An Analysis of Der Leiermann by Franz Schubert from Winterreise song cycle

Andrea Shabazian
Sunday, November 5 , 2017
MUS 695
University of Delaware
 Franz Schuberts lieder are known for their tightly woven connection between text and

music. Even though both poem and music can stand on their own, each yearns for the other to

become whole. Furthermore, music can suggest a possible answer to questions posed by the text.

This especially holds true for the last song in the Winterreisse cycle, Der Leiermann. Der

Leiermann is a haunting poem concerning a wanderer living on the outskirts of town; alone and

uncertain of the future. He sees a man playing the hurdy-gurdy and proceeds to observe the man

in his surroundings and listens to the song being played. Interspersed between the melody being

played by the hurdy-gurdy, the wanderer comments to himself about what he sees. This

ultimately leads to the wanderer approaching the hurdy-gurdy man and speaking to another

person for the first time since the start of the song cycle. The way Schubert sets the music leaves

the audience questioning the fate of the wanderer. This paper aims to understand the text on a

deeper level and to examine its relationship with the music through the use of central integration

networks. In addition, through the use of Schenkerian analysis, phrase reduction, phrase analysis,

harmonic reduction, and melodic contour analysis, this paper will examine the compositional

techniques Schubert uses to set the text of this piece. Considering these elements, a possible

conclusion to the story of the wanderer will be proposed. Finally, this paper will comment on the

effectiveness of a piece, originally written for voice and instrument, to be completely

instrumental. This will be based on a close examination of Liszts piano transcription of

Schuberts Der Leiermann.

The text of Der Leiermann is divided into five stanzas. The first four stanzas are

introspective and are observations the wanderer makes about the hurdy-gurdy player seen on the

outskirts of town. In the last stanza, the fifth stanza, the wanderer utters his first words aloud to

another human being, asking the hurdy-gurdy if he will play the wanderers song. The first
person narrative throughout this song cycle, limits the audiences perception of the world to the

perspective of the wanderers eyes. While setting this text to music, Schubert made some

alterations to the words in order to better follow the rhyme scheme presented. This included

exchanging the word brummen for knurren in the fourth line of the third stanza1.

There exists some debate as to whether the hurdy-gurdy man is real or whether he is a

figment of the wanderers imagination, ultimately proving the wanderer has gone insane. It is my

interpretation that the hurdy-gurdy man is real. Although the stillness of the music could

represent a dream like atmosphere, the interactions and implied ending of Schuberts setting of

this text suggest the man is actually real. The idea that the hurdy-gurdy man is actually real is

also supported by the shift in text within the fifth stanza, which would not be necessary or

possible if the hurdy-gurdy man was imaginary.

Although this poem is the last in the cycle, the wanderer finds himself at the same place

he did at the start. The first line of the cycle uttered by the wanderer in Gute Nacht is Fremd

bin ich eingezogen/Fremd zieh ich wieder aus, (I came here a stranger/As a stranger I

depart). In the final piece, Der Leiermann, despite being in a different town, the wanderer is

the same person and is left in the same position as in the beginning, alone and on the outskirts of

town. Even the dogs howling at start of the cycle in Gute Nacht, Lab irre Hunde heulen/Vor

ihres Herren Haus; (Let stray dogs howl/In front of their masters house;), are echoed in Der

Leiermann ,Und die Hunde knurren (And the dog growls) - introducing the idea of stillness

from the beginning. It is in this state of mind that the wanderer happens upon the hurdy-gurdy

man and stops to observe the old man playing his music out in the cold. No one is listening and

no one cares. This man becomes the projection of the wanderers worst nightmares of the future

