1823

an wa pblihe by aer an Leieorf (the latter havin recently become a

frien of chber in five book the firt two on Mch 2 4 182 4 the remaiing tree on gt 12 of that ye It wa pblihe a: Die chne

Mllerina cycle of songs with text b y Wilhelm Mller and et to usic for solo

voice with pianofore compaiment Deicate to l Freihe von chtein.

Op 25 1

M iedlner in hi fine critical eition of 1922 reveal that von

chntein wa one of the ot eitive interpreter of chbet ong an renere a eat ervice in introcin chbert work into the leain ito

cratic circle of iea 2 The eteem with which von chtein wa hel

by chbert frien i indicate by Joeph von pan who ote: Anyone ho

ha he Bon chntein in the Mllerlieer ha omethin to te

with him throghot hi wlife an will never he anythin ore beatifl. 3

The anoncement in the official iena Zeitn of the pblication of the

firt two volme of De chne Mllerin give an inication of cbert tat

an reptation amon hi contmeporie:

e to or opinion that every excellent work cie it own latory recomenation with it we efer to refrain from any empha-tic aie of thee ong an erely remk that the mot favorably

kno tonepoet ha cceee in thee ong to an nally hi e-ee in cobiin the novlty of hi elodie with that intellii-bility by which a ical work of t at once favorably apal t 4the cooie of t a well a to the ecate ical amate.

intein chbert p. 25 6.2Eitein chbert p. 25 6.3Detch chbert emoir by hi Frien p. 139. 4Detch The chbert Reaer p. 327.



Aprently the work sold well According to Spaun The five books of the

ought the publisher such a lge profit throu repeated

editions, that he was able to buy a house with it Unfortunately chubert

receed very little for the work. His ublishers generally treated him as

Newman Flower puts it "as some underdog to whom the smallest bone was a gift

fro God2 paun also informs us that "the singer tockhausen took three

times as much for a single erformance of the llerlieder as Schuert had

receiv�d for composing them3

As was mentioned above, Schuberts work was originally published in five

books These books were not altogether bitry subdivisions of the songs into

eqal pats llers original cycle had contained twentyfive poems in allSchubert many critics feel wisely omitted the prologe and epiloge and three

poems from the main sequence, resulting in a total of twenty songs Each of the

three poems from the main sequence which Schubert omitted is from one of the tree

emotional phases of the cyclehope love and ealousy n efect then he de

leted one pem from each of the five short acts of the play t is these five

acts which the original publication attempted to present:

Irival at the mill songs trought 4IIfalling in love 5-9)

IIIa ie idyll of hapiness 0-2)Vealousy and despair 3-7) 4Vresignation and death 8-20)

Having dealt with the details of Schubert·s composition of Die schne �

lerin, let us now t rn or attention to the techniques he uses to give the work

unity and coherenceDeutsch, Schubert: emoirs b his iends, p. 3 56

lower, Schubert and His Circle p 2 9

3Deutsch, Schubert: emoirs b his Friends p 3 56

4 Maice J. E. Brown , Schube rt: A C ritical Biogaphy ( London: Macmillan

and Co. Ltd, 958) 5-52



Both Di schn llrin and Wintrris ar commonly rfrd to "song

" Howr Watr Wiora aw a distinction btwn th tru "lidr

cyclus" (such Bthons An di Frn Glibt and works such th two

Schubrt cycls which h cs "lidnolln" In th Bthon cycl six

poms by A J Jitls lid without a brk "into a suprbly potic and musical ntity by mans o longr or shortr intrlus, and by th ic of

rrting again to th bginning"

With t composition of i scn llrin

Schubr in fact a cratd a nw t form scribd by Ric Capll "a

2 ama ral to us in a sris of lical momnts to Alfr nstin

calls it a "scnic ama throug which runs a prsistnt though not immdiatly

obious conncting trad 3

Tis "conncting thra" is th chacr of ook (th "libs Bch-

lin" rprsntd by t smi-quar figur in th accompanimnt This accom-

panimnt fig, in its arious giss apps in no lss than alf of th

twnty songs It is snt in th opning son "Ds arn" n though

usical Exampl : "Das Wandrn"mm. 1

f � <-

i echd (Aer dert

# J ," �'i

t Da

l fi t

t r

7

=i 4

P aul Henr y La n g, "A Re v iew o f D a s D e utscLi ed . Zu G esch i cht e un d

