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Schumann's Influence on Brahms' Early Piano Music

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Schumann's Influence on Brahms' Early Piano Music 31 IIS chumann ls insistence upon rhythmical displacements and syncopations is one of the most distinctive elements of his style. 1110 And Va'szonyi, though he makes no mention of extension or insistence, probably has the same thi ng in mi nd when he remarks, II Schumann has a 1ife long habit of writing rhythmic patterns across the bar line. lI l l Certain it is that in Schumann's music syncopations often come in an extended chain. Acase in point is Example 9a, where a series of syncopations is found in the soprano line. Example 9a. Schumann, Sonata in F-minor ,Op. 14, mvt. 1, mm. 90-97. Example 9b contains a syncopated chain in the alto line. Example 9b. ~ ~ - ,. Schumann, -..-. - , DavidsbUndler, , ,. I +­ -, , ( 7 I"i' " * .., , *~+.. *~ 6, No.4, .... ..-': i--:=:=+­ * ... --== ,l!' , '--= Op. L. mm. 32-43. ~. ... * i l :r -~~ * = :: . ­ ,~ ~ I' '~ ~~ ~ i l ~ ­ :~.--, +. lOOale, "Ptano Music,1I p. 64. llV~szonYi, 115010 Piano Music II,II p. 79. 32 In Example 9c, except for two brief rests in measures 7-8 and 15-16, all voices follow a syncopated pattern through 23 measures. Example 9c. ~~'-' Schumann, JI Faschingschwank aus W;en, Op. 26, mm. 95-118. And in Example 9d, a chain of syncopations in the soprano extends, if the prescribed repetitions are observed, to 48 measures, including 176 synco- pations in all. Example 9d. ~'.~:.- Schumann, Sonata c~-:.L-- ~ I .. ·. ..-­ . .. \. · ..• .::­ in F minor, O-~ ~F . - . "--­ - Op.-14, mvt. 3, ~- Variation III. l~7!:S- 33 Cross-rhythms, specifically the type produced by the simultaneous use of different divisions of the beat, as in the combining of triplets with either duplets or quadruplets, are found throughout Schumann's music. In Example lOa, the duple patterns of the upper voices conflict with the triplet figures of the bass. Example lOa. Schumann, Sonata in G minor Op.-22, mvt. 2, =--->:­ mm.8-11. i"P",!,,1 Example lOb contains a duple, syncopated figure in the second half of each measure in the bass part which conflicts with the triplet patterns of the alto and tenor voices. Example lOb. Schumann, Six Concert Etudes, Op. 10, No~, mm. 5-9. In measures 3, 7, 9, and 11 of Example 10c, cross-rhythms occur between the triplet figures of the soprano line and the quadruplet patterns of the bass. 34 Examp 1e lOc. Schumann, Phantasiest~cke, Op. 12, ilIn der Nacht, II mm. 1-12. \~ I!~~~~~~~~~~ -=== '-==f!' ~, ~=~~~ \~ tl~~~~~~ Schumann did not restrict the use of cross-rhythms to combinations of duple and triple rhythms alone. On occasion, he wrote patterns of five or seven notes against two, as shown in the following two examples. In Example lOd, a duple pattern in the upper voices confl icts with the quintuplets found in the tenor line on the last two beats of each measure. Example lOd. Schumann, Fantasie, Op. 17, mm. 17-18. In Example lOe, taken from the well-known "Eusebius," the quintup le ts , triplets, and septuplets of the upper voice are contrasted with the triple and duple patterns of the two lower voices. 35 Example 10e. Schumann, Carnaval, Op. 9, IIEusebius,1I mm. 27-32. The type of cross-rhythm which has just been described, is mentioned by at least one writer, Dale, who remarks that a "frequerrt use of cr-oss-r-hythms" is IItypical of Schumann1s highly individual style. 1I 12 It is clear that Dale uses the term IIcross-rhythmll in the same sense as we do, because her one illustration, shown below in Example 10f, shows simultaneously combined triplet figures in the upper voices with duple patterns in the tenor. Examp 1e 1Of. Schumann, Sonata in F minor, Op. 14, TTiHscarded Scherzo, II mm. 80-87. 12Da 1e, II Pian0 Mu sic, II p. 21. 36 It is odd that Dale chose her example from a work never published in Schumann's lifetime,13 since there are abundant examples to be found in the body of works published during Schumann's lifetime. Abraham also mentions "cross-rhythms" as an important characteristic of Schumann1s music. 