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Schumann's Gesänge Der Frühe, Opus 133from a Schenkerian PerspectiveAlessandra Feris

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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

SCHUMANN’S GESÄNGE DER FRÜHE, OPUS 133

FROM A SCHENKERIAN PERSPECTIVE

By

ALESSANDRA FERIS

A Treatise submitted to the College of Music

in partial fulfillment of the requirements for the degree of

Doctor of Music

Degree Awarded: Spring Semester, 2009

Copyright © 2008 Alessandra Feris

All Rights Reserved

ii

The members of the Committee approve the Treatise of Alessandra Feris defended on December 5, 2008.

_________________________ Read Gainsford Professor Co-Directing Treatise _________________________

Michael Buchler Professor Co-Directing Treatise

_________________________ James Mathes Outside Committee Member

_________________________ Carolyn Bridger Committee Member The Office of Graduate Studies has verified and approved the above named committee members.

iii

“Every organic being yearns for another organic being. And art, which is organic, drives toward the organic human soul. However, in these times when man himself destroys his organic nature, how

is he to respond to organically developed art?”1

To my students

iv

ACKNOWLEDGEMENTS

I would like to acknowledge and extend my sincere gratitude to the following people who have

made the completion of this degree possible:

My dad Ari, my mom Elisabeth, my brother Rogerio, my grandmother Alayde and my

godmother Mariza, for their unconditional love, understanding and support. To them I will never

be able to express my complete gratitude.

Dr. Carolyn Bridger and Dr. Read Gainsford, my wonderful piano teachers, for their constant

artistic nourishment, inspiration, enthusiasm, encouragement and devotion.

Dr. Michael Buchler, my Schenkerian mentor, for his guidance throughout the process of writing

this treatise.

Dr. Deloise Lima, for her friendship.

Dr. James Mathes, Dr. Nancy Rogers and my graduate colleagues Bryn, Sarah, Greg, Rachel and

Neil at the FSU Department of Music Theory.

Dr. Peggy Sharpe at FSU Modern Languages Department, for her encouragement and friendship.

FSU staff, most notably Lauren Smith.

My colleagues Jonathan Woodward, Carla Stout and Jonathan Kilgore at Mississippi Gulf Coast

Community College.

Kristen Hagen and Erin Skelly at FSU International Center.

1 Heinrich Schenker, Free Composition (New York: Longman Inc., 1979), xxiv.

v

TABLE OF CONTENTS

List of Musical Analyses ...........................................................................................................vii

List of Tables .......................................................................................................................... viii

Abstract ..................................................................................................................................... ix

PREFACE ................................................................................................................................... 1

1. BRIEF HISTORICAL BACKGROUND OF SCHUMANN’S OP. 133 ................................... 2

2. SCHUMANN’S GESÄNGE DER FRÜHE, OP. 133/1 ............................................................. 5

Overall Tonal Structure and Form .................................................................................... 6

The Fundamental Line ..................................................................................................... 7

The Subdominant ............................................................................................................ 7

The Cadential Six-Four Chord ......................................................................................... 8

Sketch A .......................................................................................................................... 9

3. SCHUMANN’S GESÄNGE DER FRÜHE, OP. 133/2 ........................................................... 12

The Form ....................................................................................................................... 13

The Subdominant as (Non)-Functional .......................................................................... 14

Sketch B ........................................................................................................................ 15


Form and Harmonic Structure ........................................................................................ 18

The Insistent ‘E’ ............................................................................................................ 20

Shifting Registers .......................................................................................................... 20

Sketch C ........................................................................................................................ 22


Form and Tonal Plan ..................................................................................................... 28

The Fundamental Line ................................................................................................... 29

The Coda ....................................................................................................................... 29

Sketch D ........................................................................................................................ 31


vi

Strophic Form ................................................................................................................ 36

Plagal Color ................................................................................................................... 36

Cyclic Elements ............................................................................................................. 37

Sketch E ........................................................................................................................ 39

7. ORGANICISM IN SCHUMANN’S OP. 133 ........................................................................ 42

The 8̂-Line ..................................................................................................................... 42

Gesänge der Frühe as a Cycle ....................................................................................... 44

Sketch F ........................................................................................................................ 47

CONCLUDING REMARKS .................................................................................................... 48

APPENDIX

Glossary of Schenkerian Terms ..................................................................................... 49

BIBLIOGRAPHY ..................................................................................................................... 51

BIOGRAPHICAL SKETCH ..................................................................................................... 54

vii

LIST OF MUSICAL ANALYSES

Schumann’s Op.133/1: Sketch A ................................................................................................. 9

Schumann’s Op.133/2: Sketch B ............................................................................................... 15

Schumann’s Op.133/3: Sketch C ............................................................................................... 22

Schumann’s Op.133/4: Sketch D ............................................................................................... 31

Schumann’s Op.133/5: Sketch E ............................................................................................... 39

Schumann’s Op.133 (Complete Work): Sketch F ...................................................................... 47

viii

LIST OF TABLES

2.1 Op. 133/1......................................................................................................................... 6

3.1 Op. 133/2....................................................................................................................... 13

4.1 Op. 133/3....................................................................................................................... 19

5.1 Op. 133/4....................................................................................................................... 28

6.1 Op. 133/5....................................................................................................................... 36

7.1 Overall Structure of Op. 133 .......................................................................................... 43

ix

ABSTRACT

Robert Schumann’s mental illness has been regarded as having affected the quality of his

compositions during the final years of his life. While works like Carnaval Op. 9 and

Kreisleriana Op. 16 have always been a central part of the piano repertoire, Schumann’s late

compositions are viewed with some suspicion. His last work for piano, Gesänge der Frühe, Op.

133, is no exception. Rarely performed, Op. 133 features a more complex musical language than

Schumann’s earlier works. While there is a growing body of research on Schumann’s late style,

no analyst has published an examination of Op. 133. In an effort to contribute to a better

understanding of this set of miniatures, this treatise will focus on an analysis of its tonal

structure, presenting discussions based upon Schenker’s Theory of Levels.

1

PREFACE

“Schenker’s theory is itself the product of

his attempt to comprehend

the tonal masterwork in all its unique,

living particularity.”2

Schumann’s last piano composition, Gesänge der Frühe, Op. 133 has been a challenge

for any pianist. In an attempt to comprehend the idiosyncratic mood and the rather complex

musical language of this work, a set of five miniature pieces, the present study will focus on an

analysis of its tonal structure. Using Heinrich Schenker’s Theory of Levels, this treatise will

present analytical discussions based on foreground and background sketches of each piece in the

set, as well as a background reading that spans the entire Op. 133 collection.

While this treatise may not be easily understood by an audience that is not acquainted

with Schenkerian analysis, such readers will be aided by a glossary of Schenkerian terms

(marked in italics) employed in this manuscript, which can be found in Appendix A. A broader

explanation of Schenkerian methodology is well beyond the scope of this treatise.

2 Nicholas Marston, “Theory, Analysis and Meaning in Music,” ed. By Anthony Pople, Journal of the Royal Music Association 120 (1995): 297.

