Franz Schubert’s vocal cycle Winterreise, tells the story of a man who has embarked on a long winters journey. All twenty-four pieces in the song cycle share similar themes, metaphors, and central conflicts. Two pieces in particular are Rast (Rest) and Einsamkeit (Solitude). The narrator is weak, torn, and mentally unstable for his travels. He longs for true love, but winter’s sorrow has taken its toll. Therefore, these two works are related to one another through the analysis of text, key signature, and central metaphor.

Rast is the tenth song in Winterreise and is in strophic form. The piece is set in the key of D minor and the A section consists of two similar phrases. The a phrase concludes with a perfect authentic cadence (m.10) and is followed by the a^’ which changes tonality with a perfect authentic cadence in the key of F major (m.15). These two phrases share a special relationship with the text. The cadence that occurs in both of these phrases occurs on a word that depicts struggle and travel. The a phrase ends on “Da ich zur Ruh mich lege” (as I to the sleep myself lie down) and the a^’ phase ends on “Auf unwirtbarem Wege” (on inhospitable paths). The a phrase cadence depicts how slowed down, worn out, and frazzled the narrator is from his travel. A’ talks of how his travels prevent him from sleeping. His thoughts of longing for true love keep him unsettled during his time of rest. The use of F major puts much weight on his feelings of sorrow and loneliness. The B section consists of six small phrases. The a phrase ends with a perfect authentic cadence in G major (m.18), the b phrase ends with a perfect authentic cadence in F major (m.20), the c phrase ends on a half cadence in the tonic key of D minor (m.22), the d phrase has a perfect authentic cadence (m.25), the c^’ phrase has a half cadence (m.28), and the d^’ phrase concludes with a perfect authentic cadence (m.31). The A and B^’ section return and follow the same phrase structure.

Shubert uses an example of an unsung voice in the phrase “doch meine Glieder ruhn nicht aus, So brennen ihre Wunden” (yet my limbs rest not so burn their bruises) (m.42-45). The vocal melody and the piano are playing a very calm and melodic passage. The text gives off the impression that the narrator is not content with his aching body, ultimately giving into his sorrow. The narrator lacks motivation to go on and has given up. Schubert also uses an example of word painting by using contrasting phrases and dynamics. The phrase “Fühlst in der Still’ erst deunen Wurm/Mit heissen Stich sich regent” (feel in its stillness the serpent stir with its hot sting!) demonstrates this. The first half of the phrase (m.57-58) talks of how the narrator is able to feel a serpent on his body. The music during this is calm and peaceful. When the narrator feels the hot sting of the serpent, the music becomes more intense. This dramatic effect puts an emphasis on the narrators overall emotional well being. The narrator seems to have a lot doubt surrounding his own strength. He does not put up a very strong fight to change his situation, rather just accepts his loneliness and despair. 

Einsaimkeit is the twelfth song in the Winterreise cycle and is set in binary form. The piece is also set in the key of d minor and the A section consists of four phrases. The a phrase concludes with an imperfect authentic cadence in D minor and is stated again with the same cadence type (m.6-10 and m.10-14). The use of an imperfect authentic cadence doesn’t give this section the sense of arrival that is should create. It leaves the listener open ended and desiring for more. The b phrase ends with a series of half cadences that are stated twice (m.14-18 and m.18-22). The use of imperfect authentic cadences and half cadences reflects the inner struggle that the narrator is experiencing. The imbalance of these cadences creates a tension that goes along with the narrators perilous journey through the tundra. The B phrase is made up of four phrases. The a phrase brings us to the key of C major with a perfect authentic cadence (m.24-25 and m.26-27). The b phrase creates a half cadence with a d half diminished chord (m.30) and the c phrase presents the first perfect authentic cadence of the piece (m.34). The B^’ consists of four phrases. The a phrase has a perfect authentic cadence (m.37), but instead of going to C major, the tonality shifts to a cadence in Bb major. The second time this a phrase comes back, it does a perfect authentic cadence to C major (m.39). This is interesting because it throws the listener off a little bit because it has already been stated twice in the previous section as having a resolution to C major. The b phrase has a half cadence (m.42) and the c phrase concludes with perfect authentic cadence in D minor (m.46).

