Matthew Schlicht

Schubert’s Ganymed (D. 544)

I. Text

“Ganymed” is a poem (published 1789) by Johann Wolfgang von Goethe, whose poetry

is a cornerstone for lied. This poem paired with “Prometheus”, which describes the opposite

feelings of Ganymede. Prometheus is bitter and defiant at God, whereas Ganymede is completely

entranced by God. The two poems present contrasting forms of what it means to be human.

The text describes a young man who has an intense love for spring, viewing spring as a

representation of God:

How, in the morning brightness,

You all around shine at me,
Springtime, Beloved!
With thousandfold love-bliss
The holy feeling
Of your eternal warmth
Presses itself upon my heart,
Unending beauty!

The text very clearly shows something greater than springtime as the focus. The mention

of “holy feeling” and “eternal warmth” are almost certainly referencing the divine. Later in the

poem, Ganymede is flying through the clouds, in an attempt to be united with the “all-loving

Father”. It permeates the nature of Ganymede: to be seduced by God (or more specifically,

Zeus), because it is impossible to separate this element from the poem.

The poem is noteworthy in that there is not a fixed meter or even rhyme scheme.

Similarities are present between lines, but it is not enough to determine a fixed meter. Lines
begin with a certain syllabic intent, but then Goethe changes the number of syllables in the line,

confusingly.

II. Music and relation to the text, role of the piano

While the poetic meter is inconsistent throughout the song, Schubert appears to be fairly

respectful of the syllabic structure of the poem. The form is through-composed. Some material

returns, but no material returns in a sectional fashion. The choice of form is understandable, as it

shows progression throughout the story via new material. As the story progresses, Ganymede’s

actions are understood through the piano as well as the voice and text.

Ganymede is supposed to be the most beautiful of all mortals, so the simple I – V7 – I

introduction exudes simplicity and beauty. In the prelude played by the piano (m. 1 – 8), the

melody is simple and rises gradually. Marked pianissimo, this triadic intro is beautifully warm.

This intro is referencing the warmth of spring and the longing for divine love. The small

suspension on dominant (m. 2) is answered with a rhythmically identical figure (m. 4, mi – fa –

fi – sol) that moves upward to meet the dominant chord, creating a sweet call and response.

Another statement of the small figure appears (m. 6) where it rises higher than before (on the

V/V) and is immediately answered in m. 7 with the motion: mi – re – do – sol. This passage is

interesting because the figure in m. 7 seems incomplete, as there is no rhythmically identical

figure to answer m. 6, which carries the rhythmic identity from m. 2 and m. 4.

Some characteristically Schubertian occurrences appear: Modulation to the parallel

minor, then to the relative major of the parallel minor (A-flat major – A-flat minor – C-flat major

in m. 1-31). A small foray into E-flat major (the dominant of A-flat) appears between these

sections, but it is best to see it as connective material to get to the real destination, which is the
parallel minor. The most defining modulation to A-flat minor, then C-flat major occurs during

the words: “Deiner ewigen Wärme, Heilig Gefühl, Unendliche Schöne!” It is as if the beauty

itself is inescapable and it is fate that Ganymede embraces it. On “Unendliche” (m. 28), a iv6

chord is marked with forte, making this chord incredibly insistent. Not long after that, on

“Schöne” (m. 30), the V7 harmony lasts the entire bar and many performances feature a

ritardando in that moment, stretching out the pull to C-flat major. Syncopation is used, creating a

euphoric and carefree dance. The dance-like nature of this section is indicative of Ganymede’s

mindset.

In m. 43, another brief foray in the dominant key takes place (G-flat major, V of C-flat

major), which is another temporary destination, delaying and prolonging movement to E major.

The tonic of G-flat is enharmonic with the F-sharp major chord in m. 47 (which is functioning as

V/V in E major). The words when the section finally lands on E major (a bright key!) are “Du

kühlst den brennenden, Durst meines Busens” and the triplet rhythm is clearly inspired by the C-

flat major section (m. 31), but the left hand rhythm in the piano is much no longer syncopated

and less dance-like. These two sections establish the triplet as a part of the seduction (or

carelessness) of Ganymede.

