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. Although he is the only writer to do so, Solomon refers to this technique as "Schumann's most idiosyncratic 'scoring ' for the piano," and even calls it a "touchstone of Schumann's style."20 He cites a passage from the Fantasie, Gp. 17, as an example of this trait. (See Example 12a.) Accordi ng to several of our wri ters, counterpoi nt appears in SChumann's piano music in great abundance. Dale, indeed, calls attention to the "intensely polyphonic character of Schumann's pianoforte texture. 1121 She never expla-ins what she means by "intensely polyphonic. II But, judging from her one selected example, Humoreske, she means "intensely" in the sense of frequently, not densely, since the sections of Humoreske that she cites have a somewhat polyphonic character throughout, but never a dense one. Lippman, writing in the MGG, states that "Schumann's polyphonic characteristics abound in his piano music." 22 And Brown, speaking of Schumann's music from the 1830's, draws attention to his use of imitation, invertible counterpoint, and several different types of canon. 23 Vaszonyi draws attention to "Schumann's highly 24 ln. dilVl .d ua1 approac h t 0 counterpolnt,. 11 and cltes ci the Symp honlC . Etudes, Nos. 1,2, and 4 as examples.

20S010mon, "S01 0 Piano Music I," p. 64. 21 Dal e, "Piano Music," p, 66. 22Lippman, "Schumann," p. 303. 23Brown, Aesthetics, p. 142. 24Vaszonyi, "5010 Piano Music II," p. 84. 45

In Etude No.1, shown in its entirety in Example 13a below, two kinds of counterpoint appear. In measures 1-5, a set of imitative entries takes place in a texture that is not rigorously polyphonic. Measures 6-12 contain polyphony with some contrary motion, but with not much rhythmic differentiation. Measures 13-16, bringing the piece to a close, amount to a repetition, slightly modified, of measures 5-8. Example 13a. Schumann, Symphonic Etudes, Op. 13, No. 1.

Un poeo piil vivo II.II. J='12 poco. poco _c. ­

B

II

''''' 46 In Etude, No.4, shown below in Example l3b, the polyphony is obvious, at least to the eye. A two-voice canon takes place between the right and left hands. Each voice is doubled in octaves, and every octave is filled in with one or two notes, producing what Brown calls "chordal canon." This term, though perhaps apt enough, is at least slightly questionable in this instance, since the complete chords of the dux are not exactly echoed by the comes. Example l3b. Schumann, Symphonic Etudes, Op. 13, No.4.

, .if. , . . r~ .. . .~ : .' 1c ­ r' , ~~ r' .. , ( P",{al,. , " -~ -~ ~'r-.. \'~':-~"E ~ .~ I .- ---.--­ -I~i&i~~=- .. ( ."

:::E::. ,--r ! .:1' :t;:£~ _·'~fJ_!~

'- .... -rt, 47

In Etude No.2, which Vaszonyi cites for its counterpoint and its "truly symphonic effect,"25 a melody in the topmost part is accompanied by a slow, plodding bass with repeated-note chords between. Ordinarily, the texture of such a passage would be called homophonic. In this case, however, as the bass is thematic, one might agree that the result is slightly contrapuntal. In drawing attention to the "truly symphonic effect, II Vaszonyi is perhaps referri ng to the wi de spaci ng of the sonorities. (See Example 13c.) Example 13c. Schumann, Symphonic Etudes, Op. 13, No.2, mm. 1-4.

---I rrr=s­ -­ ~~­ ..... • "."rt'"fu if n ...",n '".11fP"" f'ol P,.dn/,.

~_I.:-­ ... ~. """ ....-0'1 -­ w -­ • •••••••••

, .­ ~-

•

25l/aszonyi, "5010 Piano Music II," p. 84. 48

Though counterpoint has been present in all of the last three examples, it is difficult to learn from them what Vaszonyi means by "Schumann's highly individual approach to counterpoint. II Schumann1s treatment of counterpoint is more varied than is revealed by the few examples shown to this point. Another one of the Symphonic Etudes, No. 11, part of which is shown below in Example 13d, provides an illustration of counterpoint with rhythmic differentiation between the upper two lines and with short imitative exchanges beginning in measure 14 and lasting to the end of the piece. Example 13d. Schumann, Symphonic Etudes, Op. 13, No. 11, mm. 9-19.

• tin 49 Another instance of counterpoint is found in Example l3e, in which the topmost voice and one of the inner voices move in similar motion, while the alto voice proceeds either in opposite motion or remains stationary. The bass, which is partially doubled in the lower octave, proceeds in a dotted-note pattern through several descending scales. Example l3e. Schumann, Toccata, Op. 7, mm. 25-30.

1 = rlr I r-1 ~ r1 yo---­

~ - t::::::1 F=l ~== -­ ...... / ,...... , ...... -- . .-# • . s Ifl r-l J.. lr) r--=l - ::I r1. , :; ~ r­ 50

ll Canon, of which we have already seen an unusual, II chordal example, is, in its normal variety, a device that is important in SChumann1s music. Chissell writes that Schumann makes wide use of canon,26 and cites a letter of Robert's to Clara27 in which he reveals his fascination with this technique: It is most extraordinary how I write almost everything in canon, and then only detect the imitation afterwards, and often find inver­ sions, rhythms in contrary motion, etc. 28 Again, Brown, writing of the piano music of the 1830 1s, mentions canon as an important contrapuntal device,29 and gives several examples, which are cited below. In Example 14a, a strict canon takes place between the two parts at the distance of two measures, with each part doubled in octaves. Example 14a. Schumann, Papillons, Gp. 2, No.3, mm. 16-26.

