Lam Choi Yat - MUSI 3041 Assignment 5 Die Nebensonnen from Schubert's Winterreise

 Lam Choi Yat

MUSI 3041

Assignment 5

WAM and Nature: Analysing a Musical Work

Die Nebensonnen from Schubert’s Winterreise  

Text and Translation 

 

Introduction

Die Nebensonnen is the 23rd, the penultimate song from Franz Schubert’s (1797-1828) song cycle Winterreise. Winterreise and Die Schöne Müllerin are both songs cycles on Wilhelm Müller’s poems. Winterreise was finished in 1827, a year before the early death of the composer. The cycle told a story of a hard broken wanderer, facing the harsh winter alone and longing for the warm arms of death after being betrayed by his beloved. The protagonist encountered many weird natural phenomenons and hallucinations on his long and disorienting journey. A crow circling him, a dream of springtime and will o’ the wisp are a few examples. 

The song depicts a seen in which the protagonist saw three suns. Despite the text may suggest that the protagonist is experiencing an illusion, as he was gazing into three suns in the sky, the two extra suns are “not imaginary, but nor are they real” (Howe, 2021, p. 122). According to Howe, the protagonist is experiencing parhelia (sun dog), an atmospheric illusion formed by a filter layer of tiny ice crystals in a thin cirrus cloud refracting the lights. Howe also mentioned that special atmospheric and wind conditions are required for the result to be close to the “three suns” in Müller’s poem. 

In this article, I am separating the arguments on the lied’s relationship with nature into two main points, nature as symbol and conflict between nature and the protagonist. For each argument, I would start with the poet, Müller’s intended meaning, followed by Schubert’s interpretation on the text supported by music examples. 

Nature as symbol 

Throughout the song cycle, it is not uncommon that natural sceneries such as a crow, a lime tree and  a scene of springtime in the dream are used as symbols, symbolising concepts including death, memories and love. Die Nebensonnen is no exception, but there is an interesting situation with regards to interpreting what the three suns in the protagonist’s mind symbolise. In the poem, apart from the three suns observed by the protagonist in the real world, he equates them with three in his mind which he claimed he had all three in the recent past, but the best two has fallen. There is a debate on the meaning of the two fallen sun, whether they represent hope and love or the lover’s pair of eyes. Both Youens (1991) and Marshall (1973) agreed the former being the meaning the poet intended. Nonetheless, Marshall propose an interesting theory that Schubert chose the former interpretation when composing the music, suggesting his mental state. It is a well known fact that his health was failing him in the later years of the life so this could be the composer projecting himself onto the wanderer. However, Marshall did not provide evidence from the score that validate the theory.

I would argue the answer lies under the deceptive cadence in A minor in m.23 that ends the phrase on an F Major triad. Marshall (1973, p. 629)left a hint that “Schubert’s use of the deceptive cadence at this point seems not without meaning.” Youens’ (1991) analysis pointed out that the same F Major triad appears in m.21 heavily emphasised as it aligns with the peak of the tenor melody, F4 in this very monotonous song mostly confined between A3 and D4. The passage is also a bright spot in the song as it briefly tonicize C major shortly before heading back to A minor, the parallel minor of the tonic key A major. As the text being sung is “Ach, neulich hatt’ ich auch wohl drei” (Yes, not long ago I too have three suns), Youens interpreted the cadence as “the longing to hold on to past happiness” (p. 294) A strong argument for Marshall would be the word that Schubert place the climax of the song at “auch”, which means “too” in English. This could be viewed as the composer deliberately projecting himself onto the character, saying he has lost love and hope to the world. Then together with the protagonist, praying for the downfall of the final sun in the ending two phrases, reflecting their strong desire to die. I am aware that there is an obvious limit that I am analysing this particular song only rather than the whole cycle. The theory would be more convincing if similar patterns are observed repeatedly throughout the cycle.  

Man vs Nature

Another interesting angle in analysing the song would be the conflict between nature and the protagonist through the text and music. The main contrast in the poem with be the warm radiating sun symbolising life, contrasting against the tired, heartbroken wanderer who was eager to die. In the poem, the protagonist scolded at the sun, “ach, meine Sonnen seid ihr nicht! Schaut andern doch in’s angesicht!” (ah, you are not my suns! Look into other people’s faces!) as if the sun is deliberately mocking him. 

Schubert’s realised of this concept through the interaction of certain musical devices in an ingenious fashion. Marshall (1973), through quoting Bell, illustrate a conflicts between the bright A major tonality with the staggering sarabande rhythm. Marshall also mentioned the light, folk-like tenor melodic line against the thick, low-register chordal piano accompaniment that gives a gloomy mood. I agree with the first conflict as the elements effectively depicting the image of the limping wanderer supported by a walking stick and the warm, bright sun. Nonetheless, I would propose another interpretation on the low-register chordal accompaniment as I believe it also convey the warmth of the sun in winter. The monotonous melody paired with the hymn like style in accompaniment may also suggest a relation with death, referencing to a previous art song “Der Tod und as Mädchen” (Death and the Maiden, D. 531). Youens’ (1991) analysis on topics adds another dimension towards the conflict. The chapter pointed to the fact that dances rhythms act as the basis of multiple songs in the cycle, in this case sarabande and also she argued the dotted rhythm pattern on the first beat of the main theme is inspired by ländler. This created a conflict as dances supposed to represent social function and gathering, yet the protagonist was alone.  

Death and the Maiden

 

Conclusion

In the text of Winterreise, Nature is not only used to symbolise concepts and emotions, it is also personified in many occasions, although mostly through the imagination of the protagonist. In Müller’s mind, nature serves for lyrical purpose, as outward extension of the emotions of the protagonist. Schubert then add in his own projections and interpretations through subtle ways that may be conceived as straight forward and trivial at first. I am amazed by his use of elements can be interpreted in completely different, even paradoxical ways. The naive melody that both encapsulate the bright rays of the sun and the protagonist will to die, the accompaniment that depicts the warmth of the sun and the gloomy mood of the weary wanderer. 

References

Howe, B. (2021). Nature and Science in Winterreise. In L. Feurzeig & M. W. Hirsch (Eds.), The Cambridge Companion to Schubert’s ‘Winterreise’ (pp. 114–128). Cambridge University Press. https://doi.org/10.1017/9781108966146.008

Marshall, H. L. (1973). Symbolism in Schubert’s “Winterreise.” Studies in Romanticism, 12(3), 607–632. https://doi.org/10.2307/25599890

Youens, S. (1991). Die Nebensonnen. In Retracing a Winter’s Journey (pp. 289–294). Cornell University Press. http://www.jstor.org/stable/10.7591/j.ctt24hg6h.30