METAPHORS AND NATURE IN FOUR NINETEENTH-CENTURY ART SONGS BY

FRANZ SCHUBERT AND ALEXANDER ALYABYEV

By

Qianwen Cen

M.M., California State University of Northridge, 2019

B.M., Shanghai Normal University, 2017

© 2023

Submitted to the graduate degree program in Music and the Graduate Faculty of the University

of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts.

Chair: Prof. Joyce Castle

Co-Chair: Dr. Ketty Wong

Dr. John Stephens

Dr. Genaro Mendez, Jr

Dr. ZJ Wang

Date Defended: 24 April 2023

 The dissertation committee for Qianwen Cen certifies that this is the

approved version of the following dissertation:

METAPHORS AND NATURE IN FOUR NINETEENTH-CENTURY ART SONGS

BY FRANZ SCHUBERT AND ALEXANDER ALYABYEV

Chair: Joyce Castle

Co-Chair: Ketty Wong

Date Approved: 24 April 2023

i
 Abstract

This document examines four art songs by Franz Schubert and Alexander Alyabyev, two

renowned composers of the Romantic era known for their contributions to the art song

tradition. The German lied and the Russian art song shares a common emphasis on the

integration of lyrics and music and has produced some of the most beloved and enduring

pieces of classical music. The selected four works are analyzed in terms of their historical

background, musical elements, and metaphorical meaning. By exploring these art songs,

musicians and scholars can gain a deeper appreciation of the rich cultural legacy of

Romanticism, the beauty of nature, and the emotions expressed within this musical

tradition.

ii
 Acknowledgements

I would like to express my sincere thanks to my mentor, Professor Castle, for her

exceptional contributions, insightful feedback, and unwavering encouragement. Her

expertise has been instrumental in shaping the direction and scope of my study. I am

deeply grateful for her mentorship and grateful for the time she has taken to work with

me. I am also thankful to Dr. Wong for her invaluable assistance and support during the

process of revising my projects, as well as her commitment to ensuring that my

dissertation meets the highest standards of academic excellence. Additionally, I would

like to thank Dr. Stephens and Dr. Mendez for their patience, dedication, invaluable

support, and guidance throughout the course of my studies.

I would also like to express my deep appreciation to my parents, my husband

Mike, and my friends for their support and encouragement throughout my academic

journey. Their love and emotional support have been a constant source of motivation for

me, and I am incredibly grateful for their role in shaping the person I am today.

iii
 Table of Contents
Abstract.............................................................................................................................. ii
Acknowledgements .......................................................................................................... iii
List of Figures.................................................................................................................... v
List of Tables .................................................................................................................... vi
CHAPTER 1: INTRODUCTION.................................................................................... 1
CHAPTER 2: THREE SELECTIONS FROM FRANZ SCHUBERT ........................ 4

2.1 “DER HIRT AUF DEM FELSEN”(Shepherd on the Rock) .............................4

2.1.1 Textual Analysis ............................................................................................ 5
2.1.2 Musical Analysis ........................................................................................... 7
Section A: Andantino.............................................................................................. 8
Section B: Andantino ............................................................................................ 11
Section C: Allegretto............................................................................................. 13

2.2 “GRETCHEN AM SPINNRADE”(Gretchen at the Spinning Wheel) ..........15

2.2.1 Textual Analysis .......................................................................................... 15
2.2.2 Musical Analysis ......................................................................................... 17

2.3 “AUF DEM WASSER ZU SINGEN”(To Sing on the Water) ........................20

2.3.1 Textual Analysis .......................................................................................... 20
2.3.2 Musical Analysis ......................................................................................... 22
CHAPTER 3: ONE SELECTION FROM ALEXANDER ALYABYEV.................. 26

3.1 “SOLOVEY” (The Nightingale) ............................................................................26

3.1 Textual Analysis .............................................................................................. 27
3.2 Musical Analysis ............................................................................................. 28
Conclusion ....................................................................................................................... 34
Bibliography .................................................................................................................... 35

iv
 List of Figures

Figure 1. Schubert, “Der Hirt auf dem Felsen,” mm.1-11, the beginning part.
Figure 2. Schubert, “Der Hirt auf dem Felsen,” mm. 38-51, the clarinet imitates the voice
part.
Figure 3. Schubert, “Der Hirt auf dem Felsen,” mm.161-174, the clarinet imitates sigh.
and connects each phrase.
Figure 4. Schubert, “Der Hirt auf dem Felsen,” mm. 248-261, the clarinet imitates and.
competes with the main melody.
Figure 5. Schubert, “Gretchen am Spinnrade,” the opening part, translation: My peace is.
gone.
Figure 6. Schubert, “Gretchen am Spinnrade,” translation: His proud bearing, key.
changed.
Figure 7. Schubert, “Gretchen am Spinnrade,” translation: And his Kiss. The key from F
major modulates to G major.
Figure 8. Schubert, “Auf dem Wasser zu singen,” mm.1-2, opening part.
Figure 9. Schubert, “Auf dem Wasser zu singen,” mm. 11-12.
Figure 10. Schubert, “ Auf dem Wasser zu singen,” mm. 24-27, changed rhythm.
Figure 11. Alyabyev, “Solovey,”(The Nightingale) mm. 7-18, translation: My nightingale,
where are you flying?
Figure 12. Alyabyev, “Solovey,”(The Nightingale) mm. 19-30, translation: my.
nightingale, Vociferous nightingale! Nightingale, Nightingale.
Figure 13. Alyabyev, “Solovey,” (The Nightingale) mm. 42-48, translation: My.
nightingale. Vociferous nightingale! The staccato notes imitate the
nightingale’s cry.
Figure 14. Alyabyev, “Solovey,” (The Nightingale) mm. 55-58, using the fast.
appoggiatura notes to imitate bird sound.

v
 List of Tables

Table 1. Schubert, “Der Hirt auf dem Felsen,” musical form.

