Schubert's Lieder

Among the many lieder composed in the 19th century, Schubert’s “Death and the Maiden” was composed in February 1817 identifying two characters; Death and the Maiden, exemplifying a different concept on the musical theme of seductive death. Set to text of lyricist Matthias Claudius who did not merely profess simplicity like the other poets, Schubert introduces a different perspective to the use of music in the 19th century.
Death and the Maiden can be clearly split into three sections with distinct feelings. Firstly, a slow funereal introduction with the use of dense chords played in the bass register to illicit a mood of sorrow in the key of D minor played by the piano features dactylic rhythm (long note played followed by two short notes – minim and two crotchets in song), which is often associated to funerals or a person’s impending death. D minor which “sounds melancholy, gently sorrowing” (Steblin, 2002) was Schubert’s key-symbol of death. Though there are no words by Death in the introduction, it can be seen as a shadow of death appearing into the picture. Next, the fearful Maiden sings in a fast paced agitated tone, trying to fight, resist and plead against death to “pass her by”. The melodic line seems to go up the D minor scale from A to E-flat, along with the quickened piano accompaniment which builds up the frightened atmosphere as well. This increase in pace allows us to sense the panic that the Maiden was feeling as Death approaches her. Towards the end of this section, the mood changes slightly with the use of dactylic rhythm which will be discussed in the essay. Lastly, Death comes in a soothing and calm tone reassuring the Maiden that he is a “friend”, as if persuading and convincing the maiden that death is the best solution to her life. (Branscombe, 1982) The song ends in a recapitulation of the introduction but in the parallel D major key.
This gives a different perspective and contrasted to death which people of that age thought it would be.

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