Schumann's Piano Cycles and the Novels of Jean Paul: Analogues in Discursive Strategy
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SCHUMANN'S PIANO CYCLES AND THE NOVELS OF JEAN PAUL: ANALOGUES IN DISCURSIVE STRATEGY Erika Reiman A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music in the University of Toronto O Copyright by Erika Reiman (1999) National Library Bibliothèque nationale I*m of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OttawaON KIAON4 OttawaON KlAON4 Canada CaMda The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lib- of Canada to Bibliothèque nationale du Canada de reproduce, loan, distnbute or sell reproduire, prêter, distribuer ou copies of this thesis in rnicroform, vendre des copies de cette thèse sous paper or electronic formats. la foxme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor subsbntial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract: Schumann's Piano Cycles and the Novels of Jean Paul: Analogues in DIscurslve Strategy Erika Reiman, Ph. D. 1999 Faculty of Music, University of Toronto Robert Schumann's enthusiasrn for the works of the novelist, essayist, and satirist Jean Paul Friedrich Richter is well-documented. As yet, however, little attention has been devoted to sirnilarities of technique and aesthetic between Jean Paul the novelist and Schumann the composer. My dissertation examines narrative discourse, self-referentiality, intertextuality, defamiliarization of stylistic models, and other discursive strategies typical of Jean Paul as they occur in Schumann's piano cycles of the 1830s. An introduction to Jean Paul's most striking literary tendencies precedes close readings of works which have received scant critical attention in the past, and none of which has been thoroughly examined in light of Jean Paul scholarship. An Introduction surveys the treatment of Jean Paul and Schumann in the secondary literature and also outlines my critical methodology. Chapter 1 introduces Jean Paul to a musicological audience. Major stylistic trends in his work are exarnined, particularly his digressive narrative style. Chapter 2 centres around Schumann's first two piano cycles, Papillons and Intermeni. These both take Schubert's suites of waltzes for piano solo and duet as their initial structural model, which is then subverted to the point of near- unrecognizability. Carnaval is based on the idea of the waltz suite. An intensive iii analysis in Chapter 3 examines the extent to which Jean Paul's unusual literary techniques have infiltrated Schumann's musical style. Chapter 4 considers Kreisleriana, op. 16, Fantasiestücke, op. 12, Faschingsschwank aus Wien, op. 26, and Novelletten, op. 21, which also display traces of larger forrns while presewing the cyclic model of Carnaval. Schumann's new preoccupations parallel a similar phase in Jean Paul's career. Alongside his major novels. Jean Paul produced a number of shorter works which he dubbed "idytls", and which contain equal proportions of satire, humour. and the picturesque. Chapter 5 wntains analyses of the Arabeske, Blumenstück, and Humoreske and their resonance with Jean Paul's idyllic style. Acknowledgements A dissertation, like a Jean Paul novel or a Schumann piano cycle, is not created in isolation. It is a collaborative, intertextual effort, and I cannot begin to give proper credit here to al1 those who have helped and inspired me throughout this process. Long before I arrived at the University of Toronto, I was fascinated by Schumann's intimate relationship with the literature of his time. James A. Stark, Janet Hammock, and Thilo Joerger of Mount Allison University and Glenn Stanley of the University of Connecticut at Storrs encouraged me immensely. Prof. Joerger has continued to provide advice and friendship (and a 12-volume edition of Jean Paul's major works). As I proceeded with doctoral studies, my advisor, Gaynor Jones, was like a one- wornan Davidsbund; her guidance, friendship, advocacy, and Romantic spirit have made it possible for me to corne this far. I am deeply grateful to Caryl Clark for the innumerable ways in which she helped and advised me. She is a true role model. Robert Falck and Mary Ann Parker have provided welcome suggestions and support al1 along the way. Linda and Michael Hutcheon made me feel iike a colleague, not a student, and boosted my confidence in my literary-critical abilities. My thanks are extended to Prof. Hans Eichner, a doyen of Schlegel and Jean Paul studies in this century, who approved an early draft of Chapter 1, and to Prof. William