1
Lauri Suurp, Death in Winterreise: Musico-Poetic Associations in Schuberts Song Cycle,
Indiana University Press, 2014.
while simultaneously seeing himself in the old man. While playing as best he can with his

barefoot on the ice and numb fingers, the old man receives no recognition for his music, and

his plate remains empty. This image of an empty bowl brings into question the intentions of

mankind. However, the hurdy-gurdy man never stops playing his music. The wanderer reflects

on all this and in the final stanza, and approaches the old man to ask if he will play the music to

the wanderers life. This shift in the poem is significant, as this is the first time the wanderer has

interacted with anyone throughout the duration of the cycle. A connection between the wanderer

and the hurdy-gurdy player can be seen in the conceptual integration network in Example 1. Both

men are isolated and numb. The hurdy-gurdy man has numb fingers from the cold, while the

wanderer has a numb heart from being isolated from society. As the hurdy-gurdy man plays, no

one listens or shows any act of charity by placing money in his bowl. In comparison, the

wanderer has been isolated from society and has not spoken to anyone since the start of the

cycle. Throughout the song cycle, the wanderer observes the world, yet no act of kindness is

shown to him. No one cares or shows interest to listen to his story or voice, leaving him isolated

and without a voice.

Schuberts approach to the music is almost inseparable from the text. The concept of

minimal notes for the maximum effect holds merit when discussing this piece. The piece stays

within its key of A minor and uses only one chromatic tone at the very beginning, the D#. As

seen in Example 2, the use of a conceptual integration network can help us to understand

Schuberts setting of the text. The characteristics of the hurdy-gurdy are present throughout the

piece. The hurdy-gurdy is a string instrument that functions on the basis of cranks and wheels.

While the player turns the wheel with the right hand, the left hand plays a melody on the keys.

There is also a box on the outside of the instrument that contains strings. These strings are often
used to play drones underneath the melody. In Der Leiermann, the piano begins by playing the

only chromatic note of the piece in the left hand, D#, before playing a drone of an open fifth, A

and E, for the remainder of the piece. This chromatic turn is often viewed by theorists as the

turning of the crank on the hurdy-gurdy. When the crank was turned on the actual instrument of

the hurdy-gurdy, the pitch of the strings would be raised, as represented by the D# to E figuration

in the piano in measures 1 and 2. The limited range of the melody in the piano is also closely

related to the characteristics of the hurdy-gurdy, as the instrument had a limited range. The

rhythmic and accent pattern used in measures 4-5, and 7-8 represent the technical way the hurdy-

gurdy player would switch from single notes to a stack of two notes or a triad. Players would be

required to remove their hands from the keyboard, temporarily cutting off the sound, and then

place their hand down on the notes they intended to play. The sixteenth note rest and the accent

on the half notes during measures 4 -5 in the piano reflect this concept.

The relationship between voice and piano and the overall structure of this piece are also

heavily influenced by the text. The piano begins the piece with an interlude and then begins its

song. The wanderer listens intently and does not comment until the hurdy-gurdy man has paused

to re-crank the wheels of his machine. This leads to a 2 + 2 phrase structure. The repetitive

nature of the strophes form a hypnotic atmosphere for the listeners. Schubert uses the same

melodic material to set stanzas one and two as he does for stanzas three and four, creating an

ABAB form for the first four stanzas. The use of repetition in this piece is quite profound as seen

in both melodic material and harmonies. It should not go unnoted that Schubert repeats the last

two stanzas of verses two and four with the same melodic material in measures 25 - 26, and

measures 47 - 48. This emphasis contributes to the static motion of the piece, leaving the listener

feeling stuck and trapped within the piece. The changes in the final stanza reflect the change in
narrative of the poem from introspective to conversational. This is the only variation on melodic

phrasing and melodic content for the voice, and creates the final form of ABABC. It is essential

to note that although the voice changes during this stanza, the piano remains constant and

persistent with little to no change in harmonic and melodic material, and essentially reuses parts

of previous themes to accompany the voice during this stanza, as can be seen in Example 3. The

fifth stanza begins at measure 53 with the voice singing the E droned note of the hurdy-gurdy,

becoming part of the open fifth harmony of A and E. These notes can be heard almost as spoken

inflection, just as the wanderer approaches the hurdy-gurdy man and speaks to another person for

the first time throughout the piece. It is at this point in the piece that the voice reaches its own

climax of an F in measure 56, but only briefly. Not only are there melodic alterations in this final

verse as can be seen in Example 3, the phrase length changes drastically. Prior to this point,

phrases are structured 2 + 2 with brief piano interludes to begin the phrase and between verses 2

and 3. Never in the piece has the wanderer spoken over the hurdy-gurdy player and has always

waited for a pause in the old mans music in order to comment to himself. Within this piece, the

wanderer always has the opportunity to sing with or over the music of the hurdy-gurdy man,