As th eti ck Ein er Mu siki schen Galtung.p" Mu si cal Quterly, L VII I, no. 1 (1972) p 3 5

2 Capll Schurt's Son p

3 Einsin, Schbrt p 2 58

4T hi s a nd a l l sUbsequent mu s ical ex am p le s e t ake n fr o m Schu b er t Song,

ed i ted by Ser g is Ka g en (New Yor k: Int e rna tio n M usi c Co . , 1961). V o l I.



12

re �u@t eet the brook the secon song ("Wohin"

Music Epe #2: "Wohin?"-- -J

Ich hort' €in Bch - lein

In "Ralt" (III) te little ste ives te mill weels, n te ccpnient

is apiately eavy an ponerus

Musical pe #: "Hat"-m.

1-4

Nicht z geschwnd (Aleo ra non troppo)

Again in "A eierbend" (V) the stre rives te i wheels.

Musical ple #: "A Feieraben"-- 5-8

Bat h tau sed Ame z

p

In "Dks agng n den Bch" (IV) an "Der Neugierige" (VI) it rippes n grges

ong on its w witout aswering the @s questins about the oung i



sicl Expl #: "ksgng n Bh

Ewas lagsam P le

sic Expl # "r Ngirg"mm 2-26

S e' I ang s (Mo lt lento)

W

n "s rs Blmn" its snc is flt ltht it is y mntin

in pssing r th figr is ifi t cfl qrs in /8 tim

sicl Exmpl #7 "s llrs Blmn" - 70

A2Dcht8 Un d

Bae v ] BIu mn s hn, auu tr rm Fns tr- n dawnn s d Augn zu nd

h n Ma n u gn s n ; d r ie pfanzn d Bu mn n da sel t s - .r s - .rRu, dan

s th yng cpl tgthr fr th first tim in "nrgn" eX) n nc

gin th k chrtls in th bkn



sic ample #8 Trneegen 03

�

ab i den rie- nden Bach.m ren Augen a1 1ein

5i ne Tie fe ziehn.

In "Mein (XI ) the lad tlls all of natre of his hapiness The presene of

the ook is one again ade evident by the qic-moving qavers .

Msical Exple #9: "Mein"- 5

Mssig g e sc wd (A l e o mod e ra to)

=

=-

-

n his anger over the appeance of the hnter, the miller aain turns to he

oo which now wildly rshes on its way following a storm

Msical Examle #1: Eiferscht nd Stolz" () 5

Geschwd (Alegro)

Wo in 50 shneDso



h hope of iig he love of he i is goe he l seeks

solce i he brook I "Der M ller er Bh" (X¥ he brook ries o

cofor he by B is i is e p--he ill e his life i he brook

hs been his frie meor hrogh he cycle

Msicl ple #11 Der Mler n er Bch" 2

'u l _ .

e te.be i r sich de de S t gt St us

J

-� ' . 'i - �

'pI Y-

VIhe brok hen sigs genle lllby "Des Bches iegenlie" (XX n rcks

e l o sleep shelere fro he ces of he orl ere he sei-qvers

e gin oifie qvers epic he genle rcking of he ves

Msic ple #12 : Des Bches iegelie" 1-3

Mi Mdat)

All of hese sggesions of rnig er e clely erive fro he sck

figrios of Vieese keybo echniqe f he ely nineeeh cery1

Schber's genis lies i his choice of ccopnienl figres b in he

sbley n iginion ih hich he ses he reflec he ie viey of

igery eoio i he poes Azigly hogh hey ll she his coon

1Arhr chi Schber revise eiio (Loo M De n Sos 1973) p 1



ccopimetal figure thee is little resemblce betee y of the sogs

tht tey re eqully effective i evokig the ide of ter

There e other es besides the "ook usic" hich Scubert uses to t-

t

ch belog together) "Des Mlers Blume" (I) d "erege" (X) e both i te sme

key (A jor/ior) d ve the se time sigtre (6/)