26Chissell, Schumann, p. 89. 27Unfortunately, Chissell does not provide a date or source for this 1etter. 28As quoted and translated in Chissell, Schumann, p. 89. 29Brown, Aesthetics, p. 142. 51 One of Brown1s other illustrations is found in Example 14b. Here, a stri ct canon occurs between the soprano and bass in measures 17-25. Thereafter, though imitative exchanges occur continually, the imitation is never sustained enough to justify the use of the word "canon." Example 14b. Schumann, Carnaval, Op. 9, IIReconnaissance,1I mm. 17-44. 52

This same work, Carnaval, provides another example of canon; this time in

"Est re l l a ," part of which is shown below in Example 14c. The canon unfolds at the close time interval of one beat, producing some mildly abrasive chromaticism. Example 14c. Schumann, Carnaval, Op. 9, IIEstrella,1I rnm. 13-29.

A more protracted canon is found in Example 14d below. Here the top two voices move in strict canon throughout the entire piece, which lasts for forty-one measures beyond the passage shown below. 53

~t i••is." A..drllek (J.. .0 ) -: Example 14d. A -~ . .. - Schumann, I"" .. ~ _---=:--to ~ '~~I Studien fUr den 1 • --:;;'~-P.J: I I...... t

~ __'n-...:=--­ .­ mm. 1-15. p -­ -

riff'''''. n terepo

A_~ ,,..... '" --= .., ---- - ·WV IiO , 1;*' -, '~I "~ -==,,=-' '~~i -'..~ .. - I ~ -~. ==--­ Eight other musical devices have been claimed by one or more of our writers as characteristic of Schumann's style. These are about to be set aside, however, because the present writer considers that none of them is actually distinctive. Dale, for instance, refers to the use of sequential repetition as "one of Schumann's less pleasing idiosyncrasies.1I 30 She cites Nos. 1 and 12 of the Albunb l at.ter , Op. 124, as pieces containing "short sequences and reiterated metrical figures. 1I 31 No.1, "Impromptu," contains, along with

300ale, "Piano Music," p. 50. 31 Ibid., p. 50. 54 many repeated metrical figures, eight sequences, only one of them running through its melodic motive more than three times (mm. 3-4,7-8, 10-11,15, 17-20,23-24,29-30,33-34). And IIBurla,1I No. 12, contains ten sequences, again with repeated metrical figures; in this composition, too, only one sequence goes beyond three-fold repetition (mm. 1-6, 9-14, 22-23, 26-27, 30-31, 34-36, 38-40,46-49, 50-55, 58-63). Similarly, Solomon points to

Schumann's use of "fl owi nq sequences ll 32 and cites a single example, namely measures 8 to 15 of the first movement of the F minor sonata, in which two short sequences are present (mm. 8-9, 12-13). Neither writer shows that Schumann's sequences, in their frequency, length, or any other feature, are different from those of any other composer. Similarly, Dale states that IIS chumann ls formation of a theme from a . broken chord pattern occurs in many of his compositions, from the theme of the ~ Variations, Op. 1, down to the GesM.nge der Fr~he, Op. 133. 11 33 However, this musical device is also found in compositions throughout the eighteenth and nineteenth centuries, and Dale gives no hi ntthat Schumann's treatment of it is in any way unique. Chissell writes that "Schumann often worked his melody into an arpeggio accompaniment. 1134 She is, however, the only writer to point to such a feature; and, at least to the present writer, she does not make her meaning clear. Neither has a perusal of Schumann's music yielded any cl ue.

32So1omon, "5010 Piano Music I," p. 43. 330al e, "Piano Music," p. 63. 34Chissell, Schumann, p. 112. 55

As is well known, the themes of three of Schumann I s works, the

Variationen Uber den Namen ~, Carnaval, and the "Nordisches Lied" from the Album fUr die Jungend, are based on the musical letters included in certain proper names. Four of our writers--Abraham, Solomon, Vaszonyi, and Brown-_ 35 all make reference to these works and see them as revealing a characteristic trait. But this device, while undoubtedly revealing something significant in Schumann's imaginative character, does not represent a general stylistic trait. In addition, only one of Brahms' melodic motives is based on a similar device. In the G major sextet, Op. 36, Brahms incorporates several musical quotations of the first name of a former girlfriend, Agathe von Siebold. It is certainly conceivable that Brahms may have been influenced by Schumann in this case, but since the composition of this work falls after the time period being presently studied, and since this device is no more a general trait in Brahms than it is in Schumann, it will not be taken into consideration below. Some might argue that the idea of Brahms' "fre i aber f roh" motto, first appearing in the Ballade, Op. 10, No.3 (1854), stems from Schumann's influence; however, Brahms writers agree that this motto owes its origin instead to Brahms· connection with Joachim. 36

Two of our writers, Chissell and Solomon, have pointed to "Iyri ci sm'' as a Schumannesque characteri sti c, but neither writer shows that