Table 2. Schubert, “Auf dem Wasser zu singen,” musical form
Table 3. Alyabyev, “Solovey,” (The Nightingale) musical form.

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 CHAPTER 1: INTRODUCTION

Both Franz Schubert (1797-1828) and Alexander Alyabyev (1787-1851) wrote

numerous art songs during their lifetime and their works can arguably be considered

representative of the genre. Schubert is considered the “King of German Lied,” while

Alyabyev is considered the “Father of Art Song in Russia.” The German lied is a form of

art song that emerged in the late 18th century, characterized by a fusion of poetry and

music, with a particular emphasis on the text's meaning and expression of the text. In

Russia, the equivalent art song tradition developed in the 19th century and similarly

features a strong emphasis on the emotional expression. These two art forms share a

common emphasis on the integration of text and music, and both have produced some of

the most beloved and enduring pieces of classical music.

The four art songs I have chosen to analyze in this document are some of their

most famous works. The first lied, Schubert’s “Der Hirt auf dem Felsen” (The Shepherd

on the Rock), is the only one to incorporate both clarinet and piano as accompaniment. It

seamlessly integrates the piano, clarinet, and voice parts, using clarinet and voice to show

the lonely echo of the shepherd in the valley. The second lied, “Auf dem Wasser zu

singen” (To Sing on the Water), also by Schubert, is based on the poem of the same name

by German poet Friedrich Leopold zu Stolberg-Stolberg; here the piano is used to

reproduce the shimmering landscape of the lake, providing further reflections on the

passing of time. The third lied is “Gretchen am Spinnrade” (Gretchen at the Spinning

1
Wheel), possibly the best-known of Schubert’s lieder. Opening with the heroine Gretchen

and her spinning wheel, the piano in the right hand mimics the movement of the fast-

spinning wheel, while the left hand imitates the foot treadle, expressing Gretchen’s

anxiety for her love.

The fourth art song analyzed in this document is “Solovey” (The Nightingale),

written by Russian composer Alexander Alyabyev. This is his only work that has become

a part of the standard performance repertoire. The melody has Russian folk elements that

immediately remind audiences of Russian music. This piece, originally composed for

coloratura soprano, uses the voice to imitate the cry of a nightingale with staccato notes.

Research on this song shows that it was written when Alyabyev was sentenced to prison.

The seemingly peaceful music is a metaphor for the composer’s indignation and longing

for love. Inspired by this beautiful art song, Mikhail Glinka wrote a transcription named

“The Lark.” Franz Liszt also wrote a piano variation of this piece named “Le Rossignol.”

To better understand and perform these art songs, musicians and scholars need to

be aware of the historical background surrounding the composers’ lives, as well as how

they use musical elements to express metaphorical meaning and emotions. The Romantic

era also saw a greater emphasis on individual expression and creativity, with composers

seeking to break free from traditional forms and structures and explore new paths of

musical expression. The composers draw on their own experiences and emotions to

create works, emphasizing on individual and emotional expression. By examining the

2
historical context and musical techniques of these art songs, musicians and scholars can

gain a deeper appreciation of the rich cultural legacy of Romanticism and the beauty and

complexity of this musical tradition.

3
 CHAPTER 2: THREE SELECTIONS FROM FRANZ SCHUBERT

Franz Schubert (1797-1828) was an Austrian composer known for his

contribution to the Romantic period. He was a prolific composer who wrote over six

hundred works in his short life (he lived only 31 years old), including chamber music,

symphonies, piano pieces, and operas.1 Schubert is famous for his art song, also known as

lieder. His compositions gained popularity after his death and have since become an

essential part of the concert music repertoire. Schubert’s music is known for its beautiful

melodies, delicate harmonies, and emotive storytelling. His art songs often feature simple

but powerful music motifs that repeat throughout the piece. Schubert’s use of metaphors

in his music is also notable, with vivid imagery and symbolism that add layers of

meaning to the lyrics.

2.1 “DER HIRT AUF DEM FELSEN” (The Shepherd on the Rock)

“Der Hirt auf dem Felsen,” Op.129, D.965 was specifically written by Schubert

for soprano Pauline Anna Milder-Hauptmann (1785-1838), one of the great German

singers of the day. Milder had previously sung the title role for Beethoven’s Leonore in

1805 and Fidelio in 1814. She had requested Schubert to write a showpiece that would

present her vocal agility and express a wide range of emotions.2 In response, Schubert

1
Einstein, Alfred. Schubert: A musical portrait. London: Casell, 1951.
2
Graham Johnson, “Der Hirt Auf Dem Felsen, D965 (Schubert) notes” from Hyperion Records and Lossless
Downloads. Accessed November 26, 2022. https://www.hyperion-records.co.uk/dw.asp?dc=W2352_GBLLH1542915.

