Composed by Franz Schubert in 1817, Der Tod und das madchen is a lieder for piano and voice. Incorporating a range of musical devices Schubert’s composition tells the story of a distressed maiden pleading for the antagonist death, to pass her by. Her pleas are unheard, death is relentless in his response, however, the piece ends and we can only assume the conclusion. This analysis will look at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting. Less significant reference to the six concepts of music will also be made.
Schubert uses tonality from the outset to establish the overall mood of the piece as well as giving the audience direction. His introduction begins in D minor, setting a dark mood. As the maiden pleas to death, the key remains in D minor, however, the key modulates to f major when death speaks, the relative major to D minor. A less sorrowful mood is heard as death responds. A final modulation to D major resolves the piece. The structure of Der Tod und das Madchen is quite simple, in strophic form the piece has two verses from which the maiden and death have their say. To finish the piece Schubert employs a perfect cadence moving from an A major chord which resolves to a D major chord. (Seen Below)
Schubert uses tonality from the outset to establish the overall mood of the piece as well as giving the audience direction. His introduction begins in D minor, setting a dark mood. As the maiden pleas to death, the key remains in D minor, however, the key modulates to f major when death speaks, the relative major to D minor. A less sorrowful mood is heard as death responds. A final modulation to D major resolves the piece. The structure of Der Tod und das Madchen is quite simple, in strophic form the piece has two verses from which the maiden and death have their say. To finish the piece Schubert employs a perfect cadence moving from an A major chord which resolves to a D major chord. (Seen Below)
Melodic shape and contour contributes to Der Tod und das Madchen, helping to convey the story. From the first melody the contour is varied, a mix of steps and leaps are used conveying the worry and agitation felt by the maiden as she pleads. From bars 8-13, the melody ascends as she reaches the climax of her plea.
Correspondingly, bars 9-21 descend, as if the maiden has lost hope as her pleas die away. However, as the character of death is introduced the contour changes to being much more stagnant and firm. Only steps are used and notes are repeated, for example from bar 22-26, D is the only note. Similar to the earlier contour the melody ascends and descends, the only difference being on a much smaller scale. Overall, the melodic contour of this piece changes as each new character speaks illustrating through word painting, the mood and feelings of each character. The dynamics throughout are varied, creating interest. From the outset the dynamic is pianissimo, however, this changes in bar 12 with the use of a crescendo. Expressive techniques such as diminuendo’s are also used.
Rhythm is key in Der Tod und das Madchen, providing a good foundation from which the rest of the song is composed. Schubert employs a simple rhythmic idea in the piano, which is used in both bass and treble clefs, a minim followed by two crotchets. This introduction transitions into bars 8-21 where Schubert employs a combination of dotted minims, crotchets, quavers, and semiquavers to create a contrasting rhythm when compared to the introduction. Schubert creates tension, through this change, which is enhanced through his ability to convey distress and agitation through this varied rhythm. Likewise, the piano responds with a combination of crotchets and triplets heightening the agitation. Again, the rhythm changes in bars 22-37 as Schubert introduces Death. In regards to the piano the rhythmic idea from the introduction returns again, reinforcing in the audience’s mind the harrowing mood. Melodically, the rhythm matches that of the piano, with a little variation in the form of quavers and dotted minims. Ultimately the rhythms in these bars, 22-37, remind the audience of the fate of the maiden. To conclude the piano carries the piece to its finish with the same rhythmic idea. In regards to other aspects of duration, the beat is definitive; the metre is cut common time and the piece is an altogether slow tempo as minim equals 54.
The relationship between piano and voice is an essential element to Der Tod und das Madchen. The piano drives the vocal line forward; reinforcing the agitated feel through it’s varied pitch and triplet rhythm. Again, the piano throughout this piece really reinforces the overall mood. The vocal and piano rhythm is identical in regards to pitch, whilst the melody remains on a constant D, the piano also remains consistent.
Rhythm is key in Der Tod und das Madchen, providing a good foundation from which the rest of the song is composed. Schubert employs a simple rhythmic idea in the piano, which is used in both bass and treble clefs, a minim followed by two crotchets. This introduction transitions into bars 8-21 where Schubert employs a combination of dotted minims, crotchets, quavers, and semiquavers to create a contrasting rhythm when compared to the introduction. Schubert creates tension, through this change, which is enhanced through his ability to convey distress and agitation through this varied rhythm. Likewise, the piano responds with a combination of crotchets and triplets heightening the agitation. Again, the rhythm changes in bars 22-37 as Schubert introduces Death. In regards to the piano the rhythmic idea from the introduction returns again, reinforcing in the audience’s mind the harrowing mood. Melodically, the rhythm matches that of the piano, with a little variation in the form of quavers and dotted minims. Ultimately the rhythms in these bars, 22-37, remind the audience of the fate of the maiden. To conclude the piano carries the piece to its finish with the same rhythmic idea. In regards to other aspects of duration, the beat is definitive; the metre is cut common time and the piece is an altogether slow tempo as minim equals 54.
The relationship between piano and voice is an essential element to Der Tod und das Madchen. The piano drives the vocal line forward; reinforcing the agitated feel through it’s varied pitch and triplet rhythm. Again, the piano throughout this piece really reinforces the overall mood. The vocal and piano rhythm is identical in regards to pitch, whilst the melody remains on a constant D, the piano also remains consistent.
The strength of this relationship is evident in the opening bars. The piano introduces the music and Schubert sets the scene of the music through the piano. The piano’s role is key in this sense, and yet it also performs a second invaluable tool, introducing the vocal melody. Schubert achieves this by using a minim to end the introductory bars and an openness of sound is heard before the melody begins to take the audience on the journey. The texture throughout the piece is homophonic, with one melody and piano accompaniment.
In Der Tod und das Madchen, Schubert aims to convince his audience of the setting, he wants to accurately portray the story heard in the lyrics. The most prominent tool used to achieve this is a use of word painting. As I’ve mentioned earlier, Schubert uses melodic contour and word painting to convey the story. In bars 9-21 descend, the contour descends as if the maiden has lost hope and her pleas are dying away.
Correspondingly, as the character of death is introduced the contour changes to being much more stagnant and firm, conveying the confidence and arrogance of the character. Schubert produces music like this, and through it he tells the story and take the listeners on a journey.
I have looked at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting. This crucial elements have shaped this peace and by incorporating other aspects of the six concepts of music, Schubert has effectively and accurately conveyed the story of Der Tod und das Madchen.
I have looked at Schubert’s work with reference to tonality, melodic shape and contour, rhythm, the relationship between the piano and voice, and the use of word painting. This crucial elements have shaped this peace and by incorporating other aspects of the six concepts of music, Schubert has effectively and accurately conveyed the story of Der Tod und das Madchen.