35A~raham, "Schumann," p. 850; Solomon, "Solo Piano Music I," p. 63; Vaszonyi, "Solo Piano Music II," pp. 87-88; Brown, Aesthetics, pp. 77, 86. 36Latham, Brahms, p. 101; Geiringer, Brahms, p. 205. 56

Schumann IS lyri ci sm is in any way di fferent from that of any other

composer of the period. Chisse11, for example, writes that "Schumann vs innate lyri ci sm" may be found ina11 of the slow movements of the pi ano sonatas. 37 One wonders whether thi s statement woul d not be equally app1i cab1e to Beethoven, Schubert, Mendelssohn, and Chopi n, to say nothing of Brahms. Dale, writing about Schumann's piano music, calls octave doubling

"Schumannvs most characteristic method of treating the melody.1I38 Undoubtedly, this device is characteristic of Schumann in that he frequently employed it; in the same sense, however, it is also characteristic of many other composers of the time, including Beethoven, Schubert, Chopin, and Liszt. Thus, Brahms, incorporating frequent octave doublings into his compositions from the very beginning of his career, may have derived this technique from practically any composer of piano music who was active during the first half of the nineteenth century. Dale, the only one of our writers to point to the following device,

remarks, II Schumann often wrote passages in contrary motion. 1139 She cites the coda of the second movement of the Fantasie, Op. 17, as an example. This passage, however, is not an example of contrary motion in the usual contrapuntal sense. With its very wide leaps moving in opposite directions, it is more an exercise in rapid changes of sonority. Nor does a perusal of Schumann's music support the notion that contrary motion is frequently employed.

37Chisse11, Schumann, p. 11l. 38Dal e, "Piano Music," p. 45. 39Ibi d., p. 67. 57 Finally, according to Chissell, "the most interesting feature of [Schumann's] music is the preoccupation with unity by means of economy of 4 material and inter-thematic relations of the movements. 11 0 If she means the derivation of themes from a generating note group, as in Carnaval, this technique is certainly not unique to Schumann, because other composers of the era, including Schubert, Mendelssohn, and Liszt showed interest in it. Thus, Brahms, employing "inter-thematic relationships" in his Sonata in F-sharp minor, Op. 2, written before he knew any of SChumann's music, certainly got the idea from someone other than Schumann. To summarize, then, these are the eleven traits here identified as distinctively Schumannesque: 1) Chains of suspensions, retardations, or anticipations; 2) Chains of anticipations occurring simultaneously with chains of suspensions or retardations; 3) Extended pedal points; 4) Feminine endings; 5) Chains of syncopation; 6) Cross-rhythms; 7) Immediate phrase repetition at the octave; 8) Extended broken-chord accompaniment; 9) Melody in octaves with broken-chord accompaniment; 10) Non-canonic counterpoint; 11) Canon.

40Chissell, Schumann, p. 97. 58 CHAPTER 3 SCHUMANNESQUE TRAITS IN BRAHMS· EARLY PIANO MUSIC

The aim of this chapter is to discover the degree of prominence a given Schumannesque trait may possess in the selected Brahms works. This is to be achieved, not by counting the number of occurrences, but rather the number of measures in which the trait occurs. A moment's reflection should make this clear. In a movement containing one hundred measures, for example, cross-rhythms might appear three times in one measure, and' nowhere else. Surely the useful observation to make in such a case would be that the trait appeared in 1% of the movement. How would we know what significance to attach to the fact that the number of occurrences was three? Similarly, if a pedal point were to extend through the entire length of a movement, the fact that the latter contained one occurrence of a pedal point would not be nearly so significant as the fact that 100% of the movement was given over to this device. For simplicity's sake, every measure, whether full or fractional, is counted as one. Thus, where an occurrence of a particular characteristic runs through several consecutive measures--e.g., a chain of suspensions beginning in measure one and ending in measure five--all the measures are counted in their entirety, whether or not the characteristic itself runs through the whole of the first and the last measures. Admittedly, a degree of inexactitude is introduced by this method. But, as the point of the investigation is simply a statistical comparison between the two bodies of music, this should not materially affect the results. 59 Two of the traits--canon and immedi ate phrase repetiti on at the octave--require an extra word in explanation. In a canon, the measures are counted, again as whole measures, from the beginning of the dux to the end of the comes. Where a phrase is immediately repeated at the octave, only the measures containing the repetition are counted, not those containing the phrase in its initial pronouncement. The measure count for each trait is tabulated for every individual movement, whether this is an independent work or part of a multi-movement composition. The total is then divided by the number of measures in the movement. The resulting percentages are then added together and divided by the total number of movements in the group. The resultant average percentages, one set for each group, are used to make the comparison between the earlier and later compositions of Brahms. Table 21 contains the results of the analysis for Schumannesque characteristics in the three earlier compositions. As can be seen, two of the Schumannesque traits, chains of suspensions, retardations, or antici­ pations, and chains of anticipations occurring simultaneously with chains of suspensions or retardations, are completely absent from this first group of compositions. Most of the remaining traits occur very rarely. However, three characteristics make signifi cant appearances in these early works, then decl i ne in thei r frequency of usage in the 1ater compositions, for which reason they are to be discussed now.

lThe results of the analysis of individual compositions may be found in the Appendix. 60 TABLE 2 PERCENTAGES OF SCHUMANNESQUE TRAITS PRESENT IN THE TOTAL NUMBER OF MEASURES (in Brahms' piano compositions written before contact with Schumann's music):

Chains of suspensions, retardations, or anticipations 0% Chains of anticipations occurring simultaneously with chains of suspensions or retardations 0% Extended pedal points 13.8% Feminine endings 0.7% Chains of syncopation 5.1% Cross-rhythms .78% Immediate phrase repetition at the octave 3.7% Extended broken-chord accompaniment 15.6% Melody in octaves with broken-chord accompaniment 5.4% Non-canonic counterpoint 3.6% Canon 1. 3% 61

Of these three traits, the first, the use of extended pedal points, has here an average occurrence of 13.8%. An example of this characteristic, as found in these compositions, is seen below in Example

15a.