2) "Puse" (XII) "1t e e Lutebe" (XIII) e bot i B-flt jor (The B-flt chord hich begis te ltter is uecessy d ccorig to Alfre istei d Gerld Moore2 shoul obbly be otted e te cle is erfored i its etety)

3) "Die liebe Frbe" (XVI) d "Die bse Fbe (XVII) give us so tospe to sides of te se coi d so they e lso liked by

key Both fluctute betee B jor B mior te former le g tod the ior the ltter tods te jor. Moore even

suggests reltiosip i tepo "Die bse Fbe" (=63) souldbe tice te speed of "Die liebe Fbe J 63).3

The chcter of the huter lso helps uify te secod hlf of the cycle

I "Der Jger" (XIV) the ccopimet ith its tree-voice teture gives the

listeer "the brassy suggestio of the hutig hor4

usical Eple 3: "Der Jger"-mm 1-4

f Gehind (Ao)

@ n staccoA �Ac +

• v

1 - -.

Was

;q . p

istei Schubert p 2582

Gerald Moore Te Scubert with Thou ts on Performance

( Lon don : Ha mish Hami �t �L ��.

3Moore Scubert Cycles, p 5.

4Moore chubert Cycles p 45



In the idde of ifesucht und toz the again appeas in

the accopanient t the ention of the hunte etuing fo the chase

1

",

usica Exape 1: Eifesucht und toz-- -5

�

-

• pV

Wenn von dem Fg der J-ger us1igtnacHs,

l.

w�nn n dem hg l Ji-ger� dB 1ekein sttsKnddn Kpf zmFeDter 'nas,

" :v .1 �' �, - 'fI

I 1� I

he hunte syboied by the coo een h becoe an obsession ith the ad,

as e see in the next to songs, Die iebe be and Die se be I

and n the foe the ie is nub ith pain He can oy epeat ove

and ove again My ove is so fn¢ of een In the backound the epeated

-shps of the piano pt payed 56 ties in the cose of the song hae

aay, softy, but eentessy, saying to hi:I

eath, Deth, Death iI

Musica ape #5 Die iebe be-- -

a Poco Iento)

=



dde f the tter sng t the entn the hntng hrn the three

hrn-c textre gn ps bt ths te Schrt ges t

deeper enng The pper ce cntns thse reted F-shps tht were hed

the pres sng nd gn they whsper Deth t the yng er

Msc Expe 16: De bse Fbe- - 5

kg en-len

The sng f the cyce s Bches egee s the nest epe

Schberts ectey bnced psychgc sense 1 In t he ty c

bnes: 1 the qer fgre representng the gente rcng the wes;

2 tnc-nnt pe whch sggests he pen fths the hted hntng

hrn n the repeted dnnt n the trebe hed presy n De ebe

2 Fbe n De bse Fbe In ths fn sng t beces dcet che

whse tng s the de d t hs n rest

Schbert e ther tsts ws, t eter r esser extent,

prdct f hs enrnent; he ws nfenced by the Zeitgest f hs er

Hs best fren were pets, nd t s n wnder tht hs persn phs-

phy ws ery ch fenced by the Rntc eent n ern tertre

whch hd begn n the te eghteenth centry the Str nd Drng perd.