4
wrote this lied to her in 1828. However, he died in the same year and did not live to hear

it when Milder performed it publicly a few years later.3 This is also the only work of

Schubert's German lied composed for clarinet, piano and voice. Schubert put together a

three-part scene on verses by Wilhelm Müller4 and Helmina von Chézy,5 or possibly Karl

August Varnhagen von Ense.6 In the first part, after a long introduction by the piano and

clarinet, a lonely shepherd listens to echoes of his singing from the valley far below him.7

In the second part, the story takes a dark turn as the shepherd is consumed by his misery,

expressing his grief and loneliness. However, his spirit is revived in the final section as

he reflects on the arrival of spring. Therefore, the last part is bright and fast, which also

serves as an exhibition of the soprano’s vocal agility. The entire piece is like an aria over

twelve minutes long, presenting the singer’s extraordinary singing skills and the integrity

of the work.

2.1.1 Textual Analysis

The lyrics of this lied are divided into five sections according to the original structure

of the poem, but Schubert divides it into three parts according to the content and emotion

of the poem. The English translation of the lyrics was done by Richard Stokes.

3
John Henken, “The Shepherd on the Rock (Franz Schubert).” Accessed November 26, 2022.
https://www.laphil.com/musicdb/pieces/4911/the-shepherd-on-the-rock.
4
Wilhelm Müller (1794-1827) was a German lyric poet, best known as the author of Die schöne Müllerin (1823) and
Winterreise (1828), also two of Schubert’s famous song cycle.
5
Helmina von Chézy (1783-1856) was a German journalist, poet and playwright.
6
Karl August Varnhagen von Ense (1785-1858) was a German biographer, diplomat and soldier.
7
Imitated by clarinet.

5
 A. First part: “Der Berghirt” (the mountain Shepherd) by Wilhelm Müller

The first part not only reflects shepherd’s loneliness, but it also serves as a

contrast to the subsequent emotional change. It depicts a picture of a shepherd standing

on the top of a mountain, looking into the distance. This part sets the foundation for the

song and describes a peaceful scene. The word “echo” is mentioned repeatedly in the

lyrics, and it is an important element of the song.

Wenn auf dem höchsten Fels ich steh', When I stand on the highest rock,
In's tiefe Tal hernieder seh', Look down into the deep valley
Und singe, And sing,

Fern aus dem tiefen dunkeln Tal From far away in the deep dark valley
Schwingt sich empor der Widerhall The echo from the ravines
Der Klüfte. Rises up.

Je weiter meine Stimme dringt, The further my voice carries,

Je heller sie mir wieder klingt The clearer it echoes back to me
Von unten. From below.

Mein Liebchen wohnt so weit von mir, My sweetheart lives so far from me,
Drum sehn' ich mich so heiß nach ihr Therefore I long so to be with her
Hinüber Over there.

B. Second Part: “Nächtlicher Schall” (nocturnal sound) by Varnhagen or Helmina

At this point, the echo becomes a strong emotional force and is no longer just an

echo. The second part reflects the shepherd’s deep loneliness and grief, which is a darker

emotion compared to the first part. The shepherd is missing his beloved, but he feels

helpless since he does not know if she also misses him in the same way. The echoes that

6
were heard in the first part become stronger and more continuous, as if trying to carry the

shepherd's thoughts to a distant place.

In tiefem Gram verzehr ich mich, Deep grief consumes me,

Mir ist die Freude hin, My joy has fled,
Auf Erden mir die Hoffnung wich, All earthly hope has vanished,
Ich hier so einsam bin. I am so lonely here.

So sehnend klang im Wald das Lied, The song rang out so longingly through
the wood,
So sehnend klang es durch die Nacht, Rang out so longingly through the
night,
Die Herzen es zum Himmel zieht, That is draws hearts to heaven
Mit wunderbarer Macht. with wondrous power.

C. Third part: “Liebesgedanken” (love thoughts) by Wilhelm Müller

The last part of the song presents a contrasting emotion compared to the previous

part. Here the echo transforms into a triumphant sound, echoing the shepherd’s joyful

feelings. The ending part is more upbeat and optimistic, as the shepherd looks forward to

the coming of spring and the possibility of being reunited with his lover.

Der Frühling will kommen, Spring is coming,

Der Frühling, meine Freud', Spring, my joy,
Nun mach' ich mich fertig I shall now make
Zum Wandern bereit. ready to journey.

2.1.2 Musical Analysis

The song follows a compound ternary form (see Table 1), with each section

expressing different content and emotions through the music and text. Schubert

7
masterfully uses his compositional techniques to create a coherent and dramatic structure.

The A section features a 38-bar prelude and a simple ternary form (a+b+a1), while the B

section consists of three parts (c, d, e), mostly in the key of G minor. The final section

returns to a single ternary form [f+b1+(f+b2)] with a postlude. The rhythm changes from

3/4 to 2/4 in this section, and the tempo increases from andantino to allegretto. This

acceleration in tempo creates a musical effect that reflects the shepherd's shifting mood

from sadness to happiness.