'­

p--==== p~. ~ ::-. .. --­,,' I J 1 ~-:-i ",arcata la melodia ,.----­ t ~ q!--­ __, Example 15a. Brahms, Sonata in F-sharp iiiTnor, Op. 2, mvt. 2, mm. 19-24.

Here, the pedal note on G, found in one of the inner voices, continues, separated by sixteenth-note rests, for six measures. Another instance of this trait, found below in Example 15b, is a repeated note pedal on C in the traditional location of the bass part, which continues through the last fourteen measures of the trio section. 62 Example l5b. Brahms, Sonata in C, Op. 1, mvt. 2, --­ mm. 72-85.

atemp0 f\ ~ ,..., ~ , .>. ~ •

.~ tJ COil "8 /'e88. ,., ~ ::::=-P1J./ '-' ~ }. '.'f\ .J+.J ~ I :J.~ , J f J.JIiJ I I I : "

~'. [~~fJ ~. ped61 Ada io 1":\ ...I

~ ~...... attacca it 8,"11",':0

Another of the three Schumannesque traits to make a significant appearance in this early group of compositions is the immediate repetition of a phrase at the octave. In Example l6a, the octave repetition begins in measure 596 and continues through measure 601.

Example 16a. , Brahms, Scherzo A I .. in E-flat minor, tJ I Op. 4, mm. 588-602. 10-ben81/1t'C. k I it -rI

I ~ ~ ~ ~

..;. ..;. ~~~ 8:····· ..,;.······: ..···..······· ..···..······· II I ...... tJ fI, ft .. f( ¢, ~ poco a ~~o accelera;-w

I I I ~ '!" '!" ~ 63

However, in Example 16b below, the repetition of the phrase in measure 100 is written not just one, but two octaves below the original, with the addition of some contrapuntal elaboration. Example 16b. Brahms, Sonata in F-sharp minor, Op. 2, mvt. 1, mm. 92-105.

•• • • .----.~..... ~ - .. • > >

• • ,#~_r pdolce------­ r~ • • .. • • • 9 I .9

broken-chord accompaniment. In Example l7a t the lowest voice t actually

the theme in augmentation t sounds in octaves while the uppermost part proceeds in a broken-chord pattern and the inner voices fill out the harmonies.

Example l7a. Brahms t Sonata in F-sharp minort Op. 2, mvt. 4, mm. 258-262 .

...arcato I ballo ~

~.~,. ~. L_ : .. .b.. • .. b. L ! " " .. r

~ .~ ...... : ! - - '~~ i \ " .~ ~, '!' v',!, ~ II~~ /: ; • • t~ ~ ~>- >­ >­ / tit. II -oBttlfl.. I\c.L­ ~ '-':-;) 0i r ~. 65 The application is somewhat different in Example l7b, where the broken chords appear in the middle voices while a countermelody sounds in the soprano. Example l7b. Brahms, Sonata in C, Op. 1, mvt. 2, mm.-54-63.

rit. r.'\

rit.poco a poco

.arcato

Table 3, found below, presents the results obtained from the analysis of the later Brahms compositions. As can be seen, the three Schumannesque traits we have been di scussi ng--extended pedal poi nts, 66 immediate phrase repetition at the octave, and melodies in octaves with broken-chord accompaniments--decline in frequency in the later group. Thus, they cannot be taken as indications of Schumann's influence, since, having appeared in Brahms· music independently of any knowledge of Schumann on Brahms ' part, they di d not ri se infrequency once that influence had been felt. As the comparison reveals, the two Schumannesque traits that occur with the lowest frequency in the later group--namely, chains of sus­ pensions, retardations, or anticipations and the chains of anticipations occuring simultaneously with chains of suspensions or retardations--are those that had not been found at all in the earlier works. Though their percentages here are small, 1% and .89% respectively, the significant fact is that these traits--and particularly distinctive ones they are at that-­ are now present. As can be seen where they are marked by arrows, several short chains of suspensions appear throughout Example 18a. 67 TABLE 3 COMPARISON OF SCHUMANNESQUE TRAITS IN WORKS WRITTEN BEFORE AND AFTER CONTACT WITH SCHUMANN1S MUSIC (expressed in percentages of the total number of measures):

Before After Schumann Schumann Chains of suspensions, retardations, or anticipations 0% 1. 0% Chains of anticipations occurring simultaneously with chains of suspensions or retardations 0% .89% Extended pedal points 13.8% 12.3%

Feminine endings .07% 1. 5% Chains of syncopation 5.1% 11.0% Cross-rhythms .78% 8.99% Immediate phrase repetition at the octave 3. 7% 2.3% Extended broken-chord accompaniment 15.6% 19.0% Melody in octaves with broken-chord accompaniment 5.4% 2.4% Non-canonic counterpoint 3.6% 14.5%

Canon 1. 3% 4% 68 Example l8a. Brahms, Variations on an Original Theme, Op. 21/1, Va~ ~ mm. 55-72. --It

In Example l8b below, multiple suspensions and retardations occur in thirteen of the twenty-four measures.