M er t w prt f ths tery eent. herefre t shd nt be

Esten Schbert p 29

2 See Msc Epe #12 p 15

Mre Schbert Cycles p 72



1

srprsng tt Scbert s ttrcte to llers poetry, becse ter plo-

mc n coon

t sol lso not be srprsng tt Scbert s ttrte specfclly

to te De scne �llern n nterrese poes--te story of yong nerer

He s lfe s jorney, belevng tt "mn trvels ever ons tors es

tnton tt ssolves n vnses before m. 1 He, too, mself s

rveller, nerer s pell ponts ot "To feel oneself n exle pon

te et, nerng n erpetl sstsfcton 2 s n extremely fs-

onble sentment mong ll tre "Romntcs."

s s ponte ot eler n te pper, e kno lttle of te "nner lfe"

of Scbert. Te se of composer's songs to fll n some of tese "sycolo-gcl gps" s t best tenos procere. Wt Scbert, oever, ts seems

to be n cceptble pproc. Hs songs, more tn tose of ny oter composer,

epress t e felt tn s et. Detrc Fscer-Desk ses ts sme

pproc n s recent book, Scberts Son, Bocl St He rtes:

"He (Scbert) neee to mgne t e col not experence. Tt s y e

love poets bove ll oters. • Te texts of s songs nt t te btter-

ness tn m. Sorro n ppness, mlty n rognce, moesty n

pe, contemplton n psson spek to s ot of te msc. 3

n exmnton of te text to one of Scbert's best-love songs, Der

Wnerer" (copose n 1816), revels tt t expresses plosopy entcl

to tt of te ller poems, especlly Wnterrese:

1

cel Scneer, Scbert, trns by lzbet Poston (e York: rovePress, nc , 15), p. 16

2 pell, Scberts on, p. 114

3llm Bener, "Follo te Leer,I Tme, , no. 16 (prl 18, 177), p. 86.



I come hithe fom the mountainsThe valley is steaming the ea is oaingI wande still, ithout joyAnd sigh, s if sking Whee?

The sun sees to me to e cold hee,The lossos ithered and life oldAnd mens speech empty sound

I a st ge everhere.

hee t thou my eloved ndSought d envisged, ut never known?Tht lnd tht ld so een ith hopeTht lnd here roses loo,Where riends go wlkinghee � ded shll rise gainThe lnd tht spes � speecho lnd here t thou?

I nder still ithout joyAnd sigh s if king Where?In ghostly hisp the se returs to me"Where thou t not there is hppiness1 "

-- von Lueck

Anothe inteesting simility exists between the espective philosophies

of Mlle and chubet in thei concepts of death It is significnt that the

young mille·s death in the peaceful flowing wates of the book coesponds

stikingly to chube rt's own view of death e saw death not as a bibica

20

manifestation of Gods wath deseved of ou sins but death who becomes fiend

confidant and comforte the figue opening to us the tanslucent potals of

the world beyond 2 chubert descibed that wold s tht cleashining and

dstant futue in which ou whole hope lies3 In 1817 chubet had composed a

eautiful settig of Hattias Claudius I poe De Tod und Das dchen (Death

and te Haiden) which expesses a simil concept of death:

1Capell chubert's Songs, p 11 4

2chneide chubet p 11

3 0tto E rich Deutsch, Franz Schubert's Lette rs a n d Other W ritin , t ra ns. by

Venetiaavie (ondon: Fabe and Gwye 1928 p 2



ie e hn e n ene chi! fien ce n chsenBe f g chee! n be feeY wi swee in s!

1M Cis

An ineesing siei f wich e ee a w is wn cnc-

sins is b he sngs enine bve as expessing significn eeens

f ScbeUs pisp, wee as se as e basis f w f is ees

iena wke "Wnee Fnas" in C j f pian n e "Deh

an he ien" sing qe in D in

e s f ie scne Mein see e si n senien--

ceinl n e ei f wic e is ae B ch f Schbes sic is ecepive sipe fe ne e f "ivng" wi is wk,

cnvince i is ne f e s beif n ving wks f he nine-

eenh cen ne sns in we f Scs genis Ws fi exess

e veweing be f ese wen sngs! g Svinsk pehp ce

cses n expnin f e be f Schbe's sic

Scbe's sic evkes even heve se f inn

cence cn eneness e pce wee hse ee gehe wh ve eh e we n eh Schbe's sic is n spiin ws his s pise n his ies is pwe ve s an h s spebn i is in his sese h i is ike n he sic cnicing wih s in ngge is wn