Table 1. Schubert, “Der Hirt auf dem Felsen,” musical form.

Section A: Andantino

The clarinet’s first entrance is marked piano, and the melody mimics the sound of

a shepherd’s horn, with a simple and lyrical tune that is later developed in the second

8
section. The piano provides accompaniment with arpeggios and chords, which create a

sense of openness and vastness, depicting the panoramic view of the mountains. This

prelude sets the stage for the first section of the song and creates a sense of anticipation

for the listener. The clarinet in B flat major depicts the rugged mountains from near and

far perspective, and the piano uses up and down arpeggios to imitate the mountains as

well.8(see Figure 1)

Figure 1. Schubert, “Der Hirt Auf dem Felsen,” mm.1-11, the beginning part.

8
Graham Johnson, the Hyperion Schubert Edition, Vol. 9, Hyperion UK, 2007.

9
 The melody of the shepherd's singing comes from the music of the clarinet in the

prelude, which is mainly captured by the broken chords that jump in (see Figure 2). At

the same time, the clarinet becomes the echo of the shepherd singing in the valley. The

clarinet repeats the singing part to simulate the echo in the mountain. It not only achieves

the goal of describing the scene with music, but also reflects the loneliness of the

shepherd in the mountains.

Although the accompaniment here is relatively simple, the heavy sound in the piano

plays a strong supporting role for the above two melodies. The piano emphasizes the

loneliness and desolation picture that the composer hopes to describe. The b part turns to

G flat major, to indicate that the color has changed, and which serves as a transition to the

next section. At bar 77, the music is transposed to B minor for two bars and then

modulates to D major quickly.9 Finally, when the voice is over, the clarinet gradually

returns to G minor from B flat major. This movement depicts the sorrow and regretful

emotions of the shepherd and plays a connecting role for the next B section.

9
G flat major I equals b minor V.

10
Figure 2. Schubert, “Der Hirt Auf dem Felsen,” mm. 38-51, the clarinet imitates the voice part.

Section B: Andantino

In the B section, the music stays in the G minor, and the color of this tonality is

very suitable for Schubert to express the pain of the hero in love. This is similar to the

Pamina’s aria “Ach ich fuhl's” in the opera Die Zauberflöte (The Magic Flute), where

Mozart also uses G minor to express the pain of losing love.10 The piano accompaniment

10
Graham Johnson, 2007.

11
changes the triplet block chords at the beginning of the song into the broken chords,

which reminds the audience of his famous Ständchen11 in Schwanengesang.12 The piano

simulates the plucked string instrument, and the shepherd's elegy is solitary in the quiet

atmosphere. At the same time, the melody of the clarinet turns into the sad sigh of the

shepherd, and again, the clarinet is used to simulate the voice, giving the audience a

melancholic picture in their minds. The clarinet only briefly connects the next phrase

after the end of the last phrase, playing the role of connecting emotions and melody (see

Figure 3).

Figure 3. Schubert, “Der Hirt Auf dem Felsen,” mm.161-174, the clarinet imitates sigh and connects
each phrase.

11
Serenade, no. 4 of Schwanengesang, D 957.
12
Swan Song, D 957.

12
 After the long musical phrase, the e section (bar 182-218) turns into a brighter

color, indicating that the shepherd is gradually recovering from the pain of separation

from his lover. Schubert uses a series of melodic and tonal changes from G major to C

major and then to A minor, or from A minor to A major, G major to G minor, to depict

the internal emotional changes of the shepherds. The clarinet also returns to the B flat

major that represents spring at the beginning, indicating that the last section will depict

the shepherd's hopeful steps towards spring.

Section C: Allegretto

The last paragraph is a single ternary form, with its own prelude and postlude, like an

independent song, and the music style is full of hope and happiness. The composer uses

the clarinet beyond its echoing role to imitate the voice. The clarinet imitates and

competes with the main melody to express the various happy thoughts in the shepherd's

mind and to create a peaceful and vibrant scene. Although the music material is derived

from the B section, it later modulates to D major. This modulation creates contrast and

novelty within the piece, as it deviates from the original key and introduces new

harmonic and melodic possibilities. It also indicates a sense of return and reappearance,

which unifies the whole song. Schubert creates more dynamic melodic lines by varying

the previous melodies (see Figure 4). In the final part, the clarinet, and the piano cascade

13
down with an abundance of thick, dizzying sixteenth notes, giving the whole work a neat

and perfect ending.

Figure 4. Schubert, “Der Hirt auf dem Felsen,” mm. 248-261, the clarinet imitates and competes with
the main melody.

“Der Hirt auf dem Felsen” uses a variety of artistic expressions to portray the

shepherd through harmonic modulation and an increasing flexibility of voice range. In

musical imitation, the clarinet simulates the duet in musical language and showcases off

the echoes in the valley. Schubert frequently uses transitions from major to minor keys to

portray the shepherd’s vivid inner thoughts, thus innovating the composition methods to

make the art song longer and narrative.