Example l8b. Brahms, Variations on ~ Theme gy Schumann, Op. 9, Var. 16, mm. 296-419. Var. i6 A .... Adagio u.prspp -t ..vi - ­ t) .. ~ ·L~ F' u •I 1J1J il ba..I. o aemprs r legato I : . Q' ~. .10.1.' ~. -:to '--- . 77· 7J. ~. j. - '". ~. Ifti}. 0-----­ -eo' A .... " .v 'V I ...... --.1 L

, ~r:;,-,. "~(J"~. t) .. -'--' .::!?-* I I I po~o cre~c. I ~ "'­ : " ~. 4' - I I T -eo'

pp .:. legato

di'" 69 The use of feminine endings, though the figures are still small in absolute terms, increases by more than 2000%, or twenty times. Brahms uses all of the three types of feminine endings as found in Schumann's music. In Example 19a, the penultimate cadential chord occurs on the downbeat while the tonic chord appears on a weak beat.

1':\ fA " II - Examp 1e 19a. Brahms, Variations tJ I ... vT-=-j r on ~ Theme ~ Schumann, _L~".j r-J; .: -;'"' n Op. 9, Var. 7, mm. 187-88. r ~ I r Example 19b presents a multiple suspension on the downbeat of the final measure that clouds the tonic chord until a weak beat.

~~ ~ 16 II ; .... Example 19b. Brahms, Variations on . ~ Theme ~ Schumann--, Op. 9, Var. 16, ~. ~. mm. 418-419. ?,J. --~~j

In Example 19c, the melodic motion continues, after the tonic chord has sounded, to a weaker point in the measure.

Example 19c. Brahms, Ballades, Op. 10, No.4, mm. 92-93. 70

It is particularly interesting to note that seven of the sixteen variations making up Opus 9, including the final one, close with feminine endings. The Schumannesque trait of chains of syncopations here increases its frequency of occurrence by 115%. In Example 20a, a particularly extensive case, the syncopations in the upper voices continue in an uninterrupted chain for twenty-nine measures.

1 I dolc. " I ~ I

v I" i:» ~ ''­ ...... ~ -'~ .-.-/ P¥ ~ "'...... ppI" 1···P...... vo -­ ...-;:;­ 1-:>­ ~ J~I-= 1 - ~ • 'r ~ ~ r -,,~r ~ r I t:

r

l~ f' f' f' F' f' Example 20a. Brahms, Sonata in F minor, Op.-5, mvt. 1, I. mm. 88-112. 71 In Example 20b, the use of syncopation in the upper voices is not quite as extended; however, it does serve as the basis for an entire variation. Example 20b. Brahms, Variations on a Theme ~ Schumann, Op. 9,-Var.-2-,--­ mm. 49-60.

Var.2 Poco pin moto e. ,.e"ivo

cresc.

in tempo

p ere.e.

r·z·~> ____ 72 Cross-rhythms increase by more than ten times, or by more than 1000%, in this group of later compositions. In Example 21a, one of five variations from Op. 21, No.2 that are based on cross-rhythms, the duple patterns of the upper voices conflict with the incessant triplet figures in the bass.

Example 21a. Brahms, Variations on ~ Hungarian Theme, Op. 21711, Var. 5, mm. 41-48. Var5 _~m- ,., ----.--.. -"1_ cr-

It) ; tI",,":, ~.J - ~ =.- ~ = -­

...... ~

I -; !!~ . ~ -t -.-/"

Example 21b demonstrates an extended chain of cross-rhythms between the triplets of the upper voice and the duple patterns of the bass. Example 21b. Brahms, Ballades, Op. 10, No.4, mm. 47-53. Piillento ll~: l' 73 The use of extended broken-chord accompaniments, although already present to a considerable degree in the earlier works, increases by 21.8% in the later compositions. Typical are the broken chords in Example 22a, which continue for thirty-one measures beyond the passage shown below. Example 22a. Brahms, Ballades, Op. 10, No.4, mm. 1-14. 74 In Example 22b, the broken-chord accompaniment continues throughout the entire variation. Example 22b. Brahms, Variations on an Original Theme, Op. 211I, Var: 2:" ar,

" .... Pium~ ~ ~ I . I -~ .>: ;­ : It) II r I p ••p,..mtJo I~~ .~~ I~ I ...... - - .b• - -­ u..lJ.I~

~ ~ ~ ~.~ " .... ~ .... »>: I ... • ·. I~ r I r p tIf"tt.c. .... ~. _I.._ 1 · . LL!'f I I ~ -" "

--.. ~ i:-~ It. iI 2. I " .... j : I~ I 'I ~,~ p do~ le P 'j;..... ~ ===- 1 - : r I I I"' r I "f I I -j-- f -­ ~~.9 Non-canonic counterpoint increases by more than 300% in the group of later compositions. An example of this trait, shown below in 23a, presents a theme with a countermelody that is rhythmically differentiated from it.

