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University of Cincinnati UNIVERSITY OF CINCINNATI Date: May 26, 2004 I, Amanda Marie Roggero _____________________________________________________, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: “RETRACING THE JOURNEY OF FRANZ SCHUBERT’S WANDERER: MUSICAL FINGERPRINTS IN THE B-FLAT PIANO SONATA, D. 960” This work and its defense approved by: Chair: Mr. Frank Weinstock Dr. Stephanie Schlagel Dr. Edward Nowacki RETRACING THE JOURNEY OF FRANZ SCHUBERT’S WANDERER: MUSICAL FINGERPRINTS IN THE B-FLAT PIANO SONATA, D. 960 A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Piano Performance of the College-Conservatory of Music 2004 by Amanda Roggero B.M. Rice University, 1998 M.M. University of Cincinnati, 2000 Committee Chair: Frank Weinstock ABSTRACT Franz Schubert’s last piano Sonata in B-flat, major, D. 960, has always remained an intriguing piece of music for me ever since hearing it for the first time when I was an undergraduate at Rice University. Even though the technique required within the B-flat Sonata is not as difficult as other Schubert piano works, a performance of this piece cannot be approached lightly considering the emotional concentration that the music demands. This document is dedicated to exploring the source of the Sonata in B-flat’s emotional content, which will involve Schubert’s failing health, his depression, and his preoccupation with a popular character in German Romanticism, the Wanderer. The first chapter addresses Schubert’s biographical background to explain why his emotional and physical state at the time of the Sonata in B-flat’s creation could have affected the composer’s preference for music related to the Wanderer. The second chapter discusses Schubert’s famous song “Der Wanderer,” D. 493, based upon one of the most popular characters of the Romantic era, the isolated Wanderer searching for his homeland. This chapter also identifies musical characteristics within “Der Wanderer,” that resurface throughout Schubert’s other works related to a Wanderer character. The following chapter, the main portion of the document, uncovers these musical characteristics of the Wanderer within Schubert’s Sonata in B-flat, in addition to other harmonic and melodic associations that reveal the Wanderer’s influence on the Sonata. Finally, the last chapter links the Sonata in B-flat to other Wanderer characteristics found throughout many of Schubert’s late compositions. In order to fully appreciate the genius of the Sonata in B-flat, D. 960, Schubert’s subtle references to the Romantic Wanderer within the sonata must be fully understood. This will in turn lead to a greater understanding of the great composer in his final months of life. ACKNOWLEDGEMENTS Thank you to my reading committee, Dr. Stephanie Schlagel and Dr. Edward Nowacki, for all of your excellent comments. Most of all, thank you to my teacher, advisor, committee chair, and mentor Mr. Frank Weinstock who has guided me on this project since it began. Thank you to my friend, Amber Cook, for reading this paper and giving your honest opinions and expertise. And thank you to my friend, Leanna Booze, for answering all of my questions on writing a thesis. I would like to thank Mom, Dad, and Claire for their continued support through all of my graduate education. Thank you for your words of encouragement and comfort through every hurdle I thought was difficult. Thank you to Jack and Joan Bartlett, my loving grandparents, who do everything possible to help their children and grandchildren succeed. Thank you to Mary Ellen and Fred Burgomaster, for being the closest family in the Cincinnati area. You provided relief and comfort when I needed to get away Thank you to my new family, the Halstead’s and the Pfeiffer’s, for your acceptance and continued support and best wishes through this phase of my career. Most of all, thank you to my fiancé Matthew Halstead. Without your love, patience, understanding, and support, I would not have completed this paper. I would like to dedicate this paper to my grandfather, Frank Roggero. No matter how hard this project seemed, I could always count on Grandpa for a joke and a laugh. Thanks for making me smile. TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES . 2 INTRODUCTION . 5 Chapter 1. SCHUBERT AS THE WANDERER . 9 2. THE WANDERER AND SCHUBERT’S MUSIC. 