14
2.2 “GRETCHEN AM SPINNRADE” (Gretchen at the Spinning Wheel)

Schubert's “Gretchen am Spinnrade” is a famous lied, or art song, that was

composed in 1814. It is based on a text from the famous novel Faust by Goethe and tells

the story of a young woman named Gretchen who is spinning wool while reflecting on

her unrequited love for Faust.13 It is one of Schubert's most famous songs and is widely

regarded as a masterpiece of the genre.14 Schubert's setting of the text is famous for its

emotional intensity and musical expressiveness, as well as its innovative use of harmony

and melody. The piano accompaniment is especially notable for its virtuosic and restless

character, which perfectly captures the sense of longing and desperation that Gretchen’s

feels. The opening measures of the accompaniment feature a repetitive pattern that

evokes the spinning wheel, which enhances the imagery of the text. As the song

progresses, the accompaniment becomes increasingly complex and dissonant, reflecting

Gretchen's inner world of despair and confusion.

2.2.1 Textual Analysis

Meine Ruh’ ist hin, My peace is gone

Mein Herz ist schwer, My heart is heavy;
Ich finde sie nimmer I Shall never
Und nimmermehr. Ever find peace again.

Wo ich ihn nicht hab’ When he’s not with me,

Ist mir das Grab, Life’s like the grave;

13
Capell, Richard. Schubert's Songs. New York: Dutton, 84-85, 1929.
14
Ibid.

15
Die ganze Welt The whole world
Ist mir vergällt. Is turned to gall.
Mein armer Kopf My poor head
Ist mir verrückt Is crazed,
Mein armer Sinn My poor mind
Ist mir zerstückt. Shattered.

Nach ihm nur schau’ ich It’s only for him

Zum Fenster hinaus, I gaze from the window,
Nach ihm nur geh’ ich It’s only for him
Aus dem Haus I leave the house.

Sein hoher Gang, His proud bearing

Sein’ edle Gestalt, His noble form,
Seines Mundes Lächeln, The smile on his lips,
Seiner Augen Gewalt. The power of his eyes,

Und seiner Rede And the magic flow

Zauberfluss. Of his words,
Sein Händedruck, The touch of his hand,
Und ach, sein Kuss! And ah, his kiss!

Mein Busen drängt sich My bosom

Nach ihm hin. Yearns for him.
Ach dürft’ ich fassen Ah! if I could clasp
Und halten ihn. And hold him,

Und küssen ihn And kiss him

So wie ich wollt’ To my heart’s content,
An seinen Küssen And in his kisses
Vergehen sollt’! Perish!

The lyrics are a strophic poem using the text from the first part, scene fifteen of

Goethe’s Faust.15 The characteristic of a strophic song is that each section of the poem is

15
Ibid.

16
sung with the same melody. The text has three sections, and each section begins with the

phrase “Meine Ruh’ ist hin, Mein Herz ist schwer...” (My peace is gone, my heart is

heavy...), establishing the melancholic tone of the entire song. Gretchen feels anxious and

she cannot find peace without Faust by her side. The next two lines, “Ich finde sie

nimmer und nimmermehr” (I shall never ever find peace again), emphasize the intensity

of her emotional turmoil, and she feels lost and unable to cope without her lover. “Wo ich

ihn nicht hab’ ist mir das Grab” (When he’s not with me, life’s like the grave) implies

that Gretchen believes she cannot go on living without Faust. She is willing to give up

her life if she cannot be with him. The last two lines, “Die ganze Welt Ist mir vergällt.

Mein armer Kopf Ist mir verrückt” (The whole world is turned to gall, my poor head is

crazy), indicate Gretchen’s deep despair. She is consumed by her love for Faust and

cannot find happiness without him.

2.2.2 Musical Analysis

The music is a beautiful and impressive example of Schubert’s genius in creating

expressive and imitation melodies. The song is written in the key of D minor. The

opening piano accompaniment sets the tone with repetitive and rhythmic spinning motif,

imitating the sound of Gretchen’s spinning wheel. As the voice enters, it begins with a

descending melody that echoes the melancholy atmosphere in the lyrics (see Figure 5).

The melody rises and falls with Gretchen’s emotions throughout the song, reaching the

17
first climax at the end of the stanza “Mein armer Kopf ist mir verrückt” (My poor head is

crazed).

Figure 5. Schubert, “Gretchen am Spinnrade,” the opening part, translation: My peace is gone.

Starting from “Sein hoher Gang... ” (His proud bearing...), the emotions and

dynamics suddenly soften compared to previous, and the vocals and piano blend together

more smoothly in this gentle mood. It is necessary to create a contrasting mood with the

previous anxiety and pain, the key also changes from minor to major, transforming the

previous painful and sorrowful emotions into a yearning for her lover. The piano

accompaniment also changes from imitating the fast and anxious sound of a spinning

wheel to a gentle, slow-down spinning wheel sound (see Figure 6).

Figure 6. Schubert, “Gretchen am Spinnrade,” translation: His proud bearing, key changed.

18
 After this section, the key of A minor modulates to F major, then to the chord V7

in G major, and finally to B flat major. This alternating of unstable tonality brings the

music to a climax step by step from building up the harmonic progression. The music

begins to crescendo, and the accompaniment must take on a pushing role. The right hand

accelerates from the original speed and gradually intensifies, coming to an abrupt stop at

“Sein kuss.” This marks the second modulation (from F major to G major) and reaches

the first climax of the entire piece (see Figure 7).