Example 23a. Brahms, Variations on ~ Hungarian wu..-Hu' melo(h~~ Theme, Op. 211II, Var. 1, mm. 9-16. Va~1 ~ ~ ~ ., ...,..... ::... . '?'. II. ~ . ~ ~~. 75 Example 23b presents several different types of counterpoint. First, the bass line of the original theme, now the melody for this variation, has been inverted to serve as the bass part in this variation. Second, a passage beginning in measure 245 contains some sections of imitation in contrary motion between the two upper voices. This passage, which ends in measure 251, is accompanied by arpeggiated chords.

Example 23b. Brahms, Variations on ~ Theme gy Schumann, Op. 9, Var. la, mm. 236-251. 76 Canonic counterpoint increases here by 207%. Canons not only appear as sections within compositions, as in Example lOa, but in four instances, as entire variations. Example 24a. Brahms, Variations on a Hungarian Theme, Op.-21!II, ----­ mm. 181-86.

In fact, four of the sixteen variations in the Op. 9 set are canonic throughout. The canons, however, are not of the traditional, scholastic type. For example, the eighth variation is not an exact canon by any means; the comes is presented in broken octaves, interrupted by brief rests and inverted bass notes. (See Example 24b.) 77

Va~8 Example 24b. Brahms, Variations on a Theme Andante \DOD troppo leDto) ~ Schuma nn, 0p. 9,Var.-8-.­ "",,.,,,n,,o

'dole"

In variation fourteen, shown in Example 24c, the canon, accompanied by arpeggiated chords, is at the unusual interval of a second. 78 Example 24c. Brahms, Variations on a Theme ~ Schumann, Gp. 9,-Var.~

~ .. " ) -t ~. r. "f l 1 - - tJ ~ ~ - ere.e . .. i- • • . • : - L­- I I I tJ I I --v ,. '\ I 'I r'" I I tJ Iff> - - ., -1.­ ~ J-;- ~ A .. II ., L"'~ . 10..1 -. B ...... l

---= = ~ l'~ .· • ...... , ­ ~ tJ I I 1 tJ I'" 'I . 1 .. ~~~ I f.'" ==>. JI~ # -

I.

In the fifteenth variation of this set, the canon is at the lower sixth, but transposed two octaves downward. (See Example 24d.) 79

Example 24d. Brahms, Variations on ~ Theme £i Schumann, Poco Adagio Op. 9, Va r . 15. tt.pre..ivo

---f-..-=r fIIolto Mtm. :>~----;"----- 80 So much for our comparison, from which a conclusion will presently be drawn. First, however, though it does not bear directly on our investigation, I would like to offer one more piece of evidence of Schumann's influence on Brahms; because to judge from the writings here taken into account, it does not appear to have been mentioned in the literature to date. That is, Brahms, in his Variations on ~ Theme ~ Schumann, Op. 9, incorporates, not counting the theme, substantial quotations from three of Schumann's compositions. For example, the ninth variation is a re-writing of the Albumb l atter , Op. 99, No.5. It is fifteen measures shorter than Schumann's and has some slight alterations in the harmony. Otherwise it is unquestionably a paraphrase. (See Examples 25a and 25b.) 81

Example 25a. Brahms, Variations on ~ Theme ~ Schumann, Op. 9, Var. 9, mm. 215-235. 82

Example 25b. Schumann, Albumbl~tter, Op. 99, No.5, mm. 1-17. 83

Variation fourteen bears a close similarity to "Chop i n" from Schumann's Carnaval, Op. 9, in its lyrical melody, arpeggiated chords, and rhythmic variant. (See Examples 26a and 26b.) Example 26a. Brahms, Variations on a Theme £y Schumann, Op. 9,-Var.~ mm. 336-369.

Var 14 Andante ,.

--== A .. ) "I ~- . ., .. ...---, !

.., ~ .. p-­ .. -­ : cre,c • .. : • -tJ Til .... r 'I 1 'I r I I tJ T

=== - 84 Example 26b. Schumann, "Chopin," from Carnava1, Op. 9, mm.1-14 .

.~. 'AI 'f..l. D.S.

Finally, Brahms incorporated ~he first six notes of a theme of C1ara's, used by Robert in the Impromptus, Op. 5. This quotation, transposed and rhythmically diminished, occurs in the inner voice at the end of the tenth variation. (See Examples 27a and 27b.) 85

Example 27a. Brahms, Variations on ~ Theme ~ Schumann--, Op. 9, Va r . 10 , mm. 265-67.

Example 27b. Schumann, Impromptus, Op. 5, mm. 17-20.

* * * * * * * * * *

As we have seen, six of the salient traits of Schumann's style occur with markedly greater frequency in the later group of Brahms' compositions, while two other characteristics, and possibly the most distinctive, appear in the later group for the first time. Thus, although our study has been limited to selected writers and to selected groups of works, and therefore, cannot claim definitive results, it seems fair to assert that we have here set forth, for the first time, solid musical evidence in support of the hitherto unsubstantiated notion that Schumann's influence played a significant role in Brahms' stylistic development. Moreover, we are now able to describe the Schumannesque elements in Brahms' early style with at least a modicum of precision. We may hope, also, to have made a beginning on which others interested in the Schumann-Brahms connection may bui 1d. For so long as the ni neteenth century's music remains a matter for serious investigation, the intellectual relation between two of the period's greatest figures cannot fail to be of interest. 86 APPENDIX TABLES OF THE SCHUMANNESQUE CHARACTERISTICS AS FOUND IN INDIVIDUAL WORKS

Table 4. Scherzo for Piano in E-flat minor, Op. 4, (1851). Table 5. Sonata for Piano in F-sharp minor, Op. 2, (1852). Table 6. Sonata for Piano in f, Op. 1, (1852-early September, 1853). Table 7. Sonata for Piano in F minor, Op. 5, movements 1, 3, and 5, (October, 1853)-. --­

Table 8. Variations on ~ Hungarian Theme, Op. 21, No.2, (1853).

