Franz Schubert: A Musical Prodigy's Journey

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Franz Peter Schubert was born on January 31, 1797 in Lichtental, Austria near Vienna. He had fourteen siblings, but unfortunately only five of them survive past their first birthday. His father, Franz Teodor, works as the Principal of a local school while his mother, Elizabeth Viets, serves as a cook for a family in Vienna.

Starting at the age of five, Schubert learns how to play the violin from his father and begins receiving lessons on playing the organ from Michael Holzer, the parish priest when he turns eight years old.

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Remarkably at ten years old, Schubert already composes his very first piece.

In 1808, Schubert joins the courtier choir where he sings and plays second violin in the orchestra. This opportunity allows him to become familiar with Joseph Haydn and Wolfgang Amadeus Mozart's musical works. During this period, Antonio Salieri provides him with instruction.

In 1814, Schubert finished his studies at a teaching seminary and subsequently worked as a teacher alongside his father until 1818.

This period proved to be the most difficult for the composer as he struggled to make ends meet. Despite offering private lessons, Schubert found it insufficient in terms of income. Additionally, he faced challenges in securing a full-time job and had to rely on living with his friends who were fellow composers and poets.

During both 1818 and 1820, Schubert had the opportunity to travel to Hungary as a music instructor for count Esterhazy's daughters. These visits allowed him to fully immerse himself in Hungarian national music and Gypsy music, which ultimately became valuable learning experiences for him.

After 1821, Franz Schubert's songs gained immense popularity in Hungary and Austria unexpectedly. This happened when he managed to publish some of his works with the help of his friends. Schubert is known for creating some of the most remarkable classical masterpieces ever written, including "The Unfinished Symphony" No. 8 D 759, the piano quintet "The Trout" D. 667, the string quartet "The Death and the Maiden" D 810, as well as his extensive collection of over 600 songs. Additionally, Schubert is recognized as a pioneer in the genre of song cycles. He composed breathtaking pieces like Die Winterreise D.911 and Die Schone Mullerin D.795.

The composer died on November 19th, 1928 in Vienna.

This essay examines different aspects of Franz Schubert's chamber music, with a focus on two specific compositions: the string quartet "Death and the Maiden" D. 810 and the song "Der Tod und Das Madchen" D. 531. The analysis involves exploring connections between Matthias Claudius's poem "Der Tod und Das Madchen," the song, and Schubert's string quartet. Additionally, it investigates how Schubert modified the vocal melody to fit the string instruments.

Franz Schubert's songs are closely connected with poetry, particularly the works of poets such as Goethe and Schiller. According to Christoph Wolff, Shubert was particularly drawn to the pure and simple language found in Matthias Claudius' poems (Bandura-Skoda, Branscombe, 1982, 144). One example of this connection can be seen in the song "The Death and The Maiden" D. 531, composed by Schubert in 1815. This song is based on Claudius' poem "Der Tod und Das Madchen," written in 1775. The poem consists of two stanzas, as illustrated in example one.

Das Mädchen und der Tod:

Vorüber! Ach, vorüber! Gib deine Hand, du schön und zart Gebild! Geh, wilder Knochenmann! Bin Freund, und komme nicht, zu strafen. Ich bin noch jung! Geh lieber, sei gutes Muts! Ich bin nicht wild, und rühre mich nicht an. Sollst sanft in meinen Armen schlafen!

The Maiden and Death encounter each other.

Pass me by! Oh, pass me by! Give me your hand, you beautiful and tender form! Go, fierce man of bones! I am a friend and do not come to punish. I am still young! Go, rather, be of good cheer! I am not fierce and do not touch me. Softly shall you sleep in my arms!

Example 1 – The poem “Der Tod und Das Madchen”.

The poem is a dialogue between "The Maiden" and "The Death". In the first stanza, the girl is scared of "The Death", as shown by the short sentences ending with exclamation marks. In contrast, "The Death" in the second stanza is supposed to be scary but instead sounds harmless and even compliments the girl. The interesting thing about the poem's title, "Der Tod und Das Madchen", is that it is reversed in the song and string quartet by Schubert, titled "The Death and The Maiden". This emphasizes the seriousness of Death even before the poem begins.