Figure 7. Schubert, “Gretchen am Spinnrade,” translation: And his Kiss. The key from F major
modulates to G major.

The emotion at the end is subdued, and the speed returns to its original tempo. The

emotion also restores the calmness felt at the beginning, forming a musical structure that

echoes throughout the piece. Following the final vocal section, which concludes in the

last three bars, the accompaniment section gradually diminishes, eventually fading away.

The accompaniment creates a sense of closure, bringing the piece to a satisfying end.

19
2.3 “AUF DEM WASSER ZU SINGEN” (To Sing on the Water)

“Auf dem Wasser zu singen” D. 774, was composed by Schubert in his later years,

in 1823. The lyrics are based on a poem of the same name written by Friedrich Leopold

zu Stolberg-Stolberg.16 The song depicts a scene on the water from the perspective of a

poet on a boat and deeply explores the poet’s contemplation of the passage of time.17 The

accompaniment reproduces the texture of the shimmering waves, and the regular 6/8 time

signature creates a rhythm that gently rocks the poet back and forth, reminiscent of the

swaying feeling on the boat. Schubert's musical choices vividly depict a boat drifting on a

calm lake while illuminating the atmosphere and thematic concept of the poem.18 It is not

necessary to translate the title of this lied, since Schubert alludes to the image of the lake

using the language of music. Through this musical image, we can understand the

emotions of the composer, which include an endless yearning for a better future, as well

as a sorrowful feeling of the passing of time. It must be noted that the Hungarian

composer and pianist Franz Liszt transcribed this beautiful piece for solo piano.19

2.3.1 Textual Analysis

Mitten im Schimmer der spiegelnden Wellen Amid the shimmer of the mirroring
waves
Gleitet, wie Schwäne, der wankende Kahn; the rocking boat glides, swan-like,

16
Friedrich Leopold zu Stolberg-Stolberg (1750-1819) was a German lawyer, translator and a poet.
17
Schafer, Maureen, Illuminating Text: A Macro Analysis of Franz Schubert's Auf dem Wasser zu singen. Musical
Insights. Macromusic.org. 2: 97–104, 2002.
18
Ibid.
19
From 12 Lieder von Franz Schubert (1838), S. 558/2 transcribed by Franz Liszt.

20
Ach, auf der Freude sanft schimmernden Wellen on gently shimmering waves of joy.
Gleitet die Seele dahin wie der Kahn; The soul, too, glides like a boat.
Denn von dem Himmel herab auf die Wellen For from the sky the setting sun
Tanzet das Abendrot rund um den Kahn. dances upon the waves around the
boat

Über den Wipfeln des westlichen Haines Above the tree-tops of the western
grove
Winket uns freundlich der rötliche Schein; the red glow beckons kindly to us;
Unter den Zweigen des östlichen Haines beneath the branches of the eastern
grove
Säuselt der Kalmus im rötlichen Schein; the reeds whisper in the red glow.
Freude des Himmels und Ruhe des Haines The soul breathes the joy of heaven,
Atmet die Seel’ im errötenden Schein. the peace of the grove, in the
reddening glow.

Ach, es entschwindet mit tauigem Flügel Alas, with dewy wings

Mir auf den wiegenden Wellen die Zeit. time vanishes from me on the
rocking waves.

Morgen entschwinde mit schimmerndem Flügel Tomorrow let time again vanish with
shimmering
Wieder wie gestern und heute die Zeit, wings, as it did yesterday and today,
Bis ich auf höherem strahlendem Flügel until, on higher, more radiant wings,
Selber entschwinde der wechselnden Zeit. I myself vanish from the flux of
time.

This is a strophic poem, written by Friedrich Leopold Graf zu Stolberg-Stolberg.

The entire poem reflects the poet's yearning for life through the description of waves and

woods. The first paragraph expresses the poet's pursuit of peaceful life through phrases

such as “Spiegelnden Wellen” (shimmering waves), “sanft schimmernden Wellen” (gently

shimmering waves) and “auf die Wellen” (onto the waves), to describe the waves of lake.

The second paragraph highlights the scenery of the grove from various perspectives,

21
angles, and times, such as “westlichen Haines” (western grove) and “östlichen Haines”

(eastern grove), to express the poet's descriptions of different living conditions at

different times. In the last paragraph, the poet describes wings, using “tauigem Flügel”

(dewy wing), “entschwinde mit schummerndem Flügel” (fading away with a murmuring

wing) and “strahlendem Flügel” (radiant wing) to express the poet's yearning for the

future.

2.3.2 Musical Analysis

Schubert employs the same musical material for all three stanzas of the poem; he

only adds eight bars for the piano introduction and two more bars of the tonic harmony in

the ending part. Schubert’s method for depicting the simplicity of nature is to create

music in a straightforward yet attractive manner. The entire song is divided into two

sections, with each phrase being symmetrical for four bars, and the signature key is based

on A flat minor, A flat major does not appear until the end of the last phrase. Schubert

does not make significant modulations to other keys (see Table 2). In my opinion, he

intended to keep one single thought rather than exploring too many motifs in this short

song, which helps to maintain the pure and innocent nature of the piece and avoids any

conflicting emotions.

