Reviewed by: Die Wanderung ins "nunc stans": Wilhelm Müllers und Franz Schuberts by Jürgen Hillesheim Andrew B.B. Hamilton Jürgen Hillesheim, Die Wanderung ins "nunc stans": Wilhelm Müllers und Franz Schuberts Die Winterreise. Rombach litterae 220. Freiburg: Rombach Verlag, 2017. 242 pp. Jürgen Hillesheim, by beginning his new study of the famous song cycle, Die Winterreise, with the observation that "Studien, die sämtliche Gedichte bzw. Lieder der Winterreise von Wilhelm Müller und Franz Schubert analysieren, gibt es bereits" (7), invites the question: What makes this book a welcome addition? This study offers a double answer: It is an effective introduction to Müller's and Schubert's work and an original analysis of the Winterreise in its intellectual context. It seems likely that this book will find the most use as an introduction to the song cycle—its themes, background and context and the major strands of criticism associated with it. Hillesheim begins with a substantial (c. 50 pp) Einleitung, divided into eight parts. The first sections are broadly informative, although perhaps of limited interest to the expert. They provide the details on the origins of Müller's poems and point out the slight difference in arrangement between the printed poems and the songs in Schubert's cycle before the subsequent sections move into the realm of interpretation. As a starting point, Hillesheim emphasizes that he considers the final song cycle to be the work of both the poet and the composer—an idiosyncratic collaboration, given that the two never met. Here is his defense of Müller's importance to the final product: "Dass es allerdings erst der Komponist gewesen sein soll, der dieser Lyrik ihre außerordentlich hohe Qualität verlieh, ist, obwohl man das heute noch immer gelegentlich hören kann, blanker Unsinn und keine nähere Erörterung mehr wert" (9). [End Page 89] The text strikes at times an overly dismissive note, offering such points of view as matters of fact. For example, the possibility that Müller's poems could be read autobiographically is dismissed in a single short paragraph. In general, however, Hillesheim does a fine job of outlining a dialogue between different critical approaches and offering the main points of their arguments. For readers and listeners new to these texts, the summary of the major points of critical interest, consensus, and disagreement is invaluable. The main body of the book takes the poems/songs one by one. This strikes me as a compelling arrangement, in part because the text of each poem is printed at the head of Hillesheim's essay devoted to it. The result is that the reader feels expertly guided through the songs. Moreover, the clarity of organization makes it possible to dip in and out of the text, to find an illuminating remark on a single line, or to easily find a reference or elucidation. Each text is taken as its own unit, integrated into the cycle. The argument refers to and draws on the scholarship but in general proceeds with the light touch of observations that, once stated, appear obvious. The essays begin by taking stock of where the previous poem had left the wanderer and from there move the analysis forward. The structure of the arguments supports the idea that the cycle represents an interplay of text and music, the work of the poet and the composer, which cannot be separated but nevertheless point out into a broader space. Consider for instance the opening paragraph of the essay "Der Lindenbaum—Tod und Sentiment" devoted to the most famous poem in the cycle: In "mäßigem" Tempo, so Schuberts Vorgabe in der Partitur, schreitet der Zyklus mit seinem berühmtesten Lied, Der Lindenbaum, fort. Seinen Bekanntheitsgrad verdankt es nicht zuletzt Friedrich Silchers "idyllischer Verkürzung", die wohl verbreiteter sein dürfte als Schuberts Vertonung. "Mäßig" entspricht genau dem Tempo des einführenden Lieds Gute Nacht. Mit diesem, das die Situation vor dem Aufbruch des lyrischen Ich beschreibt und reflektiert, korrespondiert nun eines, das in einem Traumzustand die Wanderung unterbricht. Nach der besonnenen Entscheidung zu deren Aufnahme, kehrt nun im Zyklus […] erstmals wieder Ruhe ein. Dies antizipiert beinahe die...