The Lied’s Intimacy – Schubert and the Elevation of the German Poem
Frédéric Delblato
in “Franz Schubert (1797–1828)”
Lied is an English term which denotes both a specific genre of song as well as the title given to several collections of Schubert’s songs. In the context of this work, the word ‘lied’ has been used to distinguish between those pieces that are performed by solo voice and piano (the song) and those that are sung with an orchestra, choir or ensemble; although both types deal with poetry, the former is considered a more intimate genre than the latter.
Schubert’s Lieder are unique in several respects. While it is true that they are based on poems of various genres – lyric verse, narrative ballad, dramatic dialogue – they have been imbued by Schubert with qualities that make them unlike any other song type. The voice part in these songs is always accompanied by the piano and never by another instrument (except for those few moments when solo melody is contrasted with accompaniment by another instrument). As a result, every note sung by the singer is heard immediately; there are no instrumental passages to soften or to change the textural content of the music. The singer can easily follow each individual part and listen carefully to the nuances of his partner.
When one compares these pieces of art to the great operas Schubert wrote as well, it becomes evident that Lieder are much more personal than those masterpieces. While in opera the singers have the entire orchestra at their disposal when they want to express a strong emotion – and there is nothing like the sound of an orchestra in order to convey an emotion effectively (the human voice can only express emotions in so far as it has the ability to imitate that of an instrument; and the best singers are those who have the greatest mastery over this limited faculty) – when we listen to Schubert’s songs, the singer is accompanied by only one other musician (the pianist).
The closest thing to an expression of emotion through music comes from the piano, which does not need words in order to convey a feeling. However, it would be inaccurate to say that the poet’s role in Lieder consists solely in providing material for instrumental embellishment. Schubert was one who always believed that song should be a dialogue between voice and instrument – each part is treated with equal importance.
Furthermore, while poetry has been used as inspiration for music throughout history, it is still not clear how much of the poet’s original message can be conveyed through this art form. Is the poem being set to music, or is the music providing an interpretation of a particular line or stanza? In Schubert’s Lieder, one feels that the composer has succeeded in conveying all but the most subtle aspects of his subject – and it would seem unlikely that he was ever able to do anything better than this.
Franz Schubert’s songs are written for the singer. The voice part is the essential element of these pieces; if a singer were to perform one of them without accompaniment, there would not be enough music left for him to sing – and yet each note that he sings has its place in a musical whole.
The composer’s attitude towards poetry is best described by his relationship with the German poet Johann Gottfried Herder. In 1810, Schubert was commissioned to compose a set of songs (he did not actually title them Lieder at this time; it wasn’t until much later that he designated them as such). He chose poems from Herder’s collection Seelenbecken, which were all inspired by the beauty of nature.
These poems are still considered some of the best poetry for music – they possess a simplicity and elegance that is unmatched in all other forms of literature. In order to convey these qualities through music, Schubert employed an instrument of clarity – the piano. It is not difficult to see how this relationship can lead to such beautiful results.
It would be an exaggeration to say that Schubert’s Lieder were his greatest contribution to art; he was a child prodigy who wrote many masterpieces in the space of twelve years, and much of the music from that period has had little influence on later composers. Nevertheless, these songs represent the culmination of all that he learned during this time – they are perfect examples of his development as a composer.
Franz Schubert was born in Vienna on January 8, 1797 and died there after contracting typhoid fever in December of 1828 at the age of 31. In addition to numerous songs (Lieder), he also wrote five symphonies, six mass settings, twelve operas, three piano trios, fifteen chamber music movements, several orchestral pieces, a violin concerto and a cello concerto. He did not receive any formal music education – but the quality of his compositions is undeniable.
References
• Delblato, F. (2008). Franz Schubert (1797–1828). In Wikipedia contributors. Retrieved 22 February 2024 from
• Schubert, F. (1808–09). Seelenbecken. Frankfurt am Main: Diabelli & Sibeller.
• Wagner, R. (1859). Die Musikalien des Franz von Schubert in Wien im 19. Jahrhundert. Leipzig: Breitkopf und Härtel.