2

CHAPTER ONE

BRIEF HISTORICAL BACKGROUND OF

SCHUMANN’S OP. 133

Robert Schumann’s mental illness has been regarded as having affected the quality of his

compositions during the final years of his life. While works like Carnaval Op. 9 and

Kreisleriana Op. 16 have continually had a presence in concert halls, Schumann’s late works are

viewed with some suspicion. Joseph Joachim refused to perform and later to publish the Violin

Concerto in D minor (1853) that was dedicated to him. 3 Furthermore, there is evidence that

Clara destroyed a collection of Romanzen for cello, composed during the same year.4 Both works

were felt to be inferior in quality by Joachim and Clara, and potentially damaging to Schumann’s

reputation. Schumann’s last piano composition, Gesänge der Frühe, Op. 133, is no exception.

On the day Op. 133 was completed (18 October of 18535), Clara wrote in her diary:�

Robert has just composed five Morning Songs (Frühgesänge), completely original pieces

as always, but difficult to grasp.6

3 Eric Frederick Jensen, “Schumann at Endenich 1. Buried Alive,” The Musical Times 139, no. 1861 (March 1998): 11. 4 Ibid., 11. 5 John Daverio, Robert Schumann: Herald of a "New Poetic Age,” (New York: Oxford University Press, 1997), 479. 6 Berthold Litzman, Clara Schumann: Ein Künstlerleben nach Tagebüchern und Briefen (Leipzig: Breitkopf & Härtel, 1902-10), p. 295-97. Quoted in John Daverio, “Madness or Prophecy? Schumann’s Gesänge der Frühe, Op. 133,” in Nineteenth-Century Piano Music, ed. by David Witten (New York and London: Garland Publishing, Inc., 1997), 190.

3

The historically unenthusiastic reception of Schumann’s Op. 133 is due perhaps to the

change of style found therein. Gesänge der Frühe, a set of five miniature pieces, was not rooted

in any of Jean Paul’s novels or E.T.A. Hofmann’s stories. It was also not inspired by any

Davidsbündler characters, as many of Schumann’s earlier pieces had been. Instead, Op. 133

portrays a unique narrative, and as Schumann himself claimed, the work “depicts sensations at

the approach of morning, more through the expression of feeling than tone-painting.”7

Moreover, Gesänge der Frühe is rich in poetic implications. Schumann had initially

intended to dedicate the cycle to ‘Diotima.’ It was only after he had composed the piece that the

dedication to the ‘Great Poet, Bettina’ was made.8 Diotima was the pseudonym that the poet

Friedrich Hölderlin (1770-1843) used for his beloved, Susette Gontard.9 The figure of Diotima

makes frequent appearances in Hölderlin’s elegies, and she is also the principal character of his

famous novel Hyperion. While there is no direct evidence that Schumann was inspired by

Diotima (perhaps a representation for him of Clara) in composing Op. 133, it suggests that

Schumann was at least familiar with Hölderlin’s writings.

Hölderlin’s “In the Morning” (1798-1800)10 could well have been a source of inspiration

for Schumann in composing his final piano work. The five strophes of the poem “depict

sensations at the approach of dawn,”11 matching the mood of Op. 133’s five miniatures.

Moreover, “In the Morning” could also have been the text of a set of vocal pieces. The title

Gesänge der Frühe (Songs of Dawn) suggests that perhaps Schumann had a song cycle in mind

while composing Op. 133. Although these are just speculations, they contribute to my conception

of Gesänge der Frühe as a unified composition, and will be addressed throughout this treatise.

7 Schumann’s letter to Friedrich Arnold (24 February, 1854). Quoted in Michael Struck, Die Umstrittenen späten Instrumentalwerke Schumanns (Hamburg: K.D. Wagner, 1984), 470. 8 Wolfgang Boetticher, Brief und Gedicht aus dem Album Robert und Clara Schumanns (Leipzig: VEB Deutsch Verlag für Musik, 1981), p. 21. Quoted in Eric Frederick Jensen, “Schumann at Endenich 1. Buried Alive,” The Musical Times 139, no. 1861 (March 1998): 18-19. 9 John Daverio, “Madness or Prophecy? Schumann’s Gesänge der Frühe, Op. 133,” in Nineteenth-Century Piano Music, ed. by David Witten (New York and London: Garland Publishing, Inc., 1997), 198. 10 The poem can be found throughout the chapters of this treatise. 11

Schumann’s letter to Friedrich Arnold (24 February, 1854). Quoted in Michael Struck, Die Umstrittenen späten Instrumentalwerke Schumanns (Hamburg: K.D. Wagner, 1984), 470.

4

Not only is the intersection of poetry and music an important aspect in Op. 133. The

environment in which Op. 133 was composed also contributed significantly to the unique

narrative of this piece. The composition of Gesänge der Frühe overlaps with Brahms’s visit to

the Schumanns. The twenty-year-old Brahms, who stayed for over a month in Düsseldorf (30

September to 2 November of 1853), was “an almost daily presence in the home of the older

composer.”12 According to Daverio, Schumann was “mightily impressed by Brahms’s

interpretive and creative powers,”13 and if anything, Op. 133 ��as viewed by critics � is an

outcome of this influence.14 Several elements in Op. 133 have been attributed to Brahms,

including “monomotivicism and audacious dissonance treatment.”15 Additionally, the treatment

of polyphony as well as the chorale sections of Gesänge der Frühe are also musical

characteristics shared by both composers (and by Bach).

Nevertheless, Op. 133 also shares similarities with Brahms’s late piano works. As much

as Schumann had his creative energies renewed by the presence of the young Brahms (in the

autumn of 1853) in composing Op. 133, Brahms, too, was influenced by Schumann’s late style

in writing his last piano pieces. The harmonic language as well as the approach to form and

texture in Op. 133 are remarkable characteristics of Brahms’s Klavierstücke Op.116-119. To my

thinking, Gesänge der Frühe represents a bond between two great composers and it can therefore

be understood as a crossroads of their styles.

12 John Daverio, “Madness or Prophecy? Schumann’s Gesänge der Frühe, Op. 133,” in Nineteenth-Century Piano Music, ed. by David Witten (New York and London: Garland Publishing, Inc., 1997), 192. 13 Ibid., 192. 14 Ibid., 193. 15 Hans Joachim Köhler, “Nachwort to Robert Schumann,” in Gesänge der Frühe, Op. 133, ed. By H.J. Köhler (Leipzig: Peters, 1984). Quoted in Daverio, 193.

5

CHAPTER TWO

SCHUMANN’S GESÄNGE DER FRÜHE, OP. 133/1

Im ruhigen Tempo

(D major)

With dew the lawn is glistening; more nimbly now,

Awake, the stream speeds onward; the beech inclines

Her limber head and in the leaves a

Rustle, a glitter begins; and round the…

Friedrich Hölderlin (1770-1843),“In the Morning”(first strophe)16

“There is nothing quite like it in all of Schumann’s piano music…”17 Perhaps John

Daverio’s words refer to the unusual texture and form of Op. 133/1. Composed in a chorale style,

the opening piece of Gesänge der Frühe features a design that resembles a strophic song, only

with slight variations instead of the literal music repetitions one would hear in strophic Lieder.