Kinderman of the University of Victoria, whose suggesh'ons were inspiring and encouraging. The Social Sciences and Humanities Research Council of Canada, the Ontario Graduate Scholarships, and a Connaught Feliowship of the University of Toronto made my studies possible. An Associates Travel Grant from the School of Graduate Studies at the University of Toronto enabled me to visit research centres in Germany in June 1995. My hosts there were unfailingly welcoming and helpful, and their assistance solved many a puzzle. I thank Dr. Bernhard R. Appel and Dr. Matthias Wendt of the Robert-Schumann-Forschungsstelle, Düsseldorf; Dr. Karl- Wilhelm Geck, director of the Musikabteilung, Sachsische Landesbibliothek, Dresden; Dr. Oswald Bill, director of the Musikabteilung, Hessische Landes- und Hochschulbibliothek, Darmstadt; and especially Dr. Gerd Nauhaus, director of the Robert-Schumann-Hauç. Zwickau, whose generosity, patience, and deciphering expertise were invaluable. Without the constant support of friends and family, 1 would certainly have stopped far short of my goal. Rosanne King, Rebecca Green, Michelle Bird, Chris Morris, Judy Kehler Siebert, Katherine Hill, and Nancy Hennen shared my academic and other burdens. Sue Dexter and her centre des Btudes pushed me over the last and largest hurnps. The staff and students at ProVoce Studios helped me win my daily bread, materially and spiritually; Lee Ramsay and Michael Herren were especially motivating. Most of ail, my parents, Barry and Mary Lou vi Reirnan. and my brothers Tony and Ben have been an unshakeable foundation of love and support. (A smaller, but equally vocal, family rnernber also demands acknowledgement.) Of rny husband, Brian Power, I can only Say that his name should be on the title page above mine. Were I to enurnerate his contributions of the past six years, the list would be longer than the dissertation itself. 1 dedicate this work to him and ask, as Robert Schumann asked Clara Wieck: "Bist Du wirklich so glücklich durch meine Liebe, wie ich durch Deine?" Erika Reiman November 1998 Table of Contents Page Abstract ii Acknowledgernents iv List of Musical Examples viii List of Tables xi 1 ntroduction Chapter 1 : Jean Paul and his Novels Chapter 2: Early Cycles Chapter 3: Carnaval Chapter 4: Higher and Lower Forms Chapter 5: Schumann's and Jean Paul's ldyllic Vision Epilogue Bibliography viii List of Musical Examples Chapter 1 Example 1-1: Schumann, Kreisleriana. op. 16, no. 1, mm. 9-17 Chapter 2 Example 2-1 : Schumann, Papi/lons, op. 2, lntroduzione Exarnple 2-2: Papillons, no. 1, mm. 1-8 Example 2-3: Papillons, no. 3, mm. 1-8 Example 2-4: Reductions of melodic fines, Papillons, lntroduzione and no. 5 Example 2-5: Papillons. no. 6, mm. 1-6 Example 2-6: Papillons. no. 7, mm. 1-6 Example 2-7: Papillons. no. 8, mm. 9-12 Example 2-8: Papillons, no. 10, mm. 25-36 Example 2-9: Papillons, no. 1 1, mm. 32-35 Example 2-10: Schumann, Intermeui. op. 4, no. 1. mm. 1-5 Exarnple 2-1 1 : Intermeui, no. 1, mm. 14-18 Example 2-12: Intermezzi, no. 1, mm. 43-50 Example 2-13: Intermezzi, no. 2, mm. 1-11 Example 2-14: Intermeui, no. 2, mm. 63-68 Example 2-15: Infermezzi, no. 2, mm. 29-38 Example 2-16: Intermeai, no. 3, mm. 15 Example 2-l?a:lntermeui, no. 3, mm. 16-33 Example 2-17b: Schubert, Impromptu, op. 90, no. 4, mm. 1-8 Example 2-1Ba: Intermezzi, no. 3, mm. 32-51 Example 2-18b: Beethoven, Sonata, op. 90, 1, mm. 19-28 Example 2-19a:lntermeui, no. 3, mm. 66-72 Example 2-19b: Schubert, Impromptu, op. 90, no. 4. mm. 22-27 Example 2-20: Intermezzi, no. 4, mm. 1-2 Exarnple 2-21: Intermezi, no. 5, mm. 1-11 Example 2-22: Intermeui. no. 6,mm. 1-7 Example 2-23: Intermezzi, no. 61 mm. 1 1-20 Example 2-24: Intermezzi, no. 6, mm. 43-46 Example 2-25: lntermezzi, no. 6, mm. 54-57 Chapter 3 Exarnple 3-1: Schumann, Carnaval. op. 9, "Préambulen,mm. 1-6 Example 3-2: Carnaval, "Pr6ambulen, mm. 7-1 2 Example 3-3: Carnaval, "Préambule", mm. 26-31 Example 3-4: Carnaval, "Préambule", mm. 37-42 Example 3-5: Carnaval, "Pr6ambulen, mm. 83-94 Example 3-6: Carnaval, "Pr6ambule1', mm. 1 14-1 21 Example 3-7: Carnaval, "Pierrot", mm. 1-8 Example 3-8: Carnaval, "Arlequin", mm. 1-7 Exarnple 3-9: Carnaval, "Arlequin", mm. 22-28 Example 3-1 0: Carnaval, "Valse noble", mm. 1-6 Example 3-1 1 : Carnaval, "Valse noble", mm. 13-1 9 Example 3-12: Carnaval, "Eusebiusn, mm. 1-5 Example 3-1 3: Carna val, "Florestan", mm. 1-1 2 Example 3-1 4: Carnaval, "Florestan", mm. 44-end Example 3-15: Carnaval, "Coquetten,mm. 1-5 Example 3-16: Carnaval, "Sphinxesn Example 3-1 7: Carnaval, "Papillonsn, mm.