Franz Peter Schubert (31 January 1797 – 19 November 1828) was an Austrian c… Read Full Bio ↴Franz Peter Schubert (31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music. His major works include the art songs Erlkönig, Gretchen am Spinnrade, Ave Maria; the Trout Quintet, the unfinished Symphony No. 8 in B minor, the "Great" Symphony No. 9 in C major, the String Quartet No. 14 "Death and the Maiden", a String Quintet, the two sets of Impromptus for solo piano, the three last piano sonatas, the Fantasia in F minor for piano four hands, the opera Fierrabras, the incidental music to the play Rosamunde, and the song cycles Die schöne Müllerin, Winterreise and Schwanengesang.

Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.

Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed.

Das Wandern
Franz Schubert Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Das Wandern ist des Müllers Lust
Das Wandern!
Das muß ein schlechter Müller sein
Dem niemals fiel das Wandern ein das Wandern

Vom Wasser haben wir's gelernt vom Wasser!
Das hat nicht Rast bei Tag und Nacht
Ist stets auf Wanderschaft bedacht

Das Wasser

Das sehn wir auch den Rädern ab den Rädern!
Die gar nicht gerne stille stehn
Die sich mein Tag nicht müde drehn die Räder

Die Steine selbst, so schwer sie sind
Die Steine! Sie tanzen mit den muntern Reihn
Und wollen gar noch schneller sein
Die Steine

O Wandern, Wandern, meine Lust o Wandern!

Herr Meister und Frau Meisterin
Laßt mich in Frieden weiterziehn und wandern

Overall Meaning

In Franz Schubert's song "Das Wandern," the lyrics convey the joy and love for wandering. The first verse emphasizes the pleasure and satisfaction the miller derives from wandering. It suggests that a miller who has never experienced the wanderlust is a poor miller indeed. The repetition of the phrase "Das Wandern" reinforces the idea of the profound enjoyment derived from this activity.

The second verse introduces the idea that water is the source of inspiration for wandering. It highlights the relentless and constant movement of water, which never rests day or night. Water is always on the move, suggesting an inherent desire for exploration and movement. By associating wandering with water, the song suggests that it is a natural inclination for humans as well.

The third verse explores the connection between wandering and the wheels that are in constant motion. These wheels, which are always turning, refuse to remain still. The wheels serve as a metaphor for the daily routine and the need for continuous activity. By observing wheels that never rest, the song implies that stillness can be unfavorable, implying a preference for constant movement.

The final verse introduces the concept that even heavy stones participate in the joyful dance of wandering. The stones are depicted as dancing cheerfully and desiring to be even faster. This imagery reinforces the idea that everything in nature is imbued with an innate desire for movement and exploration.

Ultimately, the song celebrates the pleasure of wandering, presenting it as a natural instinct found in various elements of nature. The miller pleads with the master and mistress to allow him to continue his journey, expressing his strong desire to keep wandering. This song serves as a homage to the beauty and allure of exploring the world, portraying wandering as a vital aspect of human existence.

Line by Line Meaning

Das Wandern ist des Müllers Lust
The act of wandering brings joy to the miller

Das Wandern!
Ah, the joy of wandering!

Das muß ein schlechter Müller sein
One must be a poor miller

Dem niemals fiel das Wandern ein das Wandern
If one has never considered the act of wandering, they must not be a true miller

Vom Wasser haben wir's gelernt vom Wasser!
We have learned from the water, yes, from the water!

Das hat nicht Rast bei Tag und Nacht
It never rests, day or night

Ist stets auf Wanderschaft bedacht
Always mindful of going on a journey

Das Wasser
Ah, the water!

Das sehn wir auch den Rädern ab den Rädern!
We can see it in the wheels, yes, in the wheels!

Die gar nicht gerne stille stehn
They do not like to stand still

Die sich mein Tag nicht müde drehn die Räder
They tirelessly turn my day, the wheels