The five strophes that frame Op. 133/1 serve as the basis for the entire set. They not only outline

the tonal structure of Gesänge der Frühe, but also reveal elements that recur throughout all of the

individual pieces of Op. 133.

16 Friedrich Hölderlin, “In the Morning,” in Poems and Fragments, translated by Michael Hamburger (London: Anvil Press Poetry, 2004), 135. 17 John Daverio, “Madness or Prophecy? Schumann’s Gesänge der Frühe, Op. 133,” in Nineteenth-Century Piano Music, ed. by David Witten (New York and London: Garland Publishing, Inc., 1997), 194.

6

Overall Tonal Structure and Form

Gesänge der Frühe opens with a declamatory fifth in D major (D-A), moving via

sequences into a half cadence in B minor (see Sketch A, mm. 1-9). After an interruption, this

main idea is repeated in B minor, leading to another half cadence, this time in G major (Sketch

A, mm. 10-18). The G-major statement serves as pre-dominant of the tonic key (Sketch A, m.

26), leading to a cadential six-four chord at m. 27. The climactic statement at the head of m. 27

confirms the tonic key, and, after two-and-a-half measures of non-functional material ��played at

subito piano! (see score, mm. 30-32) ��t is followed by a fugato section, where the main theme,

stated in the alto voice, brings the piece to a close (see score, mm.33-39).

The overall design of Op. 133/1 (and all pieces in the set) is strophic, which is the

musical analogue of repeated stanzas in poetry. Although the strophes in Op. 133 don’t follow

the standard music repetitions one would hear in a strophic art song, Schumann might well have

had a Lied in mind while composing his Gesänge for solo piano. An overview of the form is

below:

Table 2.1 Op. 133/1

Strophe Measure Tonal Area

Harmonic Structure

Important Features

A1 mm. 1-9 D major I-V

A2 mm. 10-18 B minor I-V A3 mm. 19-26 G major I-V predominant function

A4 mm. 27-32 D major I-V climactic statement A5 mm. 33-39 D major I-I fugato section

The apparent tonal organization of Op. 133/1’s strophes is disrupted by the insertion of

an unexpected F#-minor chord in strophe A2 (see score, m. 13). This chord substitutes for the

expected major dominant of B minor, and to me, at least, this acts as a foreshadowing of the F#-

minor tonality of Op. 133/4. Details on Schumann’s use of F#-minor and F#-major keys

throughout the cycle will be found in the next chapters.

7

The Fundamental Line

In my reading of Op. 133/1, the first note of the fundamental line (��) is prolonged

throughout strophes A1, A2 and A3, descending to �� only in m. 29, supported by the pre-

dominant IV harmony.18 However, and this is perhaps the most striking aspect of this piece, the

first three strophes (A1, A2 and A3) delineate the large-scale bass motion of the entire cycle. The

opening ascending fifth of A1 outlines the bass arpeggiation I-V (see Sketch F in Chapter

Seven) and the upper-voices of A2 and A3 (see Sketch A, mm. 10 and 19), separated by means

of interruption, imitate the arpeggiated bass descent V-[iii]-I (Sketch F in Chapter Seven).

Moreover, the composed-out tonic triad (D-A-F#-D), outlined by the upper-voices of strophes

A1, A2 and A3, can also be noticed on the musical surface. Schumann brings out the D-major

triad with deliberate accents, emphasizing the D-major tonality of Op. 133/1 and consequently of

the entire cycle (see score, Op. 133/1, mm.1, 5, 10, 19, 23, 27, 33, 34 and 35).19

Another remarkable musical trait is how 5̂ is prolonged throughout A1, A2 and A3. The

first note of the fundamental line, A, is transferred into the bass at the beginning of m.4 (V7) and

descends by step to F# (see Sketch A, mm. 4-8). F# reaches over the upper-voice of strophe A2,

and repeats the same idea, descending to D on mm. 13-17. Finally, D reaches over the upper-

voice of strophe A3 and it is prolonged until the upbeat of the majestic tonic key arrival at m. 27

(A4), moving by an ascending fifth interval back to 5̂.

The Subdominant

Im ruhigen Tempo… Schumann’s indication evokes the reflective and dreamy character

of Op. 133/1. And performers will notice at a glance that there are only three forte marks

throughout the piece. Curiously, they are all on subdominant chords (see the upbeat to m. 27 and

m. 29). The unexpected first forte chord on the pre-dominant IV seems surprising, and, although

18 Note that

^4 is supported by its bass only at m. 32.

19 Note that Schumann employs accents only on tonic triad notes.

8

one might justify the forte as merely a tool to reinforce the recurring theme in D major, I would

make broader claims, suggesting that this is perhaps another instance of foreshadowing.

Furthermore, if one examines the tonal organization of this piece (see Figure 2.1), it can be seen

that the roots of all keys used collectively form a G major chord, the subdominant harmony of

the tonic key. Schumann colors all pieces of Gesänge der Frühe with plagal motions and codas,

and in my opinion, the tendency of employing the subdominant without any tonal function

throughout the cycle has its roots in Op. 133/1.

The Cadential Six-Four Chord

The opening piece of Gesänge der Frühe, Op. 133/1 is not self-contained. It spills into

the second piece by means of an extended cadential six-four chord. Although a melodic reading

of 3̂-2̂-1̂ throughout mm. 33-39 is indicated, the two pieces are clearly interconnected. A broader

view suggests that 3̂ in m. 33 is prolonged all the way until the beginning of Op. 133/2 (see

Sketches A and B). Schumann seems to resist resolution (a characteristic that pervades much of

his music), and this unusual insistence on prolonging the cadential six-four chord and its

associated melodic tone persists throughout the entire cycle. �

9

Schumann’s Op. 133/1: Sketch A (Foreground)

10

Schumann’s Op. 133/1: Sketch A (Foreground) – Continued

11

Schumann’s Op. 133/1: Sketch A (Background)

12

CHAPTER THREE


Belebt, nicht zu rasch

(D major)

Grey cloud-banks there a flicker of reddish flames,

Prophetic ones, flares up and in silence plays;

Like breakers by the shore they billow

Higher and higher, the ever-changing.

Friedrich Hölderlin (1770-1843),“In the Morning”(second strophe)20

Schumann’s indication belebt, [but] nicht zu rasch at the beginning of Op. 133/2 is

strongly related to the tonal structure of this piece. A fragmentation of Op. 133/1’s main theme

(see score Op. 133/2, mm. 2-3, alto) supported by a prolongation of 3̂-(2̂) is tirelessly repeated in

all three registers of Gesänge der Frühe’s second piece (see Sketch B). As mentioned

previously, Schumann hesitates in providing resolution, and, after numerous attempts to resolve

2̂, the piece reaches its closure in mm. 31-32. The dominant six-four chord in m. 33 of Op.133/1

is sustained throughout Op. 133/2 and nicht zu rasch (not too quickly) brings Gesänge der

Frühe’s opening fifth to its final descent. An illustration of this hesitation can also be noticed on

the musical surface by the deliberate sf marks on F# (see score, mm. 15-16 and 29), where 3̂ is

shifted to an upper register.

