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Istanbul Technical University Institute of Social Sciences ISTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES ROBERT SCHUMANN’S MINIATURE PIANO PIECES WHICH ARE RELATED TO LITERARY IDEAS Ph.D. Thesis by Hyun Sook J. TEKĠN Department of : MIAM Programme : MIAM MAY 2010 ISTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES ROBERT SCHUMANN´S MINIATURE PIANO PIECES WHICH ARE RELATED TO LITERARY IDEAS ROBERT SCHUMANN´S MINIATURE PIANO PIECES WHICH ARE RELATED TO LITERARY IDEAS PhD Thesis by Hyun Sook J. TEKĠN (409042011) Date of Submission : 26 April 2010 Date of Defence Examination : 26 May 2010 Supervisor : Prof. Dr. Cihat AġKIN (ITU) Members of Examination Committee : Prof. Judith ULUĞ (MSU) Prof. Dr. ġehvar BEġĠROĞLU (ITU) Prof. Cana Gürmen (IU) Asst. Prof. Hakan ġensoy (ĠTÜ) MAY 2010 ĠSTANBUL TEKNĠK ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ ROBERT SCHUMANN´IN EDEBĠ FĠKĠRLERLE ĠLGĠLĠ MĠNYATÜR PĠYANO PARÇALARI DOKTORA TEZĠ Hyun Sook J. TEKĠN (409042011) Tezin Enstitüye Verildiği Tarih : 26 Nisan 2010 Tezin Savunulduğu Tarih : 26 Mayıs 2010 Tez DanıĢmanı : Prof. Dr. Cihat AġKIN (ĠTÜ) Diğer Jüri Üyeleri : Prof. Judith ULUĞ (MSÜ) Prof. Dr. ġehvar BEġĠROĞLU (ĠTÜ) Prof. Cana Gürmen (ĠÜ) Yrd. Doç. Hakan ġensoy (ĠTÜ) MAYIS 2010 FOREWORD This doctorate thesis, entitled ―Schumann‘s Miniature Piano Pieces which are related to Literary Ideas‖ was prepared at the I.T.Ü. Social Sciences Institute, Dr. Erol Üçer Center for Advanced Studies in Music (MIAM). Only a few pieces of Schumann are known with their literary connections. In my research I wanted to focus on this relationship between music and literature, especially in his keyboard music. During the analysis, it is found that some specific musical characters rely on the figures of Florestan and Eusebius. The creation of these fictitious characters is directly related to the novels of J. P. Richter. I assert in my research that the thought of prose and poem is revealed as music and the musical idea comes from the literary ideas. For the composer-based interpretation, it is necessary to know this relationship. I have tried to find out hidden literary images and meanings from the selected pieces with and without literary titles. In my conclusion, although the Florestan and Eusebius characters are not valid for Schumann‘s general oeuvre, nevertheless these figures are essential in his keyboard music to understand the musical character. All musical examples used in this document are reproduced with the permission of the G. Henle Verlag in Germany. I would like to thank my supervisor, Prof. Dr. Cihat Aşkın and the members of the thesis committee Prof. Judith Uluğ and Prof. Dr. Şehvar Beşiroğlu for their sincere advice. My thanks also go to State Artist Ayşegül Sarıca, Prof. Dr. Paul Whitehead and Prof. Klaus Schilde. I want to thank especially Mary Berkmen who helped me in English writing with patience. Finally I thank my husband Arsel and my parents and all family members for their endless support. March 2010 Hyun Sook J. Tekin Pianist v vi TABLE OF CONTENTS Page FOREWORD .............................................................................................................. v TABLE OF CONTENTS ......................................................................................... vii ABBREVIATIONS ................................................................................................... ix LIST OF TABLES .................................................................................................... xi LIST OF FIGURES ................................................................................................ xiii SUMMARY ............................................................................................................ xvii ÖZET ........................................................................................................................ xix 1. INTRODUCTION .................................................................................................. 1 1.1 Introduction and Statement of the Subject ......................................................... 1 2. METHOD ............................................................................................................... 9 2.1 Hypothesis .......................................................................................................... 9 2.2 The Aim of the Study ......................................................................................... 9 2.3 The Need for the Study .................................................................................... 11 2.4 Analysis Based on the Literary Sources........................................................... 13 2.5 Major Influences in Schumann‘s Pieces .......................................................... 