Locke Meyer

Professor Schmidt
MS 402A
14 March 2024
Der Müller und der Bach Analysis

Franz Schubert, an Austrian composer of the 19th century, left an indelible mark on the music

of the Romantic era. Despite his short lifespan, Schubert's prolific output spanned symphonies,

operas, chamber music, and notably, lieder. Among his most important works is his first song cycle,

"Die schöne Müllerin," which was composed in 1823. This analysis will explore the musical features of

its second-to-last song, "Der Müller und der Bach," examining its harmony, melody, and text setting.

One of the most significant aspects of Franz Schubert's musical legacy is his establishment of

the song cycle as an important genre in Romantic music. His first song cycle, Die schöne Müllerin,

consists of twenty songs. In this song cycle, Schubert set poetry written by Wilhelm Müller featuring

themes of nature, love, and human suffering, reflecting the composer's engagement with the Romantic

spirit. Die schöne Müllerin narrates the journey of a young miller who experiences unrequited love for

a miller's daughter, leading to his tragic demise. "Der Müller und der Bach" stands as a pivotal moment

in the cycle, portraying the miller's emotional turmoil and eventual surrender to fate.

The overall form of "Der Müller und der Bach" resembles the ternary A - B - A structure

common to lieder, but minor differences between the A and A’ sections and the addition of a small

coda mean that the song is actually through-composed.

The harmonic progression in "Der Müller und der Bach" mirrors the emotional trajectory of

the narrative. Beginning in G minor, the tonality shifts between G minor and G major, eventually
settling in G major – this progression may symbolize the miller’s shift from anguish to acceptance of

his fate. Initially, Schubert employs simple tonic-dominant harmonies, but progressively incorporates

complex chords like Neapolitan and varied pre-dominants to heighten tension and interest. The

transition from G minor to its parallel major is facilitated by applied chords – V7 of IV – ambiguous,

identical to V7 of iv chords, so the listener doesn’t realize that a modulation has occurred until a bar

after it’s happened. This harmonic ambiguity relates to the song's thematic ambiguity and the inner

conflict of the miller.

Schubert's melodic language in this song is characterized by its simplicity, tunefulness, and

emotive depth. The vocal line, featuring more florid figures at strong cadences, captures the miller's

emotional turmoil. Also noteworthy is the use of a major 6th leap on the word "love," conveying the

intensity of the miller's feelings.

The text setting in "Der Müller und der Bach" is intricately linked to the narrative's imagery

and emotional content. Mode shifts correspond to changes in perspective, such as from the miller to

the brook and back, enhancing the dramatic arc. Schubert's use of sighing gestures with Neapolitan

chords portrays the miller's despair – for instance, in moments depicting wilting lilies and tears. The

active accompaniment patterns mirror the flowing water, suggesting the force of fate and the miller's

acceptance thereof.

In conclusion, Franz Schubert's "Der Müller und der Bach" from the song cycle "Die schöne

Müllerin" exemplifies his mastery of the form of the lied. Through nuanced harmony, expressive

melody, and sensitive text setting, Schubert crafts a deeply evocative narrative of love and loss.