13

The Form

It is impossible to discuss the form of Gesänge der Frühe’s second piece without

considering its strong ties to the first piece in the set. The beginning of Op. 133/2 recaptures the

lengthy cadential six-four chord of Op. 133/1 (see Sketch A, m.33), which continues to be

prolonged throughout Op. 133/2. As a result, on a large-scale view, Op. 133/2 can be considered

a cadential extension of Op.133/1.

Moreover, Op. 133/2’s theme is a fragmentation of Op. 133/1’s opening statement.

Schumann reduces a nine-measure phrase (Op. 133/1, mm.1-9) to several two-measure

fragmented ones (e.g. Op. 133/2, mm. 2-3 and 5-6). Op. 133/2 is indeed a fragmentation and

expansion of the entire Op. 133/1. Composed in a transparent three-voice design, this piece

follows a modified strophic form alternated by transitional sections:

Table 3.1 Op. 133/2

Strophe/Section Measure Tonal Area Register A1 mm. 2-4 D alto

A2 mm. 5-6 leading to V/IV alto A3 mm. 7-9 G bass

A4 mm. 10-11 D alto

transitional

section 1

mm. 12-16

A5 mm. 17-18 D alto transitional

section 2

mm. 19-24

A6 mm. 25-26 D soprano

transitional

section 3

mm. 27-29

A7 mm. 30-32 D alto

CODA mm. 32-36

20 Friedrich Hölderlin, “In the Morning,” in Poems and Fragments, translated by Michael Hamburger (London: Anvil Press Poetry, 2004), 135.

14

Of all strophes presented in this piece, only one is in G major (A3), and it is the only one

written in the bass. Schumann clearly had the subdominant of the tonic key in mind. Yet has the

subdominant G major any pre-dominant function in a large-scale analysis of Op. 133/2?

The Subdominant as (Non)-Functional

The subdominant triad plays a significant role in Op. 133/2. Except for the bass half-

notes on C (see score, m. 8) and A in the alto register (m. 6) throughout strophes A2 and A3 (G

major section), all accented (v) half notes in this piece fall on D and G (e.g. mm. 2-3 and mm. 5-

6). Moreover, additional implicit details in the tonal structure of Op. 133/2 further reflect a deep

connection with the subdominant G major. I will attempt to discuss some of these details in order

to clarify my sketch of Op. 133/2.

Although B is a very prominent note in the upper voice (see Sketch B, mm. 7-9, m. 16

and mm. 22-32), it is not part of the fundamental line. It is, however, an important presence in

the piece. As an upper neighbor to 5̂ in the tonic key, B descends to A (5̂) only in m. 32,

emphasizing one more time the subdominant triad and therefore giving Op. 133/2 a plagal color.

B is also the first note of Gesänge der Frühe’s second piece, and it is noticeably extended

throughout mm. 1-9 and mm. 12-16 via an ascending sixth motion in the alto voice, outlining the

second inversion of the G chord. In addition, the first note of Op. 133/2 is supported by an

implied pre-dominant in the bass. The subdominant G bass is extended from the previous piece,

as indicated in Sketch B (see Sketch B, m. 1 and Sketch A, m.32).

As shown in my reading, the G-major subdominant functions as pre-dominant in mm. 22-

25. The tireless six-four chord does resolve to tonic in m. 19 and a I-IV-V64––53 motion throughout

mm. 19 to 31 is evident. Yet from a large-scale perspective, and considering Op. 133/2 a

cadential extension of Op. 133/1, I believe that the belebt subdominant does not function tonally

in Op. 133/2. Rather, it merely neighbors the tonic triad with a far-reaching consequence: it

reveals a unifying aspect of Schumann’s Gesänge der Frühe in which all pieces are colored with

non-functional subdominants.

15

Schumann’s Op. 133/2: Sketch B (Foreground)

16

Schumann’s Op. 133/2: Sketch B (Foreground) –– Continued

17

Schumann’s Op. 133/2: Sketch B (Background)

18

CHAPTER FOUR


Lebhaft

(A major)

Now come, O come, and not too impatiently,

You golden day, speed on to the peaks of heaven!

For more familiar and more open,

Glad one, my vision flies up towards you…

Friedrich Hölderlin (1770-1843),“In the Morning”(third strophe)21

In Op. 133/3, Schumann expands the opening fifth (D-A) of the entire cycle, moving

from the tonic D major (Op. 133/1 and 2) to the dominant A major (Op. 133/3). Like the first

two pieces, Op. 133/3 is composed with a modified strophic design, and its three strophes follow

the basic scheme used in Op. 133/1.

Form and Harmonic Structure

Gesänge der Frühe’s third piece echoes the first three strophes of Op. 133/1 (see Sketch

A). While Op. 133/1’s strophes A1, A2 and A3 are separated by interruptions, Op. 133/3’s three

strophes are internally ‘interrupted’(not in the Schenkerian sense) by interpolated passages of


19

non-functional material (see Sketch C). Unlike the second piece of the cycle, Op. 133/3 follows a

more normative harmonic organization, and its overall design can be understood as follows:

Table 4.1 Op. 133/3

Strophe Measure Harmonic Structure

Important Features

A1 mm. 1-8 I-V non-functional material (see brackets): mm. 9-22

A2 mm. 23-30 I-V non-functional material (see brackets): mm. 31-42 A3 mm. 43-63 I-V-I cadential extension over

V6/4: mm. 49-58

^3 is shifted an octave

higher

before final descent: m. 49

Aside from following a simple tonal motion from tonic to dominant, all strophes of Op.

133/3 share another common trait: Schumann deceives the listener by placing a chromatic

passing tone, G natural, between V/V and V, delaying the dominant chord (Sketch C, mm 4, 26

and 45). To me, this is a reminiscence of Op. 133/1, where an unexpected F#-minor chord

substitutes for the dominant of B minor (Sketch A, strophe A2, m. 13). Additionally, the alto line

of strophes A1 and A2 strengthen the move I-V (Sketch C), outlining the first interval of the

cycle (see Op. 133/1, m. 1).

I believe that we can musically connect m. 8 directly with m. 23, further suggesting that

the intervening material is interpolated (not playing a role in the overall structure). Likewise, we

can hear a direct musical connection between m. 30 and m. 43 (see Sketch C). Yet should these

non-functional and non-structural sections be ignored? How important are the passing keys that

‘interrupt’ a simple well-structured eight-measure strophe (see A1 and A2)?

The cyclic design of Gesänge der Frühe can be seen through the interpolated sections of

Op. 133/3. In the first one, a tonicization of VI is remarkable (Sketch C, mm. 9-22): the F#-

major passing key not only extends 3̂, but also appears in the subsequent pieces. Additionally,

the second section has a (non)-pre-dominant flavor, where ii, and mostly IV (with a sf), are

emphasized, reminding us of the forte pre-dominant chords of Op. 133/1 (mm. 26 and 29) and

the non-pre-dominant motions of Op. 133/2. In my opinion, the sections that divide Op. 133/3’s

20

strophes might be considered non-functional and non-structural; however, they reveal elements

that affirm Schumann’s conception of Gesänge der Frühe as a cycle.