22
 Table 2. Schubert, “Auf dem Wasser zu singen,” musical form

The 6/8 meter establishes a dance-like rhythm that helps convey an emotion of

delight from the poet as he gazes at the water. The back-and-forth rhythm also paints a

vivid picture of the rolling boat on the waves. Beginning in A flat minor with a fast

tempo, implies the speed of flowing water (see Figure 8).

Figure 8. Schubert, “Auf dem Wasser zu singen, ” mm.1-2, opening part.

23
 Schubert employs a similar technique to imitate progress by repeating the

dominant-to-tonic progression. In measures 11-12 (see Figure 9), the piano part prolongs

the dominant E flat seventh chord by emphasizing the F flat ninth chord in the sixteenth

note runs.20 The piano accompaniment here is identical to the opening 3-4 measures, but

with the addition of vocals, the music becomes richer, and a duet is formed between the

voice and accompaniment. The vocal line wavers like a boat on the lake, accompanied by

the piano, which simulates the sensation of sitting on a boat. As the music progresses, the

vocal range becomes more flexible, reflecting the poet's growing emotional intensity.

Schubert's use of major-minor transitions further enhances the song's emotional depth and

complexity, bringing out the vivid imagery and nuanced emotions in Stolberg's poem.

The piece ends with a sense of unresolved longing, as if the poet's yearning for a better

future remains unfulfilled.

Figure 9. Schubert, “Auf dem Wasser zu singen, ” mm. 11-12.

20
Schafer, Maureen, 2002.

24
 We found that the rhythm changed in measures 26-27 of the vocal line, consisting

of three eighth notes and a dotted eighth-sixteenth-eighth note combination. The two-bar-

long line imitates the breeze from the lake, and the piano part remains the same,

indicating the ripples of the lake caused by the light breeze. It also emphasizes to the

audience the joy of boating on the lake, which is reflected in the vocal line (see Figure 9).

In the song, Schubert continually uses similar harmonic progressions and motives to

portray someone happily boating on the water. This technique creates a sense of

tranquility and peacefulness throughout the song, as if the listener is enjoying a leisurely

boat ride on the lake.

Figure 10. Schubert, “ Auf dem Wasser zu singen,” mm. 24-27, changed rhythm.

Schubert did not make many modulations in the tonality of the whole piece,

primarily converting it between A major and A minor. As the poet witnessed in the lake,

the flow has no direction. Thinking about the past, present, and future is as endless as this

current. There is a light sadness hidden beneath the seemingly happy, calm, and peaceful

appearance of the song. The composer feels that lost time is like a dream and wishes to

convey this unspeakable emotion to the listeners through this water music.

25
 CHAPTER 3: ONE SELECTION FROM ALEXANDER ALYABYEV

Russian composer and pianist Alexander Alyabyev (1787-1851) is one of the famous

Russian composers and was born in Tobolsk, Siberia in 1787. He served as a military

officer in the early years, retiring in 1823.21 He was also a member of the Russian

aristocracy and served at the Russian Imperial Court, where he held various positions,

including as a court composer and conductor.22

3.1 “SOLOVEY” (The Nightingale)

This Russian art song was written in 1825 after Alyabyev’s retirement. He had a

dispute with a friend during the game of cards. Three days later, his friend was found

dead in the hotel. Alyabyev was accused of murder, arrested, and imprisoned. While in

prison, he requested a piano to continue composing, and it was during this time that he

composed “The Nightingale.”23 People believe that the lyrics of this piece came from the

poetry of Anton Delvig,24 a friend of Alexander Pushkin.25 Alyabyev used just four

simple verses to express his conflicting feelings of helplessness and optimism, the

anxiety of waiting for the trial, the pain of parting with his lover and innate optimism.

This art song has a simple structure but is full of elements of Russian folk music. Many

21
Yue Liu, “On the Artistic Interpretation of Coloratura in the Russian Song the Nightingale.” Home of Drama, no. 20,
2022, 84-86.
22
Ibid.
23
Ibid.
24
Baron Anton Antonovich Delvig (1798-1831) was a Russian poet and journalist of Baltic German ethnicity.
25
Alexander Sergeyevich Pushkin (1799-1837) was a Russian poet, playwright, and novelist of the Romantic era.

26
musicians throughout history have attempted to adapt the melody of the song. For

example, Franz Liszt transcribed the song for solo piano in 1842, and Henriette

Renié26produced an impressive harp transcription in 1950.

3.1 Textual Analysis

Соловей мой, соловей, My nightingale, nightingale!

Голосистый соловей! Vociferous Nightingale,
Ты куда, куда летишь, Where, where are you flying to,
Где всю ночку пропоешь? Where will you sing all night?