Table 9. Variations on ~ Theme ~ Schumann, Op. 9, (1854). Table 10. Ballades, Op. 10, (1854). Table 11. Variations on an Original Theme, Op. 21, No.1, (1856). 87 Table 4. Scherzo for Piano in E-flat minor, Op. 4, (1851).

Schumannesque traits present (expressed in percentages of the total number of measures):

Extended pedal points 8% Feminine endings .62% Chains of syncopation 9% Immediate phrase repetition at the octave 6% Extended broken-chord accompaniment 5.5% Canon 1.4%

Schumannesque traits not present:

Chains of suspensions, anticipations or retardations Chains of anticipations occurring simultaneously with chains of suspensions or retardations Cross-rhythms Melody in octaves with broken chord accompaniment Non-canonic counterpoint 88 Table 5. Sonata for Piano in F-sharp minor, Op. 2, (1852).

Schumannesque traits present (expressed in percentages of the total number of measures): Movement 1. Extended pedal points 4% Chains of syncopation 1.5% Immediate phrase repetition at the octave 7% Extended broken-chord accompaniment 11.6% Melody in octaves with broken-chord accompaniment 6.6% Canon 2%

Movement 2. Extended pedal points 20.4% Chains of syncopation 9.2% Cross-rhythms 2.3%

Movement 3. Extended pedal points 35.9% Immediate phrase repetition at the octave 9.2% Movement 4. Extended pedal points 2.85% Chains of syncopation 12.9% Immediate phrase repetition at the octave 2. 1% Extended broken-chord accompaniment 22.5% Melody in octaves with broken-chord accompaniment 2.5% 89 Table 5. Continued

Schumannesque traits not present in the entire work:

Chains of suspensions, anticipations or retardations Chains of anticipations occurring simultaneously with chains of suspensions or retardations Feminine endings Non-canonic counterpoint 90 Table 6. Sonata for Piano in C major, Op. 1, (1852-early September~3"f" -

Schumannesque traits present (expressed in percentages of the total number of measures): Movement 1. Extended pedal points 14.4% Chains of syncopation 4.8% Cross-rhythms 5.2% Immediate phrase repetition at the octave 3% Extended broken-chord accompaniment 23.7% Melody in octaves with broken-chord accompaniment 3. 7% Non-canonic counterpoint 3.6% Canon 7%

Movement 2. Extended pedal points 16.5% Cross-rhythms 3.5% Extended broken-chord accompaniment 31.8% Melody in octaves with broken-chord accompaniment 21.2% Non-canonic counterpoint 23.6%

Movement 3. Extended pedal points 1-5.2% Chains of syncopation 2.6% Immediate phrase repetition at the octave 1. 3%

Non-canonic counterpoint 1. 3% 91 Table 6. Continued

Movement 4. Extended pedal points 4.9% Chains of syncopation 6.2% Cross-rhythms 3.6% Immediate phrase repetition at the octave 4.9% Extended broken-chord accompaniment 45.4% Melody in octaves with broken-chord accompaniment 15% Non-canonic counterpoint 5.2% Canon 3.3%

Schumannesque traits not present in the entire work:

Chains of suspensions, anticipations, or retardations Chains of anticipations occurring simultaneously with chains of suspensions or retardations Feminine endings 92 Table 7. Sonata for Piano in F minor, Op. 5, movements 1, 3, and 5, (October, 1853)--. ------

Schumannesque traits present (expressed in percentages of the total number of measures):

Movement 1. Chains of suspensions, anticipations, or retardations 6.4% Extended pedal points 24.8% Chains of syncopation 15% Cross-rhythms 6% Immediate phrase repetition at the octave 1.8% Extended broken-chord accompaniment 11%

Movement 3.

Chains of suspensions, retardations or anticipations 3.9% Extended pedal points 2.3% Immediate phrase repetition at the octave 5.5% Extended broken-chord accompaniment 18% Melody in octaves with broken-chord accompaniment 14.8% 93 Table 7. Continued

Movement 5.

Extended pedal points 7.1% Chains of syncopation 2.2% Cross-rhythms 3.6% Immediate phrase repetition at the octave 3.3% Extended broken-chord accompaniment 29.3% Melody in octaves with broken-chord accompaniment 5.8% Canon 7.1%

Schumannesque traits not present in these movements:

Chains of anticipations occurring simultaneously with chains of suspensions or retardations Feminine endings Non-canonic counterpoint 94

Table 8. Variations on ~ Hungarian Theme, Op. 21, No.2, (1853).