The Insistent ‘E’

An immediately striking feature is the presence of the root-position tonic triad framing

Op. 133/3. While strophes A1, A2 and A3 of Op. 133/1 delineate the D-major tonic triad in the

upper voice (see Sketch A), it is the bass that shapes the composing-out of the large-scale A-

major tonic in Op. 133/3. The strophes begin with bass notes that progressively outline the A-

major chord (see score, mm. 1, 23 and 43). Although my foreground reading does show 3̂

supported by the root-position tonic at the beginning of each strophe (see Sketch C: A1, A2 and

A3), I believe that the composing-out tonic triad plays an important role in Op. 133/3 (see Sketch

C, background reduction). Following the arpeggiation A-C#-E, the bass E is extended

throughout mm. 49-61 via a dominant six-four chord, descending to A only at m. 62, when the

final descent occurs (see Sketch C). As in Op. 133/2, the melodic 3̂ is thoroughly prolonged by

means of a dominant six-four chord, and Schumann emphasizes this prolongation by placing sf

marks in mm. 49, 60 and 61 (see score and Sketch C).

Yet ‘E’ is not only the bass of the far-reaching dominant six-four chord. It is, in fact, a

stationary 5̂ (see Sketch C). In my opinion, 5̂ can be viewed as a pedal for the entire Op. 133/3,

and an unusually lengthy slur connecting the first ‘E’ (upbeat to m. 1) to m. 56 would reflect this

reading. Hypothetically, the prolonged 5̂ descends to 3̂ throughout mm. 56-58, and this third-

motive 5̂-4̂-3̂ is also highlighted in mm. 9-10, mm. 12-13 and mm. 42-43 (Sketch C, soprano

line).

Shifting Registers

As a pianist, it is difficult to understand why Schumann guides the performer to switch

hands in mm. 31-32, making execution barely possible (see score). However, as a theorist �

21

assuming that the distinction between theorist and performer exists ��I believe that this

intentional hand-crossing not only brings out the third-motive 5̂-4̂, and later 3̂ in m. 43, but

implies a transfer of register that is so prominent in Op. 133/3.

From a large-scale view, ‘E,’ the first note of this piece, reaches over the upper voice on

m. 5 and it is prolonged until m. 23, before shifting back to the alto voice (see Sketch C). Note

that Schumann highlights this extension by introducing ‘E’ on the top of the beginning chord of

strophe A2 (m. 23), differing from both strophes A1 and A3. After reaching over the upper voice

one more time in m. 27 and being prolonged until m. 42, it shifts to the alto voice, where strophe

A3 begins. Throughout strophe A3, the insistent ‘E’ transfers to the soprano line at m. 46 and it

is extended until m. 56, when it finally descends to C#.

There are other examples that illustrate transfer of register in Op. 133/3, e.g. mm. 12-15

in Sketch C. Yet the most striking representation of this feature is the first note of the

fundamental line, which departs from its primary register before its final closure (compare m. 1

with m. 49). This is a counter-example to Schenker’s claim that composers tended to begin and

cadence in the same register (his obligatory register). According to Schenker, “no matter how far

the composing-out may depart from its basic register in ascending or descending linear

progressions, arpeggiations, or couplings, it nevertheless retains an urge to return to that

register.”22 Schenker’s approach to an obligatory register conflicts with my reading of Op. 133/3

and I don’t deny the possibility that ambiguity might exist. In a piece where register shifting is so

apparent, the transfer of 3̂ to a higher octave might be an enigma to the theorist as much as

Schumann’s hand shifting is to the performer.

22 Heinrich Schenker, “Free Composition,” translated and edited by Ernst Oster (New York and London: Longman Inc., 1979), 107.

22

Schumann’s Op. 133/3: Sketch C (Foreground)

23

Schumann’s Op. 133/3: Sketch C (Foreground) –– Continued

24


25


26

Schumann’s Op. 133/3: Sketch C (Background)

27

CHAPTER FIVE


Bewegt

(F# minor)

While youthful in your beauty you gaze and have

Not glow too glorious, dazzling and proud of me;

Speed as you will, I’d say, if only

I could go with you, divinely ranging!

Friedrich Hölderlin (1770-1843),“In the Morning”(fourth strophe)23

Considering the arpeggiated bass descent A-F#-D (V-[iii]-I) that runs the length of the

entire cycle (see Chapter Seven, Sketch F), Opus 133/4 is placed as a ‘passing’ piece between the

overall dominant A major (expanded throughout Op. 133/3) and the tonic D major (which

returns in Op. 133/5). Its key is foreshadowed in Op. 133/1, when an unexpected F#-minor chord

substitutes for the dominant of B minor. Full of arabesques, Op. 133/4’s fast-moving notes and

asymmetrical phrasings challenge any pianist. And for me, at least, execution of this piece is

only possible with a deep understanding of its form and tonal structure, as well as of its function

in the whole set.


28

Form and Tonal Plan

Opus 133/4 is divided into four modified strophes and a coda. Each strophe is preceded

by an upbeat, which is supported harmonically, as though it were a downbeat (see Sketch D, A1,

A2, A3 and A4). Furthermore, all strophes move from tonic to dominant, however; strophes A3

and A4 briefly pass through A major (mediant) and D major (submediant), respectively. As a

consequence, strophes A3 and A4 are enlarged. An overview of the form is below:

Table 5.1 Op. 133/4

Strophe/Section Measure Harmonic Structure

A1 mm. 1-8 i-V

A2 mm. 9-16 i-V A3 mm. 17-29 i-(III)-V

A4 mm. 30-42 i-(VI)-V-i CODA mm. 43-52 (IV)-I

As much as the unexpected F#-minor chord plays an important role in Op. 133/1 (see

score, m. 13), so does the D-major submediant in Op. 133/4. The submediant is first noticed on

m. 12, approached by a descending motion of the fundamental line 3̂-( )2̂-1̂, parallel to the bass

(Sketch D, mm. 11-12). The motion 3̂-( )2̂-1̂ is again supported by the submediant throughout

mm. 32-33. Yet this time, the bass leads to a stronger cadence on VI, which is prolonged until m.

37. In addition, the submediant also functions as the pre-dominant of A major (mm. 20-23), and

it is perhaps the relation between D major and A major that is most telling in Op. 133/4. The

opening fifth of the entire cycle (D-A) is also outlined in Op. 133/4, and the tonicization of A

major and D major throughout strophes A3 and A4 links Op. 133/4 with Op. 133/3 (A major)

and with Op. 133/1, 2 and 5 (D major). This, at last, is one further step to understanding Gesänge

der Frühe as a cycle.

29

The Fundamental Line

In my reading of this piece’s fundamental structure, the head tone 3̂ is evident at the

upbeat of each strophe (see Sketch D). The first note of the fundamental line is in fact a

prolongation of 1̂ from the previous piece. Schumann consistently emphasizes 3̂ with a forte

marking throughout Op. 133/4 and one might ask why 3̂, in its last appearance, is not marked

forte or not even written on the musical surface (m. 41, compare Sketch D with score).

