Death and the Maiden
Franz Schubert
Death and the Maiden is a motif found commonly in Renaissance art. Such painting or engravings would present two figures: one a personification of Death, the other a young woman. The former is often seen in skeletal form and seizing upon the maiden, and the latter appearing pale and frightened. Much like the Danse Macabre that predated it, the symbolism of the universality of Death is evident. It rings even more sorrowful when Death comes even for a young fair maid, seemingly full of life and potential. Et in arcadia ego.
Taking up this theme is the great Franz Schubert, who in 1817 composed his song Der Tod und das Mädchen", itself based on the following poem by Matthias Claudius:
Das Mädchen:
Vorüber! Ach, vorüber!
Geh, wilder Knochenmann!
Ich bin noch jung! Geh, Lieber,
Und rühre mich nicht an.
Und rühre mich nicht an.
Der Tod:
Gieb deine Hand, du schön und zart Gebild!
Bin Freund, und komme nicht, zu strafen.
Sey gutes Muths! Ich bin nicht wild,
Sollst sanft in meinen Armen schlafen!
The Maiden:
Pass me by! Oh, pass me by!
Go, fierce man of bones!
I am still young! Go, dear,
And do not touch me.
And do not touch me.
Death:
Give me your hand, you beautiful and tender form!
I am a friend, and come not to punish.
Be of good cheer! I am not fierce,
Softly shall you sleep in my arms!
“Imagine a man, I say, whose most brilliant hopes have perished”
Years later in 1824, whilst suffering from illness, Schubert took up the theme as the basis for a string quartet which bears the same name. This piece reflects Schubert's state of near complete despair at the time of composition. He said 'Imagine a man whose health will never be right again, and who, in sheer despair over this, even makes things worse instead of better. Imagine a man, I say, whose most brilliant hopes have perished…’ Oof. Perhaps this is why he set it in D-minor, which as we know, is the saddest of all the keys.
The quartet itself plays out as a sort of dialogue (much like the poem), a back and forth between darker passages and soft lyrical portions…Death and the Maiden. Throughout the whole piece there is this tension between the pianissimo and fortissimo sections, often abruptly shifting between the two. Each movement comes with its own themes, which Schubert expands upon and modifies throughout. Schubert weaves through different keys and times to really arrive at a “Dance of Death” by the time the fourth movement tarantella hits. Despite this, I don’t find the piece to be overly foreboding or morose whilst listening to it. It never gets too terribly dark, as if, despite the obvious lingering of the shadow of Death, I really don’t have anything to fear. Like a thief in the night, Death comes for us all, though we know not when. Blessed is he that watcheth, and keepeth his garments, lest he walk naked, and they see his shame.
Happy Listening!
Sancta Caecilia, ora pro nobis!