14 But, as he does so without any explanation or examples, one can only guess at his intended definition of the term. He might mean the simultaneous use of different divisions of the beat, as in the passages we have just seen, or he could be referring to a type of syncopation, specifically the type that is often called hemiola. It is this latter type of "cross-rhythm" that Chissell has in mind when she remarks, "Schumann often uses duple and triple rhythms simultaneously,"15 since the example she provides, shown below in 109, presents what amounts to a 3/8 pattern in the uppermost voice in conflict with what is heard as a 6/16 pattern in the left hand part. 13Schumann sent a manuscript of a sonata in five movements to his pub­ lisher in February, 1836. The publisher returned the manuscript, sug­ gesting that Schumann omit both scherzos and publish the work as a "Concerto without Orchestra. II In June 1836, Schumann resubmitted the entire manuscript, with both scherzos crossed out, and with a new finale, and an expanded coda to the first movement. The publisher engraved the sonata, and it was published in this three-movement form in November, 1836. Later, for a second edition published in 1853, Schumann made several modifications, one of them being the inclusion of the original second scherzo. The first scherzo, being discussed here by Dale, was not included and was only first published posthumous­ ly, in 1866. (See: Linda Correll Roesner, "The Autograph of Schumann's Piano Sonata in F minor, Op. 14," Musical Quarterly, LXI, pp. 103-104.) 14Abraham, "Schumann," p. 85l. 15Chissell, Schumann, p. 93. 37 Example 109. Schumann, PhantasiestUcke, Op. 12, "Des Abends,1I mm.1-16. Solomon is another who points to the use of "cross-rhythms" "in SChumann1s music, specifically in the alternate finale of the G minor Sonata, which he cites as "displaying a wealth of cross-rhythms.,,16 The passage he selects, however, shown below in Example 10h, does not contain "cross­ rhythms" by any accepted definition of the term. Example lOh. Schumann, Original Finale to Op. 22, mm. 1-4. PUlloaalo IIflIUfl/O 16So1omon, "Solo Piano Music I," p. 53. 38 Schum~nn often repeated phrases immediately, at the octave above or below the original. Dale cites the end of Humoreske, Op. 20, as an example of this kind of repetition, which she finds a "frequent occurrence elsewhere. 1I 17 Here, as shown in Example 11 a, the fi rst phrase is repeated an octave higher in both hands; then a one-measure figure is repeated twice, again in both hands, at successively lower octaves. Example lla. Schumann, Humoreske, Op. 20, last 12 measures. Even though none of our other Schumann writers mention this characteristic, numerous examples are found throughout the music, several of which are cited below. In Example llb, the phrase is repeated at the octave above, with a slightly altered texture. 17 Dale, "Piano Music," p, 62. 39 Examp 1e 11 b. Schumann, Sonata "in G minor, Op.-22, mvt. 1, mm. 10-19. In Example llc, the repetition occurs at the lower octave. Example 11c. Schumann, Albumbltitter, Op. 124, No. 12, IIBurla,1I mm. 1-16. On occasion, the instances of octave repetition are multiplied within a short time span. Thus, in Example lld, the opening phrase, immediately repeated an octave higher, is brought back for identical treatment only fourteen measures later, to terminate this very short piece. 40 Example lld. Schumann, Carnaval, Gp. 9, ll IIArlequin , mm. 1-44. A similar procedure is followed in the Scherzo of the G minor Sonata, Op. 22. There, in the course of sixty-four measures, a four-measure phrase, immediately repeated at the octave below, reappears for identical treatment on two later occasions, so that the phrase and its repetitions occupy, in all, three-eights of the whole. Example lle shows the first statement of the phrase and its octave repetition. 41 Example lle. Schumann, Sonata in G minor, Op. 22, mvt. 3, m~ 5-~ f~ ~ '!. ~ ..... ~. , a ,...... ;;. - = .';).a= ." \~ Chi sse 11 states that arpeggi 0 fi guration is one of Schumann IS favorites. 18 Dale elaborates on this idea by saying IIS chumann ls typical use of broken or arpeggiated chords as figures of accompaniment is found in the first and last movements of the Fantasie, Op. 17, or as a purely decorative passage in the Etudes Symphonigues, Op. 13, Variation 9. 11 19 Dale offers two illustrations, both of which are shown in Examples 12a and 12b; however, the present writer cannot find in them the two distinct functions of broken chords that Dale does. Both passages use broken chords as accompaniment figures, and it is hard to see that the figures in the second example are any more "decorative" than those in the first. 18Chissell, Schumann, p. 101. 19 0al e, "Piano Music," p. 64. 42 Example 12a. Schumann) Fantasie) Op. 17) mm. 1-18. 43 Example 12b. Schumann, Symphonic Etudes, Op. 13, Var. 9, mm.11-15. Such occurrences of broken chordal passages are found throughout SChumannls music. One of them, shown below in Example 12c, is an extreme instance from the fourth movement of the F minor Sonata, which contains broken chords in every measure of the movement. Example 12c. Schumann, Sonata in F minor, Op. 14, mvt~ 4, mm. 175-90. --­f~----- 44 The first six measures of Example 12c above are also illustrative of another Schumannesque device, namely the combination of a broken chordal accompaniment with a lyrical melody doubled at the octave.
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