In a piece where 3̂ is clearly indicated with deliberate forte markings on the musical

surface, one might expect that the final descent follows the same steps. However, 3̂ in m. 41 is

only implied, and no dynamics are suggested. Perhaps the most suitable place for the descent

would be at m. 36, where an ascending motion to 3̂ in its obligatory register occurs. My reading

does not show this motion, but it is clear in the score (see mm. 35-36). If we consider m. 36 as

the best place for the structural 3̂-2̂ descent to happen, then the accented C# in the upper line

could be considered a reaching-over motion. Besides, 2̂ could be prolonged until m. 42, a

measure before the final closure. Yet the dominant six-four chord on m. 41 should not be

ignored, and this is the main reason why I believe that the descent 3̂-2̂ occurs only in this

measure (see Sketch D). To me, the closing structural descent 3̂-2̂-1̂ is as modest as Op. 133/4 is

in the entire cycle, a ‘passing’ piece that so well connects the dominant (Op. 133/3) to its final

tonic (Op.133/5).

The Coda

The fourth piece of Gesänge der Frühe ends with a plagal coda in the tonic major key.

This coda, which reminds us of Schubert’s use of modal mixture, reveals, one more time,

Schumann’s construction of Gesänge der Frühe as a single complete entity. There are three

central issues that support this interpretation.

30

First, the key of F#-major is not a simple tonic major, but the key of the expected F#

major chord of Op. 133/1 (see score, Op. 133/1, m. 13 and Chapter Two). Second, it is the

unexpected submediant key of Op. 133/3 (see Sketch C, mm. 12-19). And finally, F# major is

stretched into the last piece (see Sketches D and E), connecting Op. 133/4 and Op. 133/5. In sum,

this plagal coda not only locally colors Op. 133/4, but serves as an important defining cyclic

element for this well-conceived set of poetic miniatures.

31

Schumann’s Op. 133/4: Sketch D (Foreground)

32

Schumann’s Op. 133/4: Sketch D (Foreground) –– Continued

33

Schumann’s Op. 133/4: Sketch D (Foreground) –– Continued

34

Schumann’s Op. 133/4: Sketch D (Background)

35

CHAPTER SIX


Im Anfange ruhiges, im Verlauf bewegtes Tempo

(D major)

But at my happy arrogance now you smile

That would be like you; rather, then, rambler, bless

My mortal acts, and this day also,

Kindly one, brighten my quiet pathway.

Friedrich Hölderlin (1770-1843),“In the Morning”(fifth strophe)24

Schumann’s designation Im Anfange ruhiges Tempo concerns Op. 133/5’s first

measures. The tonic D major is ruhig achieved by a descending motion of the F# bass, which is

prolonged from Op. 133/4 (see Sketch E, mm.1-2). Schumann delays the emergence of ^3 by

extending the F#-major triad from Op. 133/4’s coda to the beginning of Op.133/5. The last two

pieces of Gesänge der Frühe are clearly connected, and from a large-scale melodic perspective,

we could hear a single unbroken ��-line comprising both pieces. Further exploration of this issue

will be discussed in the next chapter.

36

Strophic Form

The compositional design of all of Op. 133’s pieces follows a simple norm: they are each

based on a modified strophic form. The overall form of Op. 133/5 is shown below:

Table 6.1 Op. 133/5

Although still written strophically, Op. 133/5 differs from all the other pieces in the set.

First, the primary note of the fundamental line (3̂) is not articulated at the beginning of each

strophe (see Sketch E, mm. 1-2 and mm. 18-19). It is likely that this anomaly occurs because 3̂ is

supported by the tonic only at the end of the first phrase of each strophe. Moreover, the two

contrasting sections (see T and E) form fundamental parts of Op. 133/5’s strophes. In spite of

presenting contrasting elements, they play an important role in leading A1 and A2 to a structural

dominant.

Plagal Color

One of the most significant aspects of the entire Gesänge der Frühe cycle is the non-

functional use of the subdominant. This tendency toward plagal motion is especially well


Strophe/Section Measure Harmonic Structure

A1 mm. 1-17 (V)-I-V

T (transitional section)

mm. 9-17 leading to V

A2 mm. 17-34 (V)-I-V-I

E (extension) mm. 25-34 extending V

CODA mm. 34-40 IV-I

37

exemplified throughout Op. 133/5. Despite a tonicization of G major (see Sketch E, m. 12), the

subdominant in Op. 133/5 primarily serves as a plagal color.

The elaboration of 3̂ by its upper-neighbor (see Sketch E) is consistent along the

fundamental line of Op. 133/5. Throughout mm. 1-8 and mm. 18-23 (Sketch E), the fundamental

line highlights G as a mere neighboring tone, and this motion hits its highest point in mm. 36-40,

where a plagal coda brings the cycle to end. Yet, more remarkable than any of these details is the

motion to the upper-neighbor of 3̂, supported by the subdominant of the subdominant in the

tonic key (mm. 8-14). Here a subito forte announces a cadence to C major (IV/IV). However, as

much as the subito C-major chord might surprise the listener, so does its quick dissolution.

Cyclic Elements

Gesänge der Frühe’s closing piece presents recurring elements of every piece in the

cycle. Besides employing the subdominant as a non-functional sonority, as discussed above,

several other issues are worth pointing out.

First, Op. 133/5’s strong connection with Op. 133/4 is particularly perceptible. The brief

tonicization of B major in m. 10 is intrinsically related to Op. 133/4’s plagal coda (IV-I).

Additionally, the codas of both Op. 133/4 and Op. 133/5 end with a motion to the chordal third

in their upper-voice (see Sketches D and E), a process which has its roots in Op. 133/1 (see

Sketch A, mm. 38-39).

Yet Op. 133/4 is not the only piece that shares similarities with Op. 133/5. As in the first

and second pieces of this set, the tonic harmony, supported by 3̂, is also delayed in the final piece

in Op 133. A deceptive cadence to Bb major ( VI) in m. 26, as well as a dominant pedal

throughout mm. 28-33 exhibit a resistance to resolution, and this is undoubtedly one more cyclic

element that so convincingly unifies the entire set.

38

Schumann’s Op. 133/5: Sketch E (Foreground)

39

Schumann’s Op. 133/5: Sketch E (Foreground) –– Continued

40

Schumann’s Op. 133/5: Sketch E (Foreground) –– Continued

41

Schumann’s Op. 133/5: Sketch E (Background)

42

CHAPTER SEVEN

ORGANICISM IN SCHUMANN’S OP. 133

“Every linear progression shows the eternal shape of life-

birth to death. The progression begins, lives its own existence in

the passing tones, ceases when it has reached its goal-

all as organic as life itself.”25

According to Schenker, a musical composition “should possess unity in the same way,

and to the same extent, that a living organism does;”26 and in many respects, Schumann’s

Gesänge der Frühe provides us with a model that fits Schenker’s theory. Gesänge der Frühe is

unified by a single fundamental melodic octave that supports the simple I-V-I structure of the

entire cycle. This 8̂-line reading not only provides a clear representation of Schumann’s approach

to a large-scale coherence, but displays a significant deep-level manifestation of organicism in

Op. 133.