however never does until the end in measure 53. At the fifth stanza, the wanderer interrupts and

speaks over the hurdy-gurdy playing, dividing the phrases up in a 3/4, 1/4, 4/4, 3/4, 8/4, 12/4

pattern. By the end of this piece, the listeners understanding of metric time is lost akin to the

state of the wanderer. See Example 3 for the phrase reduction described above. This disjunct

metrical concept could also be reflective of the wanderers isolation. Throughout the cycle, he

has only spoken to himself, and now the interaction with this old man could have him

stammering over his words. Even without the strong cadential cadence, this coming together of

the parts signifies that the piece has finally reached its potential and can come to a close.
 With the idea of repetition being so prominent in the structure of this piece, it would be

remiss not to look at when variations occur and when repeated patterns are broken. This piece is

composed around three melodic lines in the piano, and four lines in the voice, as seen in

Example 4. In measures 3 - 8, the piano states its entire main melodic line. This line is then

repeated and broken into halves when the voice begins to interweave with the music, suggesting

the lives of the hurdy-gurdy man and the wanderer are becoming one. It also foreshadows the

ending when the wanderer sings over the hurdy-gurdy mans melody. After playing the same

melodic material from measures 3 - 26 (Theme A), either as a whole, segmented into parts, or

with some variations, the piano player enters new melodic material in measure 27 that rises to

reach the A on beat two of measure 27 (Theme B). After only a brief two measures of new

material in measures 27 and 28, the piano player returns to its original statement of its melody

(Theme A) in measures 29 - 48. It is significant to note that the piano player returns to its

primary theme (Theme A), contributing to the stillness this piece creates. At the conclusion of

the song, the piano player combines parts of theme A and theme B. It is also significant to note

that the hurdy-gurdy player seems to get stuck in a loop playing the accented pattern fours times

in a row, instead of its normal two times, starting in measure 51, before stating theme A again.

This loop prepares the listener for the entrance of the voice in stanza five. The piano does not

vary from this melodic structure, however does contain some variations once the voice enters.

Slight variations in the piano include hanging over the bar line to resolve to the i chord in

measure 13 and 16; supporting the change of harmony and the vocal entrance. In measure 17

and 18, the piano contains a G# in the left hand, that once again supports the change of harmony

in the voice, and could represent the tuning of the strings of the hurdy-gurdy. The most

significant variation occurs in measure 23. It is here that the voice and piano connection become
inseparable. The descending line of C-B-A in the left hand of the piano mimics the descending

vocal line in measure 21, showing the depth of relationship and impact the vocal and piano parts

are having on each other. The two voices begin to interact more and more as the piece continues.

Another example can be seen in measure 25 - 26 in the vocal line and in measure 27 - 29 in the

piano. The piano line begins to take on a brief melodic idea, essentially mimicking the vocal line

in rhythm and notes of the descending E-D-C-B-A-E-A (this relationship can be seen in Example

5 below). This crucial interaction eventually leads to the fifth stanza where both voice and piano

are not only playing off of each others statements but interacting simultaneously. In addition, it

is important to discuss the importance of the E in the last stanza in the voice. This stagnant E in

the voice can also be viewed as the voice morphing into the drone of the hurdy- gurdy man. Beat

three of measure 56 and beat one of 57 in the vocal line, the E stays prominent sounding for a

total of three beats, in various registers. Furthermore, beat three of 57 and beat 1 and 2 of 58, the

E hangs over and is present in one octave. To further continue with this concept of the voice

transforming and merging with the hurdy-gurdy man, the voice first lands on an A on the

downbeat of measure 55, singing the longest held note since the beginning of this piece in the

vocal line. With the E being sounded for three beats between measures 57 and 58, the voice has

paralleled the notes of the drone in the hurdy-gurdy which have been sounding since the

beginning. This imitation seems to hint at the final question asked by the wanderer, Strange old

man, Shall I go with you?/Will you play your organ to my songs?, as the old man is already

starting to play the wanderers song, and the wanderer begins to sing the notes droned by the

hurdy-gurdy man. This itself does predict the ending that both the wanderer and the hurdy-gurdy

man will continue together, and supports the relationship between the hurdy-gurdy man and the
wanderer. It is this instance where the music contributes something the text did not and enhances

our understanding of the text.