Schneie chbe p 11

Shneie cbe p 5



List of Works Used

br, Gerld (ed) Te sic of Scbert Pt Wsigto, eikt Press,Ic 197

Beder illi ollo te Liede Tie, CI, o 16 pril 18, 1977), 8

Bie Osc Scbert Te Freeport, e York, Books for Librries Press, 19

Brod lie d Fokes, Robert A Te Ger Lied d Its Poetr e York, St rtis Press, 1972

BroMice Scbert A Criticl Bio Lodo, Mcill d Co,Ltd 1958

Scbert Sogs, BBC Msic Gides Settle, Uiversity of WsigtoPess 1967

Cpell Ricd Scbert·s So 3rd edtio Lodo, Dckort d Co,Ltd, 1973

Cottrell l P ilel llers Lyicl o Ccles Cpel Hill, Te Ui versity of ort Cri Press, 1970

Detsc, Otto ic ed) Frz Scberts Letters d Oter Writi Trs

lted by Veeti vile Lodo, Fber d Gyer, 1928 Scbert: Meoirsb His Frieds slted by Rosd Ley d

o oell e York Te cill Co 1958

Te Scbert Reder: A Life of Frz Scbert i Letters d oc ets slted by Eric Blo e York, W W orto d Co, Ic, 17

l Do L Te Solo So Ccle i Ger (1800-1852 A Arbor, UiversityMcrofils Itertiol, 1977 doctorl disserttio sbitted to te Fclty of te Grdte Scool ofIdi Uiversity i Septeber, 1952 i prtil flillet of te reqire

ets for te deee, Doctor of Pilosopy, i te Scool of sic

Eistei Alfred Scbert Tlted by Dvid Ascoli Lodo, Csell dCo Ltd, 1951

Floer e Scbert Te d His Circle Revised editio e York,Tdor Pblisg Co 1935

Gl Hs Frz Scbert d te Essece of elod Lodo, icor ollcy,Ltd, 1974



Gers, Aeie Cpurig oei S ye i Ger Sog Te NAT Buei XX No. 4 4.

Gry Wer. Te Cssi ure of ubers Lieder f Te ui QuerLVII (Juy 1971), o 1, 6

Hio, Dvid. e is og Cye?" HiFidei y, 197, 780

Huigs, A rur. Suber. Revised ediio. Lodo J . De d Sosd, 197

Kobd K. Frz Suber; d His Ties. Trsed by Berie r.P. Wsigo Keik Pres 1969

Kreisse Heiri.Dke Coeridge.

Te Life of Frz Suber. vos. sed by ArurLodo Logs Gree d Co• 1869

Lg Pu Hery. "A Revie of D Deuse Lied. Zur Gesie ud seikier usikise Gu " Te !ui uer LV ( uy, 197,No. 1, 15

Le Loe. Eiee So Ce: Sudie i Teir Ierpreio LodoCse d Co., Ld. 15

oore, Gerd. Te Suber Sog Ce i ous o perfore. LodoHis Hio Co. 1975

Neo, George. Te Sogs of Frz Suber, Te NAT Buei XII No. 1,-7

Porer . G. uber's Hoies, Te >usi Revie, XX (1958, 06

Subers So Teique. Lodo Dobso Books Ld. 1961Rpe k. Te A r of Lieder Sigig usi our XX ( uy 1964,

No. 1, .

Reed Jo. Suber: Te i Yes. Ne York S. ris Pres 197

ufer Rober Hve. Frz Suber: Te Arie of usi. Ne York G. PPus Sos, 19

Seider e. Suber. Trsed by izbe Poso. Ne York GrovePres . 1959

[Suber Frz]. uber Sog, vo. 1, e ork Ierio usi Co. 1961

Su ibe. GerSog. Lodo >x ris d Co. Ld. 18

Sei Jk . oe d ui i e Ge Lied fro Guk o Huo of. C bridge Hrvd Uiversiy ress 1971

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