The song "The Death and The Maiden" D. 531 by Schubert is as contrasting as the poem it is based on. The first eight bars serve as an introduction to the rest of the piece. Starting from bar nine, Schubert employs clever techniques like chromatism and faster metric rhythm to create a scary and anxiety-inducing atmosphere, as illustrated in example two.

Example 2 – the song “The Death and The Maiden” D. 531 The Maiden appears to surrender to Death between bars sixteen and twenty-one, supported by a few pieces of evidence. Initially, the vocal line descends, indicating humility. Additionally, the metric rhythm in these six bars remains calm and disinterested, mimicking the opening of the song. Finally, the fermata in bar twenty-one may serve as a conclusive hint that the Maiden has relinquished her fight. Following this intense moment, Schubert introduces the second character, "The Death". (Bandura-Skoda, Branscombe, 1982, 152) The composer establishes the tempo of the introduction as the tempo for the second part of the song. While there is minimal emphasis on dynamics, it holds great significance.

The dynamic in the initial section of the song, referred to as "The Maiden," is marked p, while in the subsequent section, known as "The Death," it is marked pp. This technique employed by Schubert enhances the shocking effect of the lyrics in "The Death." The opening words in the second stanza hold great significance, as the composer maintains the vocal line on the tonic of D minor for nearly six complete bars. These words, "Gieb deine Hand, du schon und zart Gebuild!" which mean "Give me your hand, you beautiful and tender form!" are accompanied by a fairly simple harmonic pattern. Schubert employs the tonic of D minor in the first bar of the second part of the song and then utilizes the sub-dominant in the following bar, which gradually transitions into its first inversion in the next bar. The composer returns to the tonic in the fourth bar but does so in order to establish a more interesting harmonic pattern for the second verse of the stanza: "Bin Freud, und komme nicht, zu strafen," meaning "I am a friend, and come not to punish."

In the fifth measure of the second section, the chord being played is the first inversion of the supertonic seventh. In the following measure, which is part of the same section, the chord changes to the second inversion of the same chord. However, in the sixth measure of this section, the chord used is the seventh of the sub-dominant. The composer then uses the seventh measure as a transition to establish a new key of F major in the eighth measure. The harmony changes from the sub-dominant to the tonic of F major and then back to the first inversion of the sub-dominant within the next measure. This tonic-sub-dominant movement in F major continues for measures ten and eleven.

"The Death" concludes with the phrase: "Sollst Sanft in Meinen Armen Schafen" which can be translated as: "Softly shall you sleep in my arms." Schubert returns to the D minor key and incorporates the "French" augmented 6th chord for the word "Schlafen". This chord selection effectively conveys uncertainty, discomfort, and likely harmlessness to encapsulate the concept of "the Death". Immediately following that, in the final seven bars, Schubert surprisingly shifts to D major, seemingly to demonstrate to the audience that "the Death" harbors no ill intentions. These corresponding harmonic patterns, along with the lack of melodic movement in the second stanza, serve to illustrate the supernatural and contrasting nature of "the Death's" voice when compared to the active voice part in the first stanza (Bandura-Skoda, Branscombe, 1982, 153).

The song and the poem both share striking similarities. Schubert has differentiated the two stanzas and dialogue partners using dynamics and declamatory gestures. In the first part of the song, the piano dynamic, crescendo, and diminuendo correspond to the short and disjunct phrases in "the Maiden" section of the poem. Similarly, the pianissimo dynamic in the second part of the song complements the long and conjunct phrases in "the Death" section of the poem (Bandura-Skoda, Branscombe, 1982, 150).

However, it is interesting to note that Schubert does not employ two distinct voices for the two stanzas. This may have been his method of enhancing the dramatic dialogue between "the Maiden" and "the Death." In fact, Schubert frequently incorporates material that he had previously composed. For instance, the renowned piano quintet in A major D. 667 draws upon the song "the Trout" D. 550. Likewise, "the Wanderer" D. 493 provides material for the C major fantasy D. 760. As mentioned earlier, the String Quartet D. 810 "The Death and the Maiden" is based on the song D. 531. Specifically, the second movement of the string quartet, comprising of one main theme and five variations, is entirely derived from that particular song. The main theme can be divided into three parts: A, B, and C.