The environment set up by this piece is static. The drones in the left hand of the piano

stay constant through the entirety of the piece. Although this piece sounds to be in A minor, due

to the drone in the left hand of the piano, there is no change of bass. Without a change in bass,

there can be no cadences in the technical or traditional sense. Yet throughout the course of this

piece there are cadential gestures and harmonic progressions being made between the i (a minor

chord) and V (E dominant 7th chord), see Example 6. Theorist Susan Youens suggests that

although there is an unmistakable groundedness to A minor within this piece, due to its restricted

nature of composition, classically defined traditions of cadences and tonality cannot be applied.

She suggests that the musical uncertainty of the piece contributes to the lost feeling of the

wanderer. A Schenkerian reading of this piece, seen in Example 7, can show the progression of

the melodic line leading to its final destination of A. The Schenkerian analysis shows the

constant struggle of the voice and piano to reach A. The constant wandering and ends of phrases

that wish to reach A, but only do on rare occasion, cannot be dismissed. The constant struggle to

rise in the melodic contour of the piano voice in measures 3, 6, 15, 19, and 23 with the ascending

sixteenth notes, ultimately fails. This could represent the struggle in life to ascend to meaning.

The piano reaches it climactic peak, reaching an A in measure 27, and achieves the ascension,

however the voice does not. This brings up the concept of failed expectations. Both the voice and

piano have a constant struggle, their notes swirling around A. Only in measure 55 does the voice

resolve itself to an A on the downbeat. However, this is not satisfying to the ear because the

piano continues. I believe that the lack of harmonic progression, in the traditional sense, does

contribute to the static nature and sets up the idea of the lost wanderer. Despite the lack of
change in bass, it is my opinion that cadential gestures do exist within the right hand of the piano

and with the singer, even if it is not in the traditional sense. Instead of using the droned bass as a

disregard to cadential movement, I believe that with the constant presence of the drone, the

dominant harmony is used as a sense of tension.

When only examining the chordal relationships between the voice and the piano, it is

clear that the relationship and possibility for stanza 5 is present. Although not present whenever

the wanderer begins a new pair of verses, or the piano plays an interlude, the voice and piano

constantly finish each others harmonic tendencies. For example, in measure 12, the piano ends

on a V chord to which the voice resolves by beginning on a i chord. The reverse holds true when

the voice ends on a V chord, the piano will begin its statement in a i chord. It is also worth

mentioning that the use of the V7 chord is only seen in the pianos accented patterns in between

the voice exchanges. However, the voice never becomes a part of the seventh until the fifth

stanza in measure 54, showing yet another example of the two voices morphing together to

become one. This is essential to understanding the harmonic structure of Der Leiermann. In

addition, I believe that the firm grasp in A minor with no move to a definitive cadence and no

chromatisms out of the key shed light on and result in a different reading to the end of this piece.

This state of constance shows that there is no hope for change in the wanderers life and

ultimately shows us that the wanderer, like the song played by the hurdy-gurdy man, will

continue in this static notion. The final phrase played by the piano starting in measure 58 - end,

leaves the listener with an unsettled feeling. The piano fades into the distance, but never stops

playing the song, suggesting that the wanderer will continue in this fashion to the next town.

All of the text and music interplay calls into question: would this piece be able to convey

the same emotions and story if the words were removed? I would suggest it could not. Liszts
transcription of this piece for solo piano supports this position. Liszt pairs Der Leiermann with

Tuschung. Liszt does not change the lines or melodic content as presented in Schuberts song

cycle and only adds in the occasional fermati over the pauses, in measures 8, 27, and 32. It is my

opinion that this is uncharacteristic of the piece. The whole concept and theme of Der Leiermann

is that the old mans music continues to play. By eliminating this element and adding pauses to

create silence, the meaning of the music is changed. Liszt also does not include the crucial

melodic material from the fifth stanza seen in Example 8. This again changes the meaning of the

music, as it eliminates the identification of the wanderer and the hurdy-gurdy man. As Susan

Youens puts so beautifully, One reads the poem and hears Schuberts music involuntarily;

listening to Liszts transcription, one supplies the words out of a similar desire to complete what

is otherwise incomplete.2. This is one of the strongest instances, I believe, where the music

cannot be separated from the words.

