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The Narrative Function of the Piano Voice in Schubert's Winterreise

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The Narrative Function of the Piano Voice in Schubert's Winterreise HEARING VOICES: THE NARRATIVE FUNCTION OF THE PIANO VOICE IN SCHUBERT’S WINTERREISE Mariclare Dempsey A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2020 Committee: Eftychia Papanikolaou, Advisor Ryan Ebright © 2020 Mariclare Dempsey All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Franz Schubert (1797-1828) composed his last song cycle Winterreise in the spring and fall of 1827. The text for this celebrated work comes from a set of twenty-four poems written by Wilhelm Müller (1794-1827) and describes the physical and emotional journey of the protagonist after he has been rejected by his loved one. In this thesis I will analyze the narrative relationship between the voice and the piano and its development throughout the cycle, using the methodologies of Edward T. Cone and Carolyn Abbate. Musico-poetic works can be challenging to view as a seamless piece in which both music and text work together to create a full image of the narrative. By distinguishing the personas of the vocal and piano parts, however, and assessing their distinct “voices” (separately and in collaboration) it is possible to view them as a cohesive whole and grasp the full meaning of the song cycle. The melody sung by the cycle’s protagonist, often referred to as “the Wanderer,” bears much of the obvious burden for narrating Müller’s poetry as the Wanderer’s conscious voice. The Wanderer’s unconscious emotions that guide his journey are found in the piano part which plays an integral role by setting the scene, providing insights before and after the singer’s words, and even actively consoling and inspiring the Wanderer as he pours out the tale on stage for all to hear. An understanding of Schubert’s narrative can only be grasped by analyzing the relationships between both the voices of the singer and the piano. iv ACKNOWLEDGMENTS I would first like to thank my thesis advisor, Dr. Eftychia Papanikolaou, for her inestimable help throughout this project. She was always available to listen when I had questions and she consistently provided me with the sound advice, and chocolate, I needed to make my ideas shine clearly in my writing. I would also like to thank Dr. Ryan Ebright for his assistance in editing my final drafts and for his insightful questions which helped me to clarify my ideas on paper. Finally, I must express my profound gratitude to my friends and family for aiding me with their unfailing prayers and continuous encouragement throughout my years of study and through the process of researching and writing this thesis. This accomplishment would not have been possible without them. Thank you. v TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER I: METHODOLOGY & HISTORICAL BACKGROUND ................................ 5 Methodology .............................................................................................................. 5 Historical Background ............................................................................................... 9 CHAPTER II: ANALYSIS OF PART ONE ......................................................................... 15 “Gute Nacht” (1. Good Night) ................................................................................... 15 “Erstarrung” (4. Frozen Stiff) .................................................................................... 23 “Der Lindenbaum” (5. The Linden Tree) .................................................................. 28 “Einsamkeit” (12. Loneliness) ................................................................................... 36 CHAPTER III: ANALYSIS OF PART TWO ....................................................................... 42 “Mut” (22. Courage) .................................................................................................. 42 “Der Leiermann” (24. The Hurdy-Gurdy Man) ......................................................... 46 CHAPTER IV: CONCLUSION ............................................................................................ 51 BIBLIOGRAPHY ................................................................................................................. 53 vi LIST OF EXAMPLES Example Page 2.1 “Gute Nacht,” measures 1–12 .................................................................................... 17 2.2 “Gute Nacht,” measures 15–23 .................................................................................. 19 2.3 “Erstarrung,” measures 16–19 ................................................................................... 27 2.4 “Der Lindenbaum,” measures 38–45 ......................................................................... 34 2.5 “Der Lindenbaum,” measures 68–76 ......................................................................... 35 2.6 “Einsamkeit,” measures 1–5 ...................................................................................... 38 2.7 “Einsamkeit,” measures 12–25 .................................................................................. 38 3.1 “Mut,” measures 12–18 ............................................................................................. 43 3.2 “Mut,” measures 49–51 ............................................................................................. 44 3.3 “Der Leiermann,” measures 1–8 ................................................................................ 48 3.4 “Der Leiermann,” measures 53–55 ............................................................................ 49 vii LIST OF FIGURES Figure Page 1.1 The different personas present in accompanied vocal music, according to Edward T. Cone ....................................................................................................................... 7 1.2 Order of poetry in Winterreise as published by Wilhelm Müller in 1824 and Franz Schubert in 1827 ........................................................................................................ 11 2.1 Outline of text repetitions and rhyme structure in Müller’s original poem and Schubert’s restructuring of “Gute Nacht” .................................................................. 16 2.2 Outline of poetic line repetition in “Erstarrung” ........................................................ 24 2.3 Outline of poetic line repetition in “Der Lindenbaum” ............................................. 29 2.4 Outline of poetic line repetition in “Einsamkeit” ...................................................... 37 3.1 Outline of poetic line repetition in “Einsamkeit” ...................................................... 42 3.2 Outline of poetic line repetition in “Der Leiermann” ................................................ 47 1 INTRODUCTION The average music listener is often drawn into the world of song by the narratives which accompany the tunes they enjoy on a daily basis. They hear a few words to which they can relate accompanied by a pleasing melody and it sparks an emotional response within them. After they hear such a song they may leave it forever or listen to it repeatedly for a cumulative several hours in their lifetime; they may even go so far as to hum it back to themselves during the odd hours of the day as they go about their work. Thus they can reignite for a brief moment the emotions of their first listening and reminisce in the layered experiences of repeated exposure and contemplation. What draws a person into such a fascination with this particular combination of text, melody, harmony, and rhythm? If the narrative which resonated with them in the beginning was later presented to them written only as a text, they would surely process it internally as though it were accompanied by the music with which they associate. Why is the associated music bound so tightly to the full enjoyment of such a text? Because the music involved in such a song not only enhances the poetry or prose it accompanies, it actively participates in the narrative process unfolding in the mind of the listener. This collaborative effort between text and music has been in place for hundreds of years, from text-painting in sixteenth-century madrigals to contemporary opera and popular music genres. The narrative property of music has been the subject of extensive academic research by many scholars, particularly musicologists Eero Tarasti,1 Lawrence Kramer,2 and Peter Kivy,3 pointing to its prevalence and importance in the discipline. 1 Eero Tarasti, A Theory of Musical Semiotics (Bloomington: Indiana University Press, 21994). Lawrence Kramer, “Musical Narratology,” Indiana Theory Review 12 (1991): 141-162. 2 Franz Schubert (1797–1828) is well-known for having written over 600 Lieder in the early nineteenth century. In addition to his many stand-alone songs, he also wrote several song cycles, the last of which, Winterreise, is the topic of this thesis. In my paper I will analyze the narrative relationship between the voice and the piano. The melody and text sung by the cycle’s protagonist, often referred to as “the Wanderer,” bears much of the obvious burden for narrating Wilhelm Müller’s poetry. But the piano plays an equally integral role by setting the scene, providing insights before and after the singer’s words, and even actively consoling and inspiring the Wanderer as he pours out the tale on stage for all to hear. A comprehensive understanding of Schubert’s winter narrative
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