Schubert's Wanderers and the Autonomous Lied

Abstract

Beginning with a sample of wanderer songs ("Wanderers Nachtlied” [I], D. 224 [Goethe]; “Der Wanderer,” D. 489 [Schmidt von Lübeck]; “Der Wanderer,” D. 649 [F. Schlegel]; “Wanderers Nachtlied” [II], D. 768 [Goethe]; “Der Wanderer an den Mond,” D. 871 [Seidl]), this article investigates the topic of the wanderer, its context in nineteenth‐century German culture, and its relation to the rising status of the lied. The sensitive, reflective individual central to these texts not only reflects contemporary ideals of male self‐cultivation but also proved essential to the perpetuation of the bureaucratic bourgeois state. Set as Heder, such poems provided a representation of an ideal and an instantiation of aesthetic autonomy: belief in the ability of music to intimate transcendent significance permitted an experience of the lied that suppressed the social and economic aspects of both event and work in favor of the purely aesthetic.

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