Omar Soto

Musicianship II
Dr. Helvering
April 27, 2014
Wasserfluth Analysis
In Schuberts Wasserfluth, many musical elements contribute to a sense of seething
pain, desperation, forlorn wandering, hope, and wrath. Of particular interest is the deceptively
simple progression that is interrupted with the tense secondary dominants in measure 12, the
heavy use of triplets in contrast with dotted rhythms, the contrasting dynamics, and the
modulation to the parallel major set very appropriately to the dynamic text of Wilhelm Mller.
More generally, the placement of this song within the cycle, which contrasts in mood with the
previous song, Der Lindenbaum serves to really bring out the complexity of emotion felt by
the cycles protagonist.
Concerning the progression, the introduction to Wasserfluth begins with a simple
arpeggiation of the f# minor chord leading to a V7 chord in third inversion. This pattern is then
repeated with the second measure before arriving at a cadential pattern that leads to the tonic
triad. This introduction sets the precedent for what Schuberts audience should expect from the
first period of the piece since the vocal line and accompaniment continue with a similar i-V-i
progression. However, upon reaching the second cadential pattern in measure 11, the audience is
instead lead to a cleverly deceptive measure with two secondary dominant chords. The tonic f#
note is reached, however the accompaniment completely changes the quality of its chord from i
to the V7 chord of IV in first inversion. Before the audience even has a chance to realize what
they just heard, the first secondary dominant resolves to yet another secondary dominant, this

time the fully diminished vii of IV. This break in the expected progression creates a very
palpable tension that very appropriately emotes the wrath within the text thirstily the burning
woe. To further solidify the intensity of measure 12, the melodic line which approaches it is in
ascending motion which, in association the text, is representative of the rising anger and tension
within the speaker. Since the deceptive secondary dominants in measure 12 demand resolution,
Schubert repeats the text of the last two measures with the cadential pattern finally leading to the
tonic f# minor chord in order to wrap up the parallel asymmetrical period at the beginning of
Wasserfluth. In addition, the textual repetition is useful in reiterating the intensity of the
protagonists woe as it becomes absorbed by the snow.
In regards to the rhythm, Schubert uses contrasting elements to create dramatic meaning
throughout the piece. In the introduction, triplets are used in conjunction with dotted eighth
notes. This strange combination contributes to the idea of desperation within the protagonist as
he wanders through the snow. The singer continues this rhythmic pattern for 2 measures until he
reaches measure 7; at this point, his rhythmic scheme matches the accompaniment. The dotted
eighth notes leading to sixteenth notes are set to the text, ist gefallen, which translates to are
falling in reference to the protagonists tears. This is a very appropriate setting since the rhythm
mirrors the motion of two tears drip-dripping into the snow. Measure 7 is the only time other
than in the climactic vocal ending in measure 27 in which Schubert breaks the triplet contrast, so
he must have done so with the intention of bringing out the text through the rhythmic scheme. In
measure 27, when the vocal line repeats the phrase The soft snow will melt, the rhythmic
scheme is again broken to bring out the importance in the protagonists final line.

Though very limited in use, the few dynamic markings Schubert wrote down were
paramount in expressing the intensity of the text. Starting with a slow, somber piano marking, the
dynamic changes to a pianissimo when the vocal line begins to create an effect of zooming into
the the characters thoughts amidst a harsh winter wind. Dynamic markings dont return again
until the fortissimo in measure 11, which is the approach to the secondary dominants in measure
12. This is appropriate since the fortissimo emphasizes the mounting tension idea brought up in
the second paragraph. Once the secondary dominants are reached in measure 12, there is a
Fortepiano marking and accent markings to draw the audiences attention to the fact that they
have just been deceived. After the 12th measure, the song stays in piano until the climactic
ending in measure 27, where a mezzoforte is written in order to culminate the protagonists
thoughts; lastly, a pianissimo is written for the accompaniment as it ends the piece and paints the
the idea that the protagonists ideas are simply fading away as he continues his journey into the
next song.
Apart from the secondary dominants in measure 12, the other major landmark in the song
is the modulation to the parallel major: AM, which is approached by a cadential pattern in
measure 17. Before the modulation, the text in the song is grim and holds no uplifting quality.
The text after the modulation, however, is about grass sprouting and a mild wind that will break
the ice and melt away the snow; this is Schubert associating the idea of hope to the major
modulation. Initially, the audience isnt fully immersed in A major because the B section begins
with a fully diminished vii seventh chord in fourth inversion. In the following measure, A major
is in full effect with a V7 chord followed by a cadential pattern that leads to a half cadence. Then
the audience hears the fully diminished seventh chord again as they are sung the text and the ice
will melt. Harmonically, the tension provided by the fully diminished seventh

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chord represents the ice which is a source of woe throughout most of the cycle; the V7 chord
that follows represents a return to a normal progression in A major which brings hope to the
piece. That is until the piece returns to f# minor and the protagonist realizes that his journey must
continue.
Schubert places Wasserfluth immediately following Der Lindenbaum, which is a
song that expresses mostly happier days. According to the text in Der Lindenbaum, the tree
promises the traveler peace, however he chooses to continue his forlorn journey into the snow as
he continues to hear the tree beckoning him over with a promise of peace and warmth.
Interestingly, Der Lindenbaum begins and ends in F#M, and Wasserfluth begins in the
parallel minor. Franz Schubert was a master at using keys and their relation to one another to
create specific atmospheres and to link material together. In a song cycle, these types of
connections have the same effect as a leading sentence at the end of a thrilling books chapter has
it makes it almost impossible not to turn the page, or in music, to continue with the next song.
Wasserfluth was Schuberts way of expressing very much with very little. Through the
use of the previously mentioned elements, Schubert asserts his ability to convey the very
complex internal struggles of Mllers traveler within the confines of a i-V-i progression. Truly,
Franzs efficient use of text setting gave Winterreise its well-deserved status as one of the most
important works in solo voice.