The comparison of the first eight bars of the second movement of the string quartet and the song reveals that the A section of the quartet is closely derived from the song. Following this, in section B (bars nine to sixteen), the music becomes more lively and vibrant, mirroring "the Maiden's" emotions. The C section (bars seventeen to twenty-four) of the main theme is tranquil, echoing "the Death" depicted in Claudius's poem. These twenty-four bars are considered one of the most beautiful and serene passages in the Romantic era due to their simplicity. For instance, in the first violin part, the note G is repeated thirteen times, while in the viola part, the note B is repeated fourteen times between bars seventeen and twenty-four. However, what truly enhances these bars' perfection is the harmony pattern shown in example four.

In bars seventeen to twenty four of the second movement of the string quartet, we can observe harmonic analysis. The first variation begins in bar twenty-five. The harmony pattern remains identical to that of the original theme, but with one alteration. In this variation, the second violin and viola take over the harmony previously played by the entire quartet. Furthermore, the inner voices sustain the key feature of triplets throughout. Additionally, the cello plays a crucial role in providing a strong foundation for the entire passage through its use of quaver pizzicato notes.

The initial variation is particularly intriguing as the first violin assumes a supporting role, which is uncommon especially at the outset. The notes played align with the chord played by the rest of the ensemble. This first variation, among the five presented, is more tense and emotionally charged compared to the original theme in this section. The intention likely lies in emphasizing the fear experienced by "the Maiden" as she attempts to evade "the Death" at the start of the poem. In the second variation, the cello takes on a leading role in the melodic line. It is fascinating to observe how this melody corresponds to the original theme, as evidenced in example five.

In example 5, we can compare the cello part in the 2nd variation and the original theme. The second violin adds a second voice that supports the main tune. This accompaniment is unique because it multitasks. The supporting voice is formed by dotted quavers, as mentioned above, while the semi-quavers complete the roles of the first violin and the viola accompaniment. Example six illustrates this.

Example 6 – The second variation features a distinctive and versatile second violin part. Throughout this variation, the viola plays a vital role by providing a solid foundation. Schubert accomplished this by using a straightforward yet highly effective rhythm – a quaver, a rest, and two quavers. This rhythmic pattern repeats for twenty-four bars. Additionally, the first violin part serves an ornamental purpose, similar to its role in the first variation.

The harmonic patterns in the beginning of the piece are similar to those in later variations, but the main difference is the increased number of played notes, resulting in heightened tension and excitement. The third variation is particularly shocking for the listener, as it serves as a culmination of emotions built up throughout the movement. Unlike the other variations, this one stands out in terms of the roles played by the four instruments. The main focus in the third variation is its rhythm, predominantly carried by the second violin and viola. Nonetheless, it still pays tribute to the main theme through the use of quaver notes, as shown in example seven.

Example 7 – The second violin and viola parts have a strong rhythm and still evoke the main theme. The first violin and cello job is to play three-part chords, which adds tension to the music. It's interesting to note that the original theme and the two previous variations all ended in G major. However, in the third variation, all four instruments resolve to a single G note. The composer surprises the listener once again with the fourth variation. After the intense and exciting previous variation, Schubert introduces a very light and beautiful section in G major. This variation has a similarity to the main theme, as shown in example eight.

In the fourth variation and the main theme, there is similar material. In this variation, the first violin plays an accompanying role, but it is so lyrical and smooth that it can be considered a counter-melody. The last section of this variation is in C major, marking the first significant change in tonality in the movement. By returning to more relaxed music in this variation, the composer cleverly disguises the return to the home key of G minor, preparing the listener for the movement's conclusion. In the fifth and final variation, the second violin and viola perform a version of the main theme, but this time with more lyricism. Schubert also incorporates voice exchange between the two instruments. Meanwhile, the cello provides a simple ostinato movement that proves to be incredibly effective for the listener, as demonstrated in example nine.

In example 9, the cello plays an ostinato movement in the last variation. The part for the first violin is quite limited, beginning with a long G note and then transitioning into a passage that highlights the G minor chord, as demonstrated in example ten.

In the fifth variation, the first violin line is heard at the start.