The 8̂-Line

It is not common to find a composition with a fundamental line that descends through a

complete octave. Schenker himself provides us with just a few examples of pieces based on 8̂-

line readings, mostly in Baroque music. Yet they do exist, and I believe that Gesänge der Frühe

25 Ruth Solie, “The Living Work: Organicism and Musical Analysis,” Nineteenth-Century Music 4, no. 2 (Autumm 1980): 147. 26 Ibid., 148.

43

provides us evidence of how octave lines fulfill the premises of his system. In an attempt to

better explain my background reading of Op. 133 (see Sketch F), I shall discuss a few aspects

that might seem rather obscure.

As previously mentioned, the first two pieces of Gesänge der Frühe are interconnected: I

read Op. 133/2 as a cadential extension of Op. 133/1, and my 5̂-line interpretation arches over

both miniatures (see Sketch F). This process similarly occurs in the last two pieces of the cycle.

Note that the F# bass (Sketch F, Op. 133/4) serves as ‘passing’ and can be therefore interpreted

as the composing-out of the D-major tonic. Although Op. 133/4 is a self-contained piece – and

my foreground sketch (D) illustrates this with a separate coherent 3̂-line reading – from a large-

scale perspective, I hear Op. 133/4 functioning more as a link between Op. 133/3 and Op. 133/5.

This is why the overarching 5̂-line that crosses both pieces best captures my musical

interpretation.

Whereas Op. 133/1 and 2 and Op. 133/4 and 5 prolong the tonic key, Op. 133/3 functions

as the dominant for the entire cycle. The overall tonal scheme of Op. 133 can be viewed as

follows:

Table 7.1 Overall Structure of Op. 133

Op. 133/1 and Op. 133/2

(^5-

^4-

^3-

^2-

^1)

I

Op. 133/3

(3̂-2̂-1̂) V

Op. 133/4 and Op. 133/5

(^5-

^4-

^3-

^2-

^1)

I

8̂ 7̂ 6̂ 5̂---5̂ 4̂ 3̂ 2̂ 1̂

From the viewpoint of a larger tonal structure, 8̂ can be prolonged as the ultimate goal of

both Op. 133/1 and 2 (see Sketch F). Furthermore, the dominant arrival in Op. 133/3 marks the

initial descent of the fundamental line, which is also shown on the musical surface by the sharp

contrast in meter: Op. 133/3 is the only piece in the set written in a triple meter (see score, Op.

44

133). And finally, the bass arpeggiation I-V (see Sketch F, Op. 133/1,2 and 3) is foreshadowed

in the beginning of the cycle by the unison fifth interval D-A (see score, Op. 133/1). For me, the

simplicity of this interval strikingly reveals the underlying simple structure of Gesänge der

Frühe. Despite its rather complex musical surface, this set of miniatures is held together

melodically and harmonically by an unbroken 8̂-line, assuring that “a firmly established tonality

can guide even a large number of chromatic phenomena securely back into the basic triad.”27

Gesänge der Frühe as a Cycle

The five strophes of Hölderlin’s poem read as follows:

With dew the lawn is glistening; more nimbly now,

Awake, the stream speeds onward; the beech inclines

Her limber head and in the leaves a

Rustle, a glitter begins; and round the

Grey cloud-banks there a flicker of reddish flames,

Prophetic ones, flares up and in silence plays;

Like breakers by the shore they billow

Higher and higher, the ever-changing.

Now come, O come, and not too impatiently,

You golden day, speed on to the peaks of heaven!

For more familiar and more open,

Glad one, my vision flies up towards you

While youthful in your beauty you gaze and have

Not glow too glorious, dazzling and proud of me;

Speed as you will, I’d say, if only

27 Heinrich Schenker, Free Composition (New York: Longman Inc., 1979), xxiii.

45

I could go with you, divinely ranging!

But at my happy arrogance now you smile

That would be like you; rather, then, rambler, bless

My mortal acts, and this day also,

Kindly one, brighten my quiet pathway.

Friedrich Hölderlin (1770-1843),“In the Morning”2829

“Formless and chaotic...”30 Schumann’s early biographer August Reismann claims that

Schumann’s late works lack organization, attributing this chaos to the composer’s illness.31

Although there is evidence of “a clear decline in creative powers”32 during Schumann’s last

decade, Gesänge der Frühe is a model of organization. Besides a single unbroken 8̂-line that

shapes the set of contrasting pieces, Schumann’s five morning songs remarkably reveal several

other elements that contribute to a multimovement entity and therefore to the concept of cycle.

The first cyclic element to be addressed is the six-four chord. This stubborn chord seems

to dominate the set, and it can be found most often as an extended cadential six-four chord.

While several sections throughout the cycle illustrate this feature, more remarkable is how the

cadential six-four chord is prolonged across Op. 133/1 and Op. 133/2 (see Chapters 2 and 3).

As much as the persistent six-four chords, subdominant triads also play an important role

in Gesänge der Frühe. In Op. 133, the subdominant chord functions not only as pre-dominant;

rather, it plays an important role in coloring the cycle by the use of plagal codas and tonic triad

28 Friedrich Hölderlin, “In the Morning,” in Poems and Fragments, translated by Michael Hamburger (London: Anvil Press Poetry, 2004), 135. 29 Whether Schumann was inspired by Hölderlin’s “In the Morning” to compose his Gesänge der Frühe (Songs of Dawn), Op. 133 is an enigma. Successive verses of the poem, however, fit the character of each piece of Op. 133, and consequently this can be considered another illustration of an organic conception in the set. 30 August Reismann, Robert Schumann: sein Leben und seine Werke (Berlin: I. Guttentag, 1865), p. 174. Quoted in Eric Frederick Jensen, “Schumann at Endenich 1. Buried Alive,” The Musical Times 139, no. 1861 (March 1998): 10. 31 Ibid., 10. 32 Jensen, Eric Frederick. “Schumann at Endenich 1. Buried Alive.” The Musical Times 139, no. 1861 (March 1998): 10.

46

neighboring motions. This tendency is also evident on the musical surface, where subdominant

triads are emphasized with deliberate accents throughout the cycle.

The F# triad equally plays a leading part as a cyclic element in Gesänge der Frühe. The

subtle F#-minor chord that replaces the functional dominant of B minor in Op. 133/1 (m.13) is an

element that recurs through the course of the cycle. It returns as the tonic key in Op. 133/4 and

persists as the major submediant in Op. 133/3 (mm.12-17). The F# triad can also be heard as

tonic major in the coda of Op. 133/4, serving as a link to Op. 133/5. Nevertheless the most

striking re-emergence of the F# triad in the set is the F#-minor appoggiatura harmony to the final

D-major chord in Op. 133/5. This closing gesture not only contributes to the unification of Op.

133, but provides us evidence of Schumann’s treatment of the F# triad as a neighboring tone of

D major.