Schumannesque traits present (expressed in percentages of the total number of measures):

Extended pedal points 11.4% Feminine endings 11.4% Chains of syncopation 3.7% Cross-rhythms 18.8% Immediate phrase repetition at the octave 1.5% Extended broken-chord accompaniment 13.5% Non-canonic counterpoint 9.8% Canon 3.2%

Schumannesque traits not present:

Chains of suspensions, retardations or anticipations Chains of anticipations occurring simultaneously with chains of suspensions or retardations Melody in octaves with broken-chord accompaniment 95

Table 9. Variations on ~ Theme ~ Schumann, Gp. 9, (1854).

Schumannesque traits present (expressed in percentages of the total number of measures):

Chains of anticipations occurring simultaneously with chains of suspensions or retardations 3.1% Extended pedal points 3.8% Feminine endings 2% Chains of syncopations 9% Cross-rhythms 3.3% Immediate phrase repetition at the octave 2. 1% Extended broken-chord accompaniment 31.3% Non-canonic counterpoint 5% Canon 23.4%

Schumannesque traits not present:

Chains of suspensions, retardations or anticipations Melody in octaves with broken-chord accompaniment 96

Table 10. Ballades, Op. 10, (1854).

Schumannesque traits present (expressed in percentages of the total number of measures):

No. Extended pedal points 5.6% Cross-rhythms 26.8% Immediate phrase repetition at the octave 5.6% Non-canonic counterpoint 29%

No. 2 Extended pedal points 7.4% Chains of syncopation 34.2% Cross-rhythms 2% Immediate phrase repetition at the octave 2.7% Non-canonic counterpoint 35%

No. 3 Extended pedal points 15.3% Chains of syncopation 31.5% Non-canonic counterpoint 54%

No. 4 Extended pedal points 26.4% Feminine endings 1.4% Cross-rhythms 21.6% Extended broken-chord accompaniment 58. 1% 97 Table 10. Continued

Schumannesque traits not present in the entire work:

Chains of suspensions, retardations or anticipations Chains of anticipations occurring simultaneously with chains of suspensions or retardations Melody in octaves with broken-chord accompaniment Canon 98 Table 11. Variations on an Original Theme, Op. 21, No.1, (1856).

Schumannesque traits present (expressed in percentages of the total number of measures):

Chains of anticipations occurring simultaneously with chains of suspensions or retardations 5.9% Extended pedal points 21% Chains of syncopations 14.5% Cross-rhythms 7.9% Extended broken-chord accompaniment 29. 7% Melody in octaves with broken-chord accompaniment 11% Canon 6.5%

Schumannesque traits not present:

Chains of suspensions, retardations, or anticipations Feminine endings Immediate phrase repetition at the octave 99

BIBLIOGRAPHY

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Schauffler, Robert Haven. The Unknown Brahms. New York: Dodd, Mead & Co., 1933. Searle, Humphrey. The Music of Liszt, 2nd revised edition. New York: Dover, 1966.

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Geiringer, Karl. "Schumanniana in der Bibliothek Brahms. II In Festschrift Wolfgang Boetticher zum Sechzigsten Geburtstag am 19 August 1974, edited by Heinrich HUschen and Dieter-RUdiger Moser.--Berlin: Merse Burger, 1974, pp. 79-82.

Kalbeck, Max. "Schumann und Brahms. II Deutsche Rundschau CXIV (1903), pp. 231-58. Lippman, Edward A. "Robert Schumann," Die Musik in Geschichte und Gegenwart, 14 vols., edited by Friedrich Blume.--Kassel and Basel: BSrenreiter, 1949-67, XII, pp. 272-325. Mason, Colin. "Brahms' Piano Sonatas." Music Review V (1944), pp. 112­ 118.

Niemann, Alfred. liThe Concertos. II In Robert Schumann: The Man and His Music, edited by Alan Walker. London: Barrie and Jenkin~1972, pp. 240-76.

Roesner, Linda. "The Autograph of Schumann's Piano Sonata in F minor, Op. 14." Musical Quarterly LXI (1975), pp. 98-130. Schumann, Robert. "Neue Bahnen," Neue Zeitschrift fUr Musik Bd. 39, No. 18 (October 28, 1853), pp. 185-86. - --

Siegmund-Schultze, Walther. "Chopin und Brahms," The Book of the First International Musicological Congress Devoted to the--Works of Frederick Chopin: Warszawa, 16th-22nd February, 1960, edited by Zofia Lissa. Warsaw: Polish Scientific Publishers, 1963, pp. 388­ 95. 101

Solomon, Yonty. "S010 Piano Music 1." In Robert Schumann: The Man and His Music, edited by Alan Walker. London: Barrie and Jenkin~1972, pp. 41-67. Vaszonyi, Balint. "S010 Piano Music 11." In Robert Schumann: The Man and His Music, edited by Alan Walker. London: Barrie and Jenkins, 1972~p. 68-92.

Music Brahms, Johannes. SM.mt 1i che Werke, edited by Hans Gal and Eusebius Mandyczewski, Leipzig: Breitkopf and Hart.e l , 1926-27. Reprint edition by J. W. Edwards, Ann Arbor, Michigan, 1949. Schumann, Robert. Werke, edited by Clara Schumann, Series VII, Bd. 1-6. Leipzig: Breitkopf and HM.rtel, 1881-93. Reprint edition by Gregg International Publishers Ltd., Westmead, England, 1967-68.