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10 Death eludes the Wanderer: “Das Wirtshaus” 10.1. Music With “Das Wirtshaus,” the gloominess of “Der Wegweiser” (especially its concluding coda) gives way to solemn and religious-sounding music. This slow, through-composed song divides into three sections, preceded by an introduction (mm. 1–5) and followed by a coda (mm. 29–31) (example 10.1). The tonally closed first section (mm. 6–15) draws on the chorale-like texture established in the introduction . The second section (mm. 18–22, preceded by material from the introduction in mm. 16–17) is tonally less stable, beginning with a dissonant seventh chord and ending in a half-cadential dominant. The third section (mm. 23–28) is rhetorically the most emphatic, and the dramatic high point occurs here. Moreover , the expression temporarily changes from the joyful, which has dominated up to this point, to the tragic. The tonal events of the third section are more complex than before, including remote tonicizations of ab major and C minor. as in most of the songs of Winterreise, the coda is based on the material of the introduction , so the Lied ends in the same expression with which it began. The solemn character at the beginning creates a pious, expressive quality (example 10.2), the slow-moving, chorale-like harmonies suggesting a religious atmosphere .1 Metrically, the introduction begins as if it consisted of a four-bar phrase ending in a half cadence in m. 4, an impression created by an apparent cadential 6 4 chord on the third quarter beat in m. 4. However, this six-four sonority does not resolve to the expected 5 3. instead, the bass note C in m. 4 turns out to be a passing tone within a prolongation of a predominant iv, and the expected fourbar unit is thereby transformed into a five-measure phrase, which eventually attains the expected dominant in m. 5 (example 10.2b). The dramatic course thus first suggests a goal (a half cadence in m. 4) whose arrival is then evaded, a process that makes the trip to the concluding dominant longer than the listener first assumes. in the local expressive quality, this unexpected deferral briefly replaces the primary pious quality with a surprised expression.2 The introduction is motivically related to the preceding song, “Der Wegweiser .” The significant iv, prolonged in mm. 4–5, is prepared in m. 3 by a secondary dominant in which eb, the first chromatically altered pitch in the song, has been added to the tonic. Since this pitch and the descent from eb to D were such significant elements in “Der Wegweiser,” the return of the same pitches at 130 Songs the very beginning of “Das Wirtshaus” draws a motivic connection between the songs. But the environment in which the eb–D motion now occurs is different. in “Der Wegweiser” eb is a diatonic pitch (6̂), while in “Das Wirtshaus” it is a chromatic one (b7̂). as a result, in the former song eb is part of the diatonic framework , while in the latter it is outside the underlying F-major diatony. also, the expression is different. in “Der Wegweiser” the eb–D motion occurs in the tragic emotion, while in mm. 3–4 of “Das Wirtshaus” it is heard in a kind of pious, chorale-like expression of the joyful. The eb–D motion also occurs prominently in the song’s first section (mm. 6–9; see the staff above the graph in example 10.2b). now the eb is preceded by an e, a preparation significant in two respects. First, the e paving the way to the eb is part of a dominant sonority, so the ascending tendency of the leading tone is (at least momentarily) denied by the descent. Second, the addition of e forges an ever clearer motivic association with “Der Wegweiser”: now the music also introduces the pitch that in the earlier song provided the alternative ascending motion from eb to e. The e–eb–D motion is heard twice. The first occurrence is very local , taking place in m. 6 within a i5-6 progression preparing a ii (example 10.2b).          ♭ ♭ ♭                ♭    ♭   ♭  ♭  ♭     ♭       ♮        ♭  ♮    ♭ ♭ ♭ ♭ ♮ ♭ ♭ ♭                            ♮ 3 ^ 3 ^ 2 ^ 1 ^ I I III V 23 24 25 28 E E A G C B|| rep.|| 29 31 5 6 9 (12–15) 18 21 Form: Expressive genre: coda joyful joyful tragic Textual structure: (S O) ∪ (S O) ∩ ⇒ 1 2 3 Dramatic curve: high point intro. example 10.1. “Das Wirtshaus,” an overview. [18.220.106.241...

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