Example eleven shows the note of the cello in bar 130, which is particularly interesting. In this moment, the cello plays the lowest note in the entire piece. This note evokes strong emotions in the listener, as it marks the resolution of all the tension and excitement that has been gradually building up throughout the movement.

Example 11 – Bar 130 features the lowest note on the cello. The coda of this movement starts in bar 144. Schubert incorporates material from sections B and C of the original theme, which is evident in the parts of the second violin, viola, and cello. In contrast, the first violin part is more varied and embellished compared to the other instruments. It is notable that Schubert concludes this movement in a similar manner as the song, restating the introduction but now in a major key.

Franz Schubert, with over six-hundred songs to his name, made a significant contribution to the development of the genre. His creative talents as a composer of songs naturally influenced some of his instrumental compositions as well. Reproducing the composer's intentions for his vocal and instrumental works in great detail is challenging due to the differences in singing techniques and instruments between Schubert's time and the present day. One interesting aspect of Schubert's instrumental music is his use of slurs. He rarely wrote slurs that extended beyond a string player's capabilities.

The slurs in the sheet music for string players correspond to the breaths that a singer would take, showing that Schubert incorporates vocal techniques into his compositions for string quartets and symphonies (Montgomery, 2003, 11). Unlike classical string quartets, Schubert's works are described as "genuine" by violinist Louis Spohr. This means that there is no dominant leading part, as was common during the Classical era, and all four parts are equally important. Therefore, the first violin should not try to outshine the other three players in style or tone (Montgomery, 2003, pp.12-13).

In conclusion, the String Quartet in D minor, D. 810 is considered one of the greatest chamber music pieces in the classical repertoire today. After listening to this music, there is no doubt about the genius of Franz Schubert. It is worth noting that this piece was not published during the composer's lifetime. However, this essay has analyzed Mathias Claudius's poem "Der Tod und das Madchen," the song "The Death and The Maiden" D. 531, and the second movement of Franz Schubert's string quartet D. 810. The analysis primarily focused on harmony patterns and instrumental voice leading.

The text discusses the connection between the song and the variations in the second movement of the string quartet, along with a poem by Mathias Claudius. Schubert himself mentioned the quartet in A minor, D. 804, the quartet in D minor, D. 810, and the Octet D. 803 in relation to his intention to create a grand symphony. It is clear that the D minor Quartet is highly innovative and daring, comparable to a symphony in terms of its cyclical form and expressive content.

Bibliography:

1. Bandura-Skoda, E. & Branscombe P. (eds.) (1982) ‘Schubert Studies: Problems of style and chronology’. Cambridge: University Press. pp. 1-25, 143-173, 327-347. 2. Brown, C. (2010) ‘Performing 19th-century chamber music: the yawning chasm between contemporary practice and historical evidence’. Oxford: Oxford University Press. 3. Montgomery, D. (2003) ‘Franz Schubert’s Music in Performance. Compositional Ideals, Notational Intent, Historical Realities, Pedagogical Foundations’. New York: Pedagogical Press. pp. 65-173. 4. Somervell, A. (1927) ‘Schubert: Quartet in D minor and Octet’. London: Humphrey Milford: Oxford University Press. pp. 5-30. 5. Rink, J. (ed.) (2002) ‘Musical Performance’, A Guide to Understanding. Cambridge: Cambridge University Press.

Discography:

Schubert, F. String Quartets Nos. 13 and 14, "Death and the Maiden" (Alban Berg Quartet) EMI Classics, Compact disc, 0077774733359. Schubert, F. String Quartet Nos. 10 and 14, "Death and the Maiden" (Britten Quartet) EMI Classics, Compact disc, 0724357327350.

Music Scores:

1. Schubert, F., 1981, String Quartet in d minor: ‘Death and the Maiden’ D. 810, Eulenberg Edition, Leipzig. Music Score. 2. Schubert, F., 1989, String Quartet: ‘Death and the Maiden’ D. 810, Barrenreiter Edition, Kessel. Music Score.

Web-sites: 1. Claudius, Matthias. "Der Tod und das Mädchen / Death and the Maiden." Trans. Emily Ezust. The Lied and Art Song Texts Pages: Texts and Translations to Lieder (2007): <http://www.recmusic.org/lieder>.