Topical Analysis: Schubert's Winterreise

“Der Lindenbaum” & “Wasserfluth”

Introduction- Der Lindenbaum is song number five from the song cycle Winterreise, and the poem
is set by Wilhelm Muller. This song is divided into four sections:
Section A verse 1-2 bars 1-24, Section A' verse 3-4 bars 25-44, Section B verse 5 bars 45-58 and
Section A' verse 6 bars 59-82.

The song begins with an opening introductory theme in the piano from bar 1-8, consist of a triplet
pattern in the right hand of the piano and a sustained E & B in the left hand (Ex 1). This triplet
figure throughout the introduction is the musical representation of the wind rustling the leaves of
the linden tree. This opening theme is used as an introduction to every stanzas in the poem, each
time modified to suite the mood of the passage.

The topical usage in the first four stanzas (section A & A') that is from bars 9-44 of Schubert's Der
Lindenbaum is set in Singing, Lied and Biedermeier Style.

The topical usage is singing style because the song is set in a Moderate (Massig) tempo (Ex 1), the
melody line features relatively slow note values and a narrow range. The other topic used in the first
four stanzas is Lied Style because the melody line is simple, unornamented and has a folk-like
character in it. Example bar 9-12

The reason why the melody line has a folk like character is because the first four stanzas are in
strophic form. In strophic form the same music is repeated again for each stanza of the poem. This
is used in almost all folk songs. From this we can say that the melody has a folk like character. For
example in Der Lindenbaum the melody lines of the first and second stanzas bars 9-24 is repeated
again in the third and fourth stanzas bars 28-44.

The other topical usage is Biedermeier Style, according to Ratner Biedermeier Style is defined as a
style which is used to signify old fashioned elegance linked with a proper middle class sense of
propriety. While evoking a comforting nostalgia for an earlier time. Its musical gestures including
symmetrical phrases (frequently four bar long), lyrical melodies, largely diatonic harmonies, strong
cadences and the occasional use of the alberti like bass line.

All the melody lines in the first four stanzas are four bars long, below is an example of symmetrical
phrases bars 21-24
Each phrase ends with strong cadences, example bar 11-12, 15-16 ends with perfect cadence and
there is large use of diatonic harmonies.
The occasional use of alberti bass in the piano part is found in bars 12 and 16:

Stanzas 1 & 2 of the poem provides the setting and hint at the nostalgic memories that the wanderer
had under the linden tree. Schubert expresses this nostalgia in music for example:
The figure in bars 7 & 8 include horn fifths, typical of a hunting call, but clearly adapted here to a
very different kind of call. The character of the call includes an element of longing, and this is
typically portrayed by schubert with a long note on the main beat followed by a small descending
interval thus literally longing (nostalgia) example below:

From the examples mentioned above we can see that how all the topics (singing, lied and
biedermeier) relate to the music and text of the first four stanzas.

The topical usage in the fifth verse of Schubert's 'Der Lindenbaum' is in Declamatory Style. The
fifth verse that is from bars 45-58 is set in declamatory style because it functions as a bridge
between the other sections of the song and also functions as a separate declamatory passage which
is basically used to highlight the song. There is contrast in harmony but there is no modulation as it
consist entirely of the augmented sixth and dominant seventh chords in E major. The
accompaniment pattern in the piano has been changed which makes a huge difference when
compared with verses 1-4. Example bar 47-48
When the main character talks about the cold wind blowing on his face schubert uses the triplet
figure from bar 1, throughout the entire B section bars 45-58 in the right hand to get the effect of the
wind. Now again we can see the relation between music and text.

The other reasons why the fifth verse is set in declamatory style is because there is contrast in
dynamics as compared to the previous verses and a wide range in melodic line. Similarly the
melody line or the voice is dissonant with the accompaniment. When the vocal melody enters, the
interval created between voice and accompaniment is an augmented fourth or tritone. Example of
tritone bar 51:

The topical usage in the sixth stanza is singing, lied and biedermeier style because it uses the music
from first four stanzas but there is only change in the text.
The sixth stanza has exactly the same melodic lines of stanza 1 & 2, it is a direct repetition. The
accompaniment of this final stanza is similar to that of stanza 3&4 but it is not the same.
 Wasserfluth

Schubert sets “Wasserflut” as a strophic binary form, the music for stanzas 1&2 repeated literally
for stanzas 3&4. Wasserfluth is a slow tempo piece. Throughout the piece the triplets are lined up
with dotted rhythms which symbolizes the tired laboured footsteps of the wanderer. The first four
measures (1-4) of this piece is an introduction and is the main motive of the whole song.
The topical usage in “Wasserfluth” is Stile Appasssionato because in this style “the melody line is
underscored by throbbing repeated chords frequently in eight notes or triplet pattern”, this is evident
in Wasserfluth. Example 1 bars 5-8

In wasserfluth the melody line is accompanied by repeated chords in eighth note pattern throughout
the piece. Schubert uses the triplet and eighth note pattern to represent the pounding heartbeat of
barely suppressed passion that is to represent the strong and barely controllable emotions that is
expressed in the poem. Example 2 bar 5-6 represents the trochee rhythm, continuous moving
motion, and pounding heartbeat.

Wasserfluth is the first poem in the cycle with a clear and constant trochee rhythm. The trochee
means that of two syllables the first one is stressed. Thus the rhythm has a forward pushing
movement which shows that the wanderer's foot step is stately, slow-paced and meditative.
The continuous rhythm in the piano part represents the continuous flow of water for example stanza
2 “Und der weiche Schnee zerrinnt” (And the soft snow melt away) and even stanza 4 “Wirst mit
ihm die Stadt durchziehen” (You will flow through the town with it) the words melt away, flow
represents a continuous moving motion. So schubert uses this kind of rhythmic pattern.
The obsessively repeated rhythmic pattern of the slow chordal harmonies in the piano part create a
heavy funeral atmosphere. From this we can say that the other topical usage in this piece is Funeral
March.
Funeral march uses a dark minor mode, dotted rhythms frequently prevail in the melody line which
is paired with repetitive bass line that creates a sense of inevitability. Example of dotted rhythm in
the melody bar 5-8:
Schubert uses minor mode because the poem is called Flood which is not something very
comfortable, and also to express the feeling of pain which is expressed in the first stanza of the
poem. The first stanza speaks about the frozen tears falling into the snow. The snow is seen as a
thirsty person who eagerly needs water to quench his thirst. Schubert makes contrast between
misery in the minor mode stanza 1&2 and fantasy in the major mode.
 Bibliography

(1) Janice Dickensheets, The Topical Vocabulary of Nineteenth Century, Journal of

Musicological Research, 07 Jun 2012.

(2) Susan Youens, Retracing A Winter's Journey: Franz Schubert's Winterreise

(Cornell University Press, 2013).

(3) Kofi Agawu, Music as Discourse: Semiotic Adventures in Romantic Music

(Oxford University Press, 2009).

(4) Louise McClelland Urban (ed.), Schubert's Winterreise: A Winter Journey in

Poetry, Image & Song ( University of Wisconsin Press, 2003).

(5) Lauri Suurpaa, Death in Winterreise: Musico Poetic Associations in Schubert's

Song Cycle (Indiana University Press, 2014).

(6) Sean Geizer, “Der Lindenbaum”: Ironic Dualism in Schubert's Winterreise

(Youngston State University, 2012)

(7) Finding a place of comfort: Winterreise's “Der Lindenbaum”,

http://ericaannsipes.blogspot.in/2010/08/finding-place-of-comfort-winterreises.html
Accessed 17 Nov 2014