Schubert weaves the text to music so intricately and beautifully that the words allow his

music to make sense and cultivate its meaning. In essence, this piece exemplifies how powerful

it can be to set text to music. Schubert uses minimal melodic material, but is able to

communicate more than the poem could say if it stood alone.

2
Susan Youens, Retracing a Winters Journey: Schuberts Winterreisse, Page 298, New York:
Cornell Press, 1991.
 Appendix:

Example 1:
CIN relationship between hurdgy-gurdy man and wanderer in text

Outsiders

Hurdy- gurdy man Wanderer

-Numb Fingers -Numb heart
-No one listens to -Has been in isolation from
the man play society

The wanderer sees

himself in the hurdy-
gurdy man and is fearful
of the future.
Example 2:
CIN relationship between text and music set by Schubert

Isolation

Music:
Text: -Drones, limited
- Hurdy-Gurdy melodic range,
- Winter/numbness pauses in music
-Introspective -Static music, no
-Uncertainty of cadences
future - Alternates
phrases with
evenness.
The wanderer -No defined key
sees himself in
the hurdy-gurdy
player. Both will
continue to go on
and there is no
future for either.
Example 3:
Phrase Analysis/Phrase Reduction
Example 4: Melodic Contour
Example 5:

Example 6:
Harmonic Reduction
Example 7:
Schenkerian Analysis

Suup, Lauri. Death in Winterreise: Musico-Poetic Associations in Schuberts Song Cycle.

Indiana University Press, 2014.
Example 8: Score of Liszt Der Leyermann
Score of Der Leiermann
Text Translation:

Sgroi, Celia. Winterreise. Text by Wilhelm Muller.www.goopera.com.

24. Der Leiermann

24. The Hurdy-Gurdy Man
Drben hinterm Dorfe
Steht ein Leiermann Over there beyond the village
Und mit starren Fingern Stands an organ-grinder,
Dreht er was er kann. And with numb fingers
He plays as best he can.
Barfu auf dem Eise
Wankt er hin und her Barefoot on the ice,
Und sein kleiner Teller He totters here and there,
Bleibt ihm immer leer. And his little plate
Is always empty.
Keiner mag ihn hren,
Keiner sieht ihn an, No one listens to him,
Und die Hunde knurren No one notices him,
Um den alten Mann. And the dogs growl
Around the old man.
Und er lt es gehen,
Alles wie es will, And he just lets it happen,
Dreht, und seine Leier As it will,
Steht ihm nimmer still. Plays, and his hurdy-gurdy
Is never still.
Wunderlicher Alter !
Soll ich mit dir geh'n ? Strange old man,
Willst zu meinen Liedern Shall I go with you ?
Deine Leier dreh'n ? Will you play your organ
To my songs?
Bibliography:

Listz, Franz. Der Leyermann. http://petrucci.mus.auth.gr/imglnks/usimg/5/5e/IMSLP14300-

S561v08-09.pdf

Schaeffer, Erwin and Harold Spivacke. Schuberts Winterreisse. The Musical Quarterly.
Vol.24. No. 1 (Jan 1938). Oxford Press.

Schubert, Franz. Winterreise. Der Leiermann.

http://ks.imslp.info/files/imglnks/usimg/8/8d/IMSLP60822-PMLP02203-
Schubert_Werke_Breitkopf_Serie_XX_Band_9_F.S.878-904.pdf

Sgroi, Celia. Winterreise. Text by Wilhelm Muller. www.goopera.com.

Suurp, Lauri. Death in Winterreise: Musico-Poetic Associations in Schuberts Song Cycle.

Indiana University Press, 2014.

Youens, Susan. Retracing a Winters Journey: Schuberts Winterreisse. New York: Cornell
Press, 1991.

Musical Scores links:

Schuberts:
http://ks.imslp.info/files/imglnks/usimg/8/8d/IMSLP60822-PMLP02203-
Schubert_Werke_Breitkopf_Serie_XX_Band_9_F.S.878-904.pdf

Liszts:
http://petrucci.mus.auth.gr/imglnks/usimg/5/5e/IMSLP14300-S561v08-09.pdf