Schubert uses the piano in Einsamkeit as a means to set the mood for the piece. The piano is almost like a second character in the piece. One spot that stands out is the tremalando that occurs in the piano (m.24, m.26, m.36, and m.38). The piano acts as a an unsung voice in these sections. The text talks of the calm world around the narrator, but the piano interjects with the tension and unease that is building within the narrator. The narrator is trying to convince himself that everything is fine around him, but his inner emotions are conflicting with his actions. The winter is getting more treacherous, building up his inner sorrow and his desire for true love and the beautiful spring season. The fact that these two stanzas are repeated twice at the end of the piece brings forth the conceit of the poem. It puts an emphasis on the narrators overall mental health and his travels to find his love. The winter storm is burdening him and he is looking for some hope in his life. The B and B^’ section provide evidence that the narrator is struggling with his human actions and his conscious decisions.

Rast and Einsamkeit contain many similarities. The first trait is that they are both set in the key of D minor. D minor represents the narrator’s apparent struggle with reality and his emotions. These songs would not have the same effect and impact on the listener if they were set in a major key. The imagery does not allude to bright and cheerful times for the narrator. Schubert’s attention to the inner workings of the text allowed for him to craft these pieces accordingly. Both of these pieces start with a five measure introduction, begin on the and of beat two, and are in 2/4 time. These three characteristics add structural support in linking these two pieces together.

The text to Rast and Einsamkeit share many similar examples of imagery. Both poems talk about the narrator’s feet. In Rast the narrator states “Das Wandern hielt munter hin/Auf unwirtbarem Wege./Die Füsse frugen nicht nach Rast” (the wandering kept me awake on inhospitable paths the feet asked not about rest) and in Einsamkeit the narrator says “So zieh ich meine Strasse/Dahin mit trägem Fuss” (so go I my road thither with sluggish foot.) The narrator is very tired from his travels that he keeps pushing himself to go farther in the hopes that he will find his true love. He has traveled with such intensity that he is getting worn down physically and emotionally. Both poems also talk about the winter storm that is conjuring outside while the narrator is traveling. In Rast the narrator says “Der Sturm half for mich wehen” (the storm helped onward me to blow). In Einsamkeit the narrator has two statements. The first is “Wie eine trübe Wolke/Durch heitre Lüfte geht/Wenn in der Tanne Wipfel/Ein mattes Lüftchen weht” (As a dark cloud drifts in clear skies, when a faint breeze blows, through the tops of the firs) and the second is “Ach, dass die Luft so ruhig!/ Ach, dass die Welt so licht!”/Als noch die Stürme tobten/War ich so elend nicht” (Alas, the air is so calm, and the world so full of light! When storms were raging, I was not so wretched as this). At first the storm appears to be a problem for the narrator because it is impeding on his travels, but as the story develops between the two poems, the narrator is getting fueled by the intensity of the storm. The more the storm rages, the more passionate the narrator lusts for his lover. It is as if the storm is clouding his judgment about how much traveling and energy he has left in his body.

Rast and Einsamkeit share a similar central metaphor. No matter how much physical and emotional strain is put on someone, their inner motivation is the driving force behind their strength and ability to keep moving forward. The narrator is struggling to pass through a winter storm with limited sleep and a heavy heart. He is able to persevere because of his passion for unfeigned love. The snow, sleep deprivation, and storm are not enough to hold down the narrator. He is longing to be reunited with his love that has left him and his heavy heart allows for the narrator to melt away these burdens and keep his journey moving forward.

Franz Shubert’s Winterreise is a depiction of the struggles to find true love. Rast and Einsamkeit are two examples of how songs from the same collection hold much internal value and whose concepts are still relevant to this day. The two works share similar thematic ideas, musical structure, key signature, and central metaphor. Schubert was able to paint an incredible story of true love and passion by linking all of the inner workings of these pieces together and creating a timeless masterpiece.