25 3. THE WANDERER AND SCHUBERT’S SONATA IN B-FLAT, D. 960 41 a. The B-flat Sonata, D. 960, and “Wanderer” Songs . 42 b. The Harmony of the “Wanderer”. 51 c. “Reminisces” Within the B-flat Sonata, D. 960 . 61 4. THE WANDERER AND OTHER LATE WORKS . 73 CONCLUSION . 81 BIBLIOGRAPHY . 83 1 MUSICAL EXAMPLES 1. “Der Wanderer,” D. 493 mm.7-22 . 27 2. “Der Wanderer,” D. 493, mm.32-35 . 28 3. “Der Wanderer,” D. 493, mm.23-31 . 31 4. “Der Wanderer,” D. 493, mm. 19-23 . 32 5. “Gute Nacht,” from Winterreise, mm. 1-6 . 32 6.a “Gute Nacht,” from Winterreise, mm.7-11 . 33 6.b. “Gute Nacht,” from Winterreise, mm.48-51 . 33 7. “Lindenbaum,” from Winterreise, mm. 1-8 . 33 8. Wandererfantasie, mm. 47-49 . 38 9. Wandererfantasie, mm. 189-192 . 39 10. Wandererfantasie, mm. 113-114 . 39 11. Wandererfantasie, mm. 441-442 . 40 12.a. “Der Wanderer,” D. 493, mm. 1-7 . 43 12.b. Sonata in B-flat, D. 960, I, mm. 158-160 . 43 13.a. Sonata in B-flat, D. 960, I, mm. 80-81 . 44 13.b. Sonata in B-flat, D. 960, I, mm. 131-132 . 44 13.c. Sonata in B-flat, D. 960, I, mm. 49-50 . 44 13.d. Sonata in B-flat, D. 960, I, mm. 100-101 . 45 14.a. “Der Wanderer,” D. 493, mm. 19-22 . 46 14.b. Sonata in B-flat, D. 960, II, mm. 9-15 . 46 15.a. “Der Wanderer,” D. 493, mm. 23-26 . 48 2 15.b. Sonata in B-flat, D. 960, II, mm. 1-5 . 48 16.a. Sonata in B-flat, D. 960, I, mm. 1-9 . 49 16.b “Am Meer,” from Schwanengesang, mm. 1-5 . 49 16.c. “Lied der Mignon II,” D. 727, mm. 21-24 . 50 17.a. Sonata in B-flat, D. 960, II, mm. 43-45 . 50 17.b. “Die Nebensonnen,” from Winterreise, mm. 1-3 . 51 18.a. Cohn model . 53 18.b. Cohn model . 54 19. Sonata in B-flat, D. 960, I, first and second endings of the exposition . 55 20. Sonata in B-flat, D. 960, I, mm. 209-218 . 57 21.a. Sonata in B-flat, D. 960, I, mm. 10-18 . 59 21.b. Sonata in B-flat, D. 960, IV mm. 490-511 . 60 22.a. Sonata in B-flat, D. 960, II, mm. 103-106 . 63 22.b. Sonata in B-flat, D. 960, IV, mm. 86-94 . 63 23. Sonata in B-flat, D. 960, I, mm. 63-64 . 64 24. Sonata in B-flat, D. 960, II mm. 43-45 . 65 25. Sonata in B-flat, D. 960, III, mm. 1-8 . 65 26. Sonata in B-flat, D. 960, IV mm. 1-10 . 66 27. String Quintet in C, D.956, II mm. 1-4 . 67 28. Impromptu Op. 90, no.1, mm. 1-5 . 68 29. Beethoven String Quartet Op. 130, V, mm. 1-10 . 69 30. Beethoven Piano Trio Op. 97, I, mm. 1-6. 70 31. Impromptu in A-flat Op. 90, no. 4, mm. 107-114 . 74 3 32. Impromptu in A-flat Op. 90, no. 4, mm. 124-128 . 74 33.a. “Der Wanderer,” D. 493, mm. 16-18 . 75 33.b. Symphony No.8 in B minor (“Unfinished”), II, Strings in mm. 1-9 . 75 4 INTRODUCTION Like many Western classical composers, Franz Peter Schubert’s true musical genius was not recognized until after his death. Schubert’s friend Franz Grillparzer, writer of the great composer’s epitaph, left a lasting impression on the public’s memory of Schubert by stating, “The art of music here entombed a rich possession, but even fairer hopes.”1 Ever since the epitaph was chiseled into his memorial, Schubert’s lasting impression on the public seemed branded by Grillparzer’s words that a master had passed without reaching his potential. Even though Schubert’s music was well respected by publishers across Europe and performed frequently in concerts at the Gesellschaft der Musikfreunde, Schubert’s impact on the music world turned slightly cold with his death, leaving the genius and the longevity of his music yet to be discovered. Almost forty years after his death, his great works, such as his symphonies and piano sonatas, slowly became included in respected musical programs and finally gave his music the recognition it deserved. For example, in 1869, Sir Charles Hallé played all eleven available piano sonatas in a series of London recitals and was followed later by other great pianists such as Alfred Brendel and Arthur Schnabel over the next century. With this international attention to some of Schubert’s undiscovered works, the piano sonatas in particular began to appear more frequently on recitals and eventually became cemented within the pianist’s standard repertoire. 1John Reed, Schubert (New York: Schirmer Books, 1997), 181. 5 6 Although there are many masterpieces within Schubert’s collection of piano sonatas, the last three piano sonatas are some of his finest works. Written during the onset of his final illness, the sonatas provide an exquisite example of Schubert’s late style of composition.
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