Tränenregen, a setting by Wilhelm Müller, was composed by Franz Schubert in 1823. It is the tenth lied of his song cycle, die Schöne Müllerin.
1823, the year where Schubert composed Die Schöne Müllerin, appears to be, posteriorly, a lime stone in the composer’s life. Aged 26, after many rapid evolutions, his musical style seems to reach maturity: in 1823, he will also compose the remarkable Wanderer Fantasie for piano. More tragically, it also appears to be the year where he contracted syphilis and from then on, his health will decline rapidly. In die Schöne Müllerin, Schubert chooses to set poems, all by Wilhelm Müller, a poet he was extremely found of (his song cycle, Winterreise, is another example of him setting Müller’s poems). All selected from the eponym poem collection, die Schöne Müllerin, Schubert omitted setting five of the twenty-five poems of the book. The cycle tells the story of a young traveler who falls in love with a miller’s daughter. She loves him back, at first, but soon prefers a hunter and rejects him. In Die schöne Müllerin, all the typical romantic themes seem to be intertwined ever so closely: hope, love, rejection, nature, travel and death fuse into one of the most beautiful German song cycles ever written.
Tränenregen is the tenth song of die Schöne Müllerin. It follows a lied introducing a wandering miller (Das Wandern, N.1) who decides to follow a brook (Wohin?, N.2) and comes to a stop as he sees a welcoming Mill (Halt, N.3). He reflects on what is happening to him (Danksagung an den Bach, N.4), before accepting to work in this mill for the love of the miller’s daughter (Am Feierabend, N.5). Incapable of facing the one he loves, he wonders if she loves him back (der Neugeriege, N.6), expresses passion and impatience (Ungeduld, N.7), doubt and distress (Morgengruss, N.8), before planting flowers under her window hoping those will reveal his love for her (des Müllers Blumen, N.9).
Tränenregen could be considered a turning point in the cycle, as the miller finally get the possibility to spend some time with the miller’s daughter. However, as in the previous songs, he does not utter a word and just gazes at her beauty. Schubert builds his lied around an AAAA’ structure. The first three verses, where he remains passionately silent are set in major. The melody at the vocal part seems to embody the sensitivity and love he is expressing. In contrast, the last verse is set in the tonic minor with a modified version of the melody. As the miller’s daughter decides to go home, reality seems to darken and a sense of sadness creeps in.