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View, Folk Music and Poetry Should Be Valued for Their Spontaneity and Close Relation to the Expression of Real Life

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View, Folk Music and Poetry Should Be Valued for Their Spontaneity and Close Relation to the Expression of Real Life UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ THE IMPACT OF THE LIED ON SELECTED PIANO WORKS OF FRANZ SCHUBERT, ROBERT SCHUMANN, AND JOHANNES BRAHMS A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS IN PIANO PERFORMANCE of the College-Conservatory of Music 2004 by Yueh-Reng Lin B.M., National Taiwan Normal University, 1994 M.M., University of Cincinnati, 1998 Committee Chair: Professor Karin Pendle ABSTRACT In the nineteenth-century, the German lied, with its subtle expression of poetry and its intimate lyricism, revealed individual expression and emotional content. The piano music in this era also raised a new approach to pianism and the aesthetic of German Romanticism. Composed by three masters in both genres, selected piano works including Schubert’s Wanderer Fantasia Op.15, Schumann’s Fantasie Op.17, and Waldszenen, Op.82, and Brahms’s Sonata Op.5 in F Minor, demonstrate their innermost poetic quality, evident in their unique musical language, which is derived profoundly from the spirit of the lied. To explore the link between lied and piano music, the compositional background, and the thematic, harmonic and structural schemes of these works are analyzed in detail, along with the ways which vocal music had an impact on the style of these piano works. ACKNOWLEDGMENTS This thesis has been done passionately, as insomuch as painfully. I wish to express my deep appreciation to Dr. Pendle, whose amazing knowledge, patience, and experience, guided me all the way through the challenging and difficult process during these years. I would also like to give my special thanks to my committee members, Professor Kenneth Griffiths and Professor Eugene Pridonoff, for their intelligent advice has contributed to the completion of this document. I have been so grateful to have Professor Frank Weinstock as my piano teacher. His incredible inspiration and true musicianship help me grow as a performer and a person, and this impact will last infinitely. Finally, I wish to express my gratitude to my dear parents, families, and friends, for their endless support and heartfelt encouragement. TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ii LIST OF FIGURES vii INTRODUCTION 1 CHAPTER ONE The Impact: Songs and Piano Music 3 CHAPTER TWO The Impact of the Lied on the Piano Works of Franz Schubert 15 CHAPTER THREE The Impact of the Lied on the Piano Works of Robert Schumann 32 CHAPTER FOUR The Impact of the Lied on the Piano Works of Johannes Brahms 62 CHAPTER FIVE Comparison and Conclusion 91 BIBLIOGRAPHY 97 i LIST OF MUSICAL EXAMPLES 1a J. S. Bach, Goldberg Variations, var. 30, the text and themes 5 1b J. S. Bach, Goldberg Variations, var. 30, mm. 1-4 5 2a Schubert, Der Wanderer, D. 489, mm.23-30 22 2b Schubert, Fantasia in C Major, Op. 15, Adagio, mm. 189-196 23 3a Schubert, Fantasia in C Major, Op. 15, Allegro con fuoco ma non troppo, 23 mm.1-3 3b Schubert, Fantasia in C Major, Op. 15, Allegro con fuoco ma non troppo, 24 mm.41-46 3c Schubert, Fantasia in C Major, Op. 15, Allegro con fuoco ma non troppo, 24 mm.70-72 3d Schubert, Fantasia in C Major, Op. 15, Allegro con fuoco ma non troppo, 24 mm.82-84 4 Schubert, Fantasia in C Major, Op. 15, transition from Allegro to Adagio, 24 mm.164-172 5a Schubert, Fantasia in C Major, Op. 15, Presto, mm. 245-257 26 5b Schubert, Fantasia in C Major, Op. 15, Presto, mm. 422-442 26 6 Schubert, Fantasia in C Major, Op. 15, Allegro, mm. 598-603 26 7a Schubert, Fantasia in C Major, Op. 15, Allegro con fuoco ma non troppo, 27 mm.109-114 7b Schubert, Der Wanderer, the main theme 27 8a Schubert, Fantasia in C Major, Op. 15, mm. 244-255 28 8b Schubert, Fantasia in C Major, Op. 15, mm. 1-3 28 9 Schubert, Fantasia in C Major, Op.15, mm. 31-47, harmonic reduction 29 10 Schubert, Fantasia in C Major, Op.15, mm. 230-245, harmonic reduction 30 ii 11 Schubert, Fantasia in C Major, Op.15, mm. 534-597, harmonic reduction 31 12a Beethoven, An die ferne Geliebte, Op. 98 No. 6, mm. 6-10 37 12b Schumann’s facsimile of melody and Fantasia