The entire song has just these four simple verses; however, this is the only work

that has become part of Alyabyev’s standard performing repertoire. Performers have

almost invariably transformed this simple, strophic, folk-like song into a showpiece for

the virtuoso coloratura voice.27 The poet Delvig was among the first poets to compose

Russian songs and is said to have introduced the phrase Russian Melodies into the

language of the literature.28 The original poem is about the feelings of a young woman

who feels deeply lonely after being abandoned by her lover. As the lyrics of the romance

are not only about a disappointment in love, but also paint a picture of deep sadness and

26
Henriette Renié (1875-1956) was a French harpist and composer who is known for her many original compositions
and transcriptions.
27
Weaver, Anne Marie. "The Soprano and the Nightingale: Aleksandr Alyabyev's "Solovey"." The Journal of
Musicological Research 35, no. 1 (2016): 23-44.
28
Yue Liu, “On the Artistic Interpretation of Coloratura in the Russian Song the Nightingale.” Home of Drama, no. 20,
2022, 84-86.

27
despair.29 The composer borrows the connotation of this song and expresses his

complaint and longing for his lover through this song.

3.2 Musical Analysis

This song is in ternary form in F major, and consists of an opening section A, a

following section B, and then a repeat of the first section A. It also has a postlude as the

ending section (see Table 3). Section B presents a musical variation of Section A,

changing the musical motif melodically, harmonically, and contrapuntally. This use of

variation gives the piece a sense of coherence and unity while allowing for moments of

contrast and development within the overall structure.

Table 3. Alyabyev, “Solovey,” (The Nightingale) musical form.

29
Ibid.

28
 The first part, the A section, contains the theme of the song. The melody oscillates

between the middle range and high range for soprano. The tempo of this part is Andante

con espressione (with feeling). The opening part should emphasize thinking and

questioning, as if the whole song begins by posing questions to the audience:

“Nightingale, where are you going to fly?” (see Figure 10). The main motif revolves

around the composer's doubt and desire for the nightingale to fly, which form the

motivation for the entire song and set the stage for the imitation of the nightingale’s cry

later.

Figure 11. Alyabyev, “Solovey,” (The Nightingale) mm. 7-18, translation: My nightingale, where are
you flying?

29
 The second part is the first variation, with the tempo changing to Poco allegretto

(a little fast). The melody continues to alternate between the high and middle range. As

the tempo becomes slightly faster than in the first part, the elements of Russian folk

music also become more prominent. Ornaments, such as appoggiaturas and upper

mordents, set the tone of the entire piece and depict the light and fast movements of the

nightingale (see Figure 11).

Figure 12. Alyabyev, “Solovey,”(The Nightingale) mm. 19-30, translation: my nightingale, Vociferous
nightingale! Nightingale, Nightingale.

30
 The third part returns to the original tempo but adds staccato notes to imitate the

nightingale’s sound (see Figure 12). The breathy notes that imitate the bird sound here

not only requires singer’s breath control, but also need full head resonance. Especially in

measure 46, the jump from c2 to d3 in is a test for the singer. However, the sound of the

bird and the human voice are fully integrated, allowing for the expression of the

loneliness and melancholy of the heart through music and nature.

Figure 13. Alyabyev, “Solovey,” (The Nightingale) mm. 42-48, translation: My nightingale.
Vociferous nightingale! The staccato notes imitate the nightingale’s cry.

31
 Measure 56-58 are the most evident part of the art song that imitates the cry of

nightingale. Alyabyev imitates the nightingale's cry by using fast appoggiatura notes

from B flat to A, evoking the beautiful sound of birds. The music term rall (rallentando)

indicates that these four a2 should be slowed down, and when performing, the dynamics

must be contrasted from strong to weak (see Figure 13). It can also be used to depict that

the flight movement of the nightingale is near and far, which is a small detail that

presents the composer hope of depicting the bird’s action as flying rather than stationary.

Figure 14. Alyabyev, “Solovey,” (The Nightingale) mm. 55-58, using the fast appoggiatura notes to
imitate bird sound.

This art song is better suitable for a coloratura soprano due to its focus on the

jump from a2 to d3 and the continuous staccato that simulates the nightingale's voice

while flying. Singing this repertoire requires careful attention to breath support, with a

focus on producing a smooth and flowing sound. When singing high notes such as the D

high (d3), the voice should be focused and the sound should feel like it's coming out of

32
the forehead, allowing for clear and elastic staccato notes and effortless jumps in the high

pitch area. In addition to vocal techniques, the singer should also pay attention to the

interpretation of the lyrics and the emotions conveyed in the music. The use of dynamics,

phrasing, and expression can bring out the beauty and meaning of the song.

33
 Conclusion

Through careful examination of the four songs by Schubert and Alyabyev, it

becomes evident that both composers utilize numerous identifiable musical metaphors

and imitations to connect with their audience and express personal emotions. Despite

their vastly different cultural backgrounds, these art songs employ a universal language

that has the power to soften hearts, heal memories, and transcend barriers of time and

space, bringing peace to even the most anxious mind. As vocal performers and educators,

an understanding of musical analysis and musical metaphors is necessary to bring these

songs to life with the delicate and informed expression they deserve. Furthermore,

analyzing the use of musical metaphors and imitations can also provide insights into the

cultural and historical context of the compositions. It allows us to appreciate the artistic

choices made by the composers and their creative process. Through such analysis, we

gain a deeper understanding of the music, which in turn enriches our interpretation and

performance of the piece. Overall, the examination of musical metaphors and imitations

in these compositions serves as a testament to the power of music to communicate

emotions and connect people across cultures and time.

34
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