Yet the most significant cyclic aspect of Gesänge der Frühe is the strophic design of its

pieces. All of Op. 133’s morning songs are composed based on a modified strophic form, where

all strophes share the same harmonic structure. The opening interval of Op. 133/1 (D-A) outlines

not only the tonal structure of the entire set (I-V), but also the harmonic line of each strophe. In

addition, the strophic form in Op. 133 has strong ties with the title of the set (Songs of Dawn).

To me, the relationship between the form and the title (and also the connection to Hölderlin’s

poem!) is remarkable, and cries out for further investigation.

47

Schumann’s Op. 133 (Complete Work): Sketch F (Background)

48

CONCLUDING REMARKS

It seems clear that Gesänge der Frühe, Op. 133 is thoughtfully constructed. Despite a

complex musical language, Op. 133 reveals a simple organic structure, in which all of its

contrasting pieces are held together by an unbroken melodic octave line and a unifying large-

scale harmonic structure. Yet the ‘simplicity’ of this fundamental structure does not lie on the

challenging musical surface of Gesänge der Frühe. While this treatise has sought to offer

analytical insights, Schumann’s last piano cycle, in my opinion, will remain enigmatic for some

time to come.

“An analysis merely explains rationally and logically what is

already known and felt intuitively. It is an intellectual enrichment,

and not a replacement or recompense for a musical understanding.

No musician needs to be told that the intuitive musical experience

is a vehicle of truth far superior to that of rational thought.”33

33 Alan Walker, An Anatomy of Musical Criticism (London: Barrie & Rockliff, 1966), 5.

49

APPENDIX

GLOSSARY OF SCHENKERIAN TERMS

Background Level or Fundamental Structure (Ursatz) is the basic design that outlines the

entire structure of a piece or a single movement. It involves a stepwise melodic line and a bass

arpeggiation of the tonic triad.

Bass Arpeggiation (Bassbrechung) is the lower voice of the Fundamental Structure, which

outlines the harmonic motion of the piece. It consists of a tonic, followed by a dominant and a

return to the tonic.

Composing-out (Auskomponierung) is a central conception of Schenker’s theory, and can be

defined as the elaboration of a given contrapuntal or harmonic plan.

Coupling (Koppelung) is a change of register that occurs when a note is transferred between

different registers one or more octave apart.

Foreground Level (Vordergrund) is the wider structural level in Schenkerian theory. It

represents the musical surface, and therefore shows most of the notes in the original music.

Fundamental Line (Urlinie) is the descending upper voice of the Fundamental Structure. It is

represented by a diatonic stepwise descent to the tonic from the 3rd (3̂), 5th (5̂) or octave (8̂).

Head Tone (Kopfton) is the primary note of the Fundamental Line (3̂, 5̂ or 8̂). It is always a

member of the tonic triad.

Interruption (Unterbrechung) is an elaboration of the Fundamental Structure, in which the

Fundamental Line descends to 2̂ (supported by dominant) and it is ‘interrupted.’ This

50

interruption requires a return to the starting-point of the Fundamental Structure and generally

entails a musical start.

Middleground Level (Mittelgrund) is the ‘middle’ structural level, as the name suggests. It

highlights the broader harmony and contrapuntal motions that exist in both the Foreground and

Background levels.

Obligatory Register (Obligate Lage) suggests that, if the Fundamental Line starts in a given

register, it is expected to also conclude in that same register.

Reaching over (Übergreifen) is the transfer of an inner-voice note to a higher position.

51

BIBLIOGRAPHY

Books and Articles:

Boetticher, Wolfgang. “Robert Schumanns letztes Klavierwerke in neuer textkritischer

Beleuchtung.” In Zum Sehen geboren, 283-289. Münster, Germany: 1992.

Daverio, John. “Madness or Prophecy? Schumanns’ Gesänge der Frühe, Opus 133.” In Nineteenth-Century Piano Music: Essays in Performance and Analysis, edited by David Witten, 187-204. New York and London: Garland Publishing, 1997.

. Robert Schumann: Herald of a "New Poetic Age.” New York: Oxford University Press, 1997.

. “Songs of Dawn and Dusk: Coming to Terms with the Late Music.” In The Cambridge Companion to Schumann, 268-291. Cambridge: Cambridge University Press, 2007.

Forte, Allen. “Schenker’s Conception of Musical Structure.” In Readings in Schenkerian Analysis and Other Approaches, edited by Maury Yeston, 3-37. New Haven and London: Yale University Press, 1977.

Hölderling, Friedrich, “In the Morning.” In Poems and Fragments, translated by Michael Hamburguer. London: Anvil Press Poetry, 2004.

Jensen, Eric Frederick. “Schumann at Endenich 1. Buried Alive.” The Musical Times 139, no. 1861 (March 1998): 10-18.

. “Schumann at Endenich 2. Buried Alive.” The Musical Times 139, no. 1862 (April 1998): 14-23.

Knechtges, Irmgard. Robert Schumann im Spiegel seiner Späten Klavierwerke. Regensburg: Gustav Bosse Verlag, 1985.

Litzmann, Berthold. Clara Schumann: An Artist’s Life Based on Material Found in Diaries and Letters. New York: Vienna House, 1972.

Marston, Nicholas. “Theory, Analysis and Meaning in Music.” In Journal of the Royal Music Association, vol. 120, no. 2 (1995): 288-297.

Ostwald, Peter. The Inner Voices of a Musical Genius. Boston: Northeastern University Press, 1985.

52

. Schumann: Music and Madness. London: V. Gollancz, 1985. Pastille, William. “Heinrich Schenker, Anti-Organicist.” In Nineteenth-Century Music, vol.

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54

BIOGRAPHICAL SKETCH

After receiving her Undergraduate Degree in Piano from the Universidade Federal do Rio

Grande do Sul in Brazil, her native country, Alessandra Feris was awarded a fellowship from

KAAD (Katholischer Akademisher Ausländer Dienst) to study at the Hochschule für Musik

“Franz Liszt” in Weimar, Germany. In Weimar she concluded Aufbaustudium A in Piano

Performance and Künstlerisches Diplom in Piano, Chamber Music and Lied Accompanying,

under the orientation of Thomas Steinhöfel. In 2001 she came to the United States as a student

and teaching assistant of Rene Lecuona at the University of Iowa, where she received the

Master’s Degree in Piano Performance. Under the direction of Carolyn Bridger and Read

Gainsford, Alessandra Feris received the Doctoral Degree in Piano Performance at Florida State

University in 2009. She has achieved top prizes in competitions at national and international

levels as well as prestigious awards and scholarships from several institutions. Most recently, as

a teaching assistant in Piano and Portuguese at Florida State University, she was awarded the

University’s 2008 Outstanding Teaching Assistant Award. Alessandra Feris has extensive

performance experience and she has appeared as soloist and collaborative pianist in the United

States and many countries in South America and Europe. Currently Ms. Feris teaches at

Mississippi Gulf Coast Community College in Gautier, MS, where she has served on the Piano

Faculty since fall of 2008.

Documents

Florida State University Librariesdiginole.lib.fsu.edu/islandora/object/fsu:182600/datastream/PDF/... · ix ABSTRACT Robert Schumann’s mental illness has been regarded as having