At m. 57, a trill appears after the words “Lieblicher Morgenwind”, representing the

morning wind in a very literal way. Similarly, at m. 61, the piano line represents the nightingale

in the right hand (sol-fa-mi-re-do, sol-fa-mi-re-di) as Ganymede sings “Ruft drein die

Nachtigall”.

In m. 76, after the modulation of F major, on the words “Hinauf! Hinauf strebt’s”, the

piano part begins to rise in harmony (I – V7/ii – ii – V7/iii – iii – V7/ iv – iv, etc), painting

Ganymede as he is soaring through the clouds. The piano accompaniment also aids this section,
with a bouncing 16th note accompaniment, portraying the flapping of wings as Ganymed

ascends. This is not the only time that climbing or flying is portrayed in this piece: at the end (m.

117) the ascending chords with the simple tonic harmony and subtle diminished chord are

painting Ganymede stepping up to the heavens, to approach the divine. Similarly, at m. 80 – 85,

Ganymede says: “Es schweben die Wolken, Abwärts, die Wolken, Neigen sich der sehnenden

Liebe”. This is also aided by the piano accompaniment, which portrays the clouds with

downward motion.

The piano plays an integral role in the construction of Ganymede as a character. The few

prior examples prove that Schubert did not merely see the piano as an accompaniment in the

strictest sense, but rather as a tool to support the text and truly display poems musically. While

Goethe did not appreciate Schubert’s meddling with the text or his emotional extremes, Schubert

is able to make poetry come to life (or at the very least, make it very picturesque) in music

through his use of the piano.

III. Analysis of recorded performance

In Elizabeth Schwarzkopf’s performance (Edwin Fischer, piano), her general approach is

full of character, yet somewhat reserved. She shapes phrases very beautifully, often using

dynamics to aid in the resolution of dissonances, making this performance very musically sound.

There are no extreme examples of portamenti, nor does she change the score in any radical way.

In the C-flat major section (m. 31), she uses a lot more breath, not just for the written dynamic,

but also aiding the text in the desire to embrace God in an excited fashion. Edwin Fischer also

drives certain aspects of the performance, adding to the conservative nature. In m. 69, when the

piano has un poco accelerando, he does not take it as far as he could, nor does he carry it through

the entire section. He begins to go slower at the decrescendo. Interestingly, Fischer does not play
every single note staccato, as Schubert notates. This is not a radical change, nor is it necessarily

stylistically objectionable, but it is noteworthy in that he deviates from the score.

Overall, Schwarzkopf’s quality of sound is rather mannered and reserved, but

occasionally making tasteful choices throughout, allowing the performance to accentuate the

text. Fischer captures the mood of every section accurately, even though he doesn’t follow the

score precisely as it is written. This is a classic performance in the way that it is reserved, yet

there are some noticeable choices that are not unexpected, but very appropriate and enjoyable to

listen to. This is a very musically and structurally sound performance.

In the performance of the recently passed Jessye Norman (Phillip Moll, piano), she

displays almost the opposite of Schwarzkopf, in that she is incredibly emotional in her

performance. There are several examples of slight portamento and tempo occasionally changes

to accommodate the line or breath. In the same C-flat major section (m. 31), Norman takes a

different approach. She approaches it with less breath, but uses dynamics to her advantage,

shaping the line. However, in the mirroring section (m. 51), she takes a much more extreme

approach, accentuating the consonants more than vowel sounds, using dynamics to her advantage

in an extreme way, truly making the words “Du kühlst den brennenden, Durst meines Busens”

come to the forefront. During the climactic phrase at m. 91, she takes time on the words

“Aufwärts an deinen Busen”. The fact that she takes time there is special because it truly

displays Ganymede pure excitement and uncontrollable love for the divine. Phillip Moll follows

Schubert’s directions precisely, but unlike Fischer, his quality of sound is much more

conventional, and he plays the piano like it is an accompaniment, rather than a complimenting

element. That is not to say that his accompaniment is bad, but rather, he plays it from a different

perspective than Fischer.

 In conclusion, a very different performance from Schwarzkopf, but one from a different

perspective. It is suitably emotional, passionate, and masterful. Schwarzkopf is mannered,

reserved, and indicative of a different approach to the text and singing entirely. Both

performances are wonderful in their own way.