17 2.5.1 J. P. Richter‘s Influences ........................................................................... 17 2.5.2 E. T. A. Hoffmann‘s Influences ................................................................ 20 2.5.3 Schubert‘s Influences ................................................................................ 21 2.5.4 Florestan and Eusebius .............................................................................. 23 2.6 Limitations of the Data Collection and Interpretation ..................................... 25 3. RESEARCH ON THE RELATED ISSUES ...................................................... 27 3.1 Music and Literature ........................................................................................ 27 3.2 Schumann and His Contemporaries ................................................................. 32 3.3 Meanings of the Literary Titles ........................................................................ 34 3.4 Narratology and Musical Narrativity ............................................................... 36 3.5 Miniature Piano Music ..................................................................................... 40 3.5.1 Schumann‘s Interest in Short Forms ......................................................... 40 3.5.2 Songs without Words - Poetic Music ........................................................ 43 4. ANALYSIS ........................................................................................................... 45 4.1 Works with Literary Titles ............................................................................... 45 4.1.1 Op.9 Carnaval ........................................................................................... 45 4.1.2 Op.12 Fantasiestücke ................................................................................ 71 4.1.3 Op.15 Kinderszenen .................................................................................. 87 4.1.4 Op.82 Waldszenen ..................................................................................... 98 4.2 Works without Literary Titles ........................................................................ 109 4.2.1 Op.2 Papillons ........................................................................................ 109 4.2.2 Op.6 Davidbündlertänze ......................................................................... 118 4.2.3 Op.16 Kreisleriana .................................................................................. 130 4.2.4 Op.23 Nachtstücke .................................................................................. 153 5. SUMMARY: FLORESTAN AND EUSEBIUS IN MUSIC ........................... 171 5.1.Florestan and Eusebius in the Selected Pieces ............................................... 171 5.2 Related Rhythms and Meter ........................................................................... 174 vii 5.3 Related Tempo and Dynamics ....................................................................... 175 5.4 Related Harmonic and Melodic Progressions ................................................ 180 5.5 Related Titles or Images ................................................................................. 183 6. CONCLUSION ................................................................................................... 185 6.1 Florestan and Eusebius as Musical Symbol ................................................... 185 6.2 Performance and Presentation ........................................................................ 188 REFERENCES ....................................................................................................... 193 APPENDICES ........................................................................................................ 199 CURRICULUM VITAE ........................................................................................ 217 viii ABBREVIATIONS AMZ : Allgemeine Musikalische Zeitung NZfM : Neue Zeitschrift für Musik TB : Tagebücher 1827-1838 of Robert Schumann, edited by G. Eismann, Leipzig: Deutscher Verlag für Musik, 1971 m : measure pp : pianissimo ff : fortissimo Op. : Opus RSGZ : Robert Schumann Gesellschaft Zwickau HHB : Robert Schumann, Haushaltbücher 1837-1856, edited by G. Nauhaus. Leipzig: VEB Deutscher Verlag für Musik, 1982 HE : Henle Edition BHE : Breitkopf & Härtel Edition M.M. : Mälzel´s Metronome LP : longplaying microgrove record m.d. : main droite or mano destra, right hand m.g. : main gauche, left hand m.s. : mano sinistra, left hand ix x LIST OF TABLES Page Table 3.1 : Synopsis of Schumann‘s relationship as narrator to the selected pieces ..................................................................................................... 40 Table 4.1 : The form analysis of the Préambule, Carnaval ...................................
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