Op.17, mm. 65-66 38 13a Schumann, Fantasie in C Major, Op.17, mm. 295-296, “Beethoven theme,” 39 motivic analysis 13b Schumann, Fantasie in C Major, Op.17, mm. 295-296, “Beethoven theme,” 39 motivic reduction 14a Schumann, Fantasie in C Major, Op.17, first movement, mm. 1-9 40 14b Schumann, Fantasie in C Major, Op.17, first movement, mm. 13-18 40 14c Schumann, Fantasie in C Major, Op.17, first movement, mm. 40-45 41 14d Schumann, Fantasie in C Major, Op.17, first movement, mm. 49-50 41 14e Schumann, Fantasie in C Major, Op.17, first movement, mm. 61-64 41 14 f Schumann, Fantasie in C Major, Op.17, first movement, mm. 65-73 41 15a Schumann, Fantasie in C Major, Op.17, first movement, mm. 33-41 42 15b Schumann, Fantasie in C Major, Op.17, first movement, mm. 129-142, 42 Im Legendenton 16 Schumann, Fantasie in C Major, Op.17, first movement, mm. 295-309 42 17a Schumann, Fantasie in C Major, Op.17, second movement, mm. 141-143 45 17b Schumann, Fantasie in C Major, Op.17, second movement, mm. 230-233 45 18a Schumann, Fantasie in C Major, Op.17, third movement, mm. 3-5 45 18b Schumann, Fantasie in C Major, Op.17, third movement, mm. 135-142 45 19a Schumann, Fantasie in C Major, Op.17, third movement, mm. 1-5 48 19b Schubert, “Die Gebüsche,” D.646, mm. 1-6 48 20 Schubert, “An die Music,” D.547, mm. 16-19 49 iii 21 Schumann, Waldszenen, Op. 82, “Eintritt,” mm. 1-4 52 22 Schumann, Waldszenen, Op. 82, “Verrufene Stelle,” mm. 1-3 54 23a Schumann, Liederkreis, Op. 39 No.10, “Zwielicht,” mm. 1-13 54 23b Schumann, Waldszenen, Op. 82, “Vogel als Prophet,” mm. 1-6 54 24a Schumann, Waldszenen, Op. 82, “Jagdlied,” mm. 1-11 55 24b Schumann, Jagdlieder, Op.137 No.1, “Zur hohen Jagd,” mm. 1-13 55 25a Schumann, Waldszenen, Op. 82, “Freundliche Landschaft,” mm. 1-6 57 25b Schumann, Waldszenen, Op. 82, “Herberge,” mm. 37-40 57 26a Schumann, Waldszenen, Op. 82, “Herberge,” mm. 1-2 57 26b Schumann, Liederkreis, Op. 39 No.3, “Waldesgespräch,” mm.1-8 57 27a Schumann, Waldszenen, Op. 82, Einsame Blumen, mm.1-7 58 27b Schubert, “Frühlingsglaube,” Op.20 No.2, mm. 4-7 58 28a Schumann, Waldszenen, Op. 82, “Freundliche Landschaft,” mm. 1-5 59 28b Schumann, Waldszenen, Op. 82, “Abschied,” mm. 1-3 59 28c Schumann, Waldszenen, Op. 82, “Herberge,” mm. 53-56 59 29a Schumann, Waldszenen, Op. 82, “Einsame Blumen,” mm.1-7 60 29b Schumann, “Ein Jüngling liebt ein Mädchen,” Op. 24 No. 11, mm.1-9 60 30a Schumann, Waldszenen, Op. 82, “Abschied,” mm. 4-6 61 30b Schumann, “Sehnsucht,” Op. 51 No.1, mm. 3-6 61 31a Folk song, “Verstohlen geht der Mond auf” 67 31b Brahms, Piano Sonata in C Major, Op.1, second movement, mm.1-11 67 32 Brahms, Piano Sonata in F# Minor, Op. 2, second movement, 68 with Bozarth’s addition of folk text iv 33a Brahms, Piano Sonata in F# Minor, Op. 2, first movement, mm.1-3 69 33b Brahms, Piano Sonata in F# Minor, Op. 2, third movement, Scherzo, 69 mm. 1-5 33c Brahms, Piano Sonata in F# Minor, Op. 2, fourth movement, Finale, mm. 1-6 70 34 Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm.1-10, 73 the main theme with the suggestion of text setting 35 Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm.1-10 77 36a Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm.10-24 78 36b Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 25-28 78 37a Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 37-48 79 37b Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 49-64, 79 harmonic reduction 38a Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 37-40 80 38b Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 65-72 80 38c Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 144-150 80 39 Friedrich Silcher, “Steh ich in finst’rer Mitternacht” 81 40a Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 187-191 82 40b Brahms, Piano Sonata in F Minor, Op. 5, fourth movement, mm. 1-4 82 41a Brahms, Piano Sonata in F Minor, Op. 5, first movement, mm. 1-5 83 41b Brahms, Piano Sonata in F Minor, Op. 5, second movement, mm. 1-5 84 42a Brahms, Piano Sonata in F Minor, Op. 5, first movement, m. 1 84 42b Brahms, Piano Sonata in F Minor, Op. 5, first movement, mm. 6-11 84 42c Brahms, Piano Sonata in F Minor, Op. 5, first movement, mm. 21-26 85 42d Brahms, Piano Sonata in F Minor, Op. 5, first movement, mm. 34-46 85 v 43a Brahms, Piano Sonata in F Minor, Op.
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