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Symbolism in the Davidsbundler Dances of Robert 371 SYMBOLISM IN THE DAVIDSBUNDLER DANCES OF ROBERT SCHUMANN (LECTURE-RECITAL) TOGETHER WITH THREE RECITALS OF SELECTED WORKS BY MOZART, CHOPIN, SCHUBERT, J. S. BACH, RACHMANINOFF, BLOCH, SCARLATTI, BEN WEBER, BEETHOVEN, PROKOFIEFF AND LISZT DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Olive D. Padgett, B. M., M. M. Denton, Texas December, 1979 Padgett, Olive D., Symbolism in the Davidsbiindler Dances of Robert Schumann (Lecture-Recital) Together with Three Recitals of Selected Works by Mozart, Chopin, Schubert, J. S. Bach, Rachmaninoff, Bloch, Scarlatti, Ben Weber, Beethoven, Prokofieff and Liszt. Doctor of Musical Arts (Piano), December 1979, 25 pp., 18 illustrations, 10 titles. The first three recitals contained solely performances of piano music. The first of these consisted of a Fantasy and a set of variations by Mozart, the Fantaisie in F minor by Chopin, and the Sonata in C minor by Schubert. The second recital contained an English Suite by J. S. Bach, two Etudes-Tableaux and two Preludes by Rachmaninoff, and the Piano Sonata of Ernest Bloch. The third recital consisted of four Sonatas by Scarlatti, a Fantasia (Variations) by the American composer, Ben Weber, a Sonata by Beethoven, Chose en soi and Pens6e by Prokofieff, and a Polonaise by Liszt. The fourth recital was a lecture on symbolism in the Davidsbindler Dances of Schumann, examining various types of symbolism appearing in the Dances: use of quotations from his own and others' works, use of a motive based on the letters of a name, use of "stage directions," use of tonality as a symbol, use of word painting, and use of sound effects. The lecture was followed by a performance of this work. All four recitals, tape recorded, and the lecture, typewritten, are filed together in the Graduate Office of the North Texas State University. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . ...... ....... .. ..... iv PERFORMANCE PROGRAMS . v10 Chapter I. INTRODUCTION.......................... .. 1 General Background of the Davidsbindler Dances The Davidsbund The Importance of the Davidsbiindler Dances to Schumann II. "HIDDEN MEANINGS" IN THE DAVIDSBUNDLER DANCES........................ ....... 9 III. CONCLUSIONS,.................... ....... 24 BIBLIOGRAPHY,............................ ........ 26 iii LIST OF ILLUSTRATIONS Figure Page 1. Papillons, No. 12, measures 53-69 . 2 2. Dance No. 1, measure 1. 9 3. Dance No. 1, measures 5-7; Dance No. 3, mea- sures 1-2; Dance No. 4, measures 1-2; Dance No. 8, measure 1; Dance No. 12, mea- sure 1. 11 4. Dance No. 2, measures 1-2; Dance No. 9, mea- sures 1-2; Dance No. 18, measures 2-7 . 12 5. Dance No. 1, measures 13-14; Dance No. 7, mea- sures 24-26; Dance No. 16, measure 1. 13 6. Dance No. 1, measures 26-29; Dance No. 2, mea- sures 3-4; Dance No. 11, measures 8-10; Dance No. 12, measures 5-6; Dance No. 15, measures 12-24. 14 7. Dance No. 10, measures 13-15; Dance No. 13, measures 57-62. .. 16 8. Dance No. 3, measures 76-80; Dance No. 4, measures 1-5..-. 16 9. Dance No. 5, measures 1-4; Dance No. 7, mea- sures 1-2; Dance No. 11, measures 1-4; and Dance No. 13, measures 1-3. 17 10. Dance No. 6, measure 1. 18 11. Dance No. 17, measures 1-3. 18 12. Wieck: "Le Ballet de Revenants," third theme . 18 13. Dance No. 2, measures 3-4 and 6-8 . 19 14. Dance No. 3, measures 76-80 . 19 15. Papillon No. 1, measures 1-4. .20 16. Dance No. 3, measures 17-20 . 20 iv Figure Page 17. Dance No. 3, measures 47-49. ...... .. 21 18. Dance No. 9, measures 1-3..... .. ..... 22 V NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents OLIVE PADGETT, Pianist in a Graduate Recital Monday, June 25, 1973 8:15 p.m. Recital Hall PROGRAM Fantasy in C minor, K. 396 Mozart Nine Variations on "Lison dormait", K. 26h Mozart Fantaisie in F minor, Op. 49 Chopin INTERMISSION Sonata in C minor, D. 958 Schubert Allegro Adagio Menuetto: Allegro Allegro Presented in partial fulfillment of the reauirements for the degree Doctor of Musical Arts. vi H TvORT NXAS STATE UNIVERSITY SCICL CF TIUSIC pre sents OLIVE PADGETT, Pianist in a Graduate Recital Tuesday, July 2, 11074 8:15 p.m. Recital Hall PROGRAM English Suite No. 5 in E minor Bach Preludri Allemande Courante Sarnbande Passepied I (en Rondeau) Passepiad II Gigue Etude s-Tableaux, Cpus 39 Rac hmaninof f No, Lt in B minor No. 2 in A minor Preludes, Opus 23 No. 3 in D minor No. 2 in Bb major INTEMISSION Sonata (1935) Ernest Bloch 1aestoso ed energico Pastorale Moderato alla marcia Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. vii NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC presents OLIVE PADGETT., Pianist in a Graduate Recital Monday, February 21, 1977 6:30 p.m. Recital Hall PROGRAM I Four Sonatas Scarlatti F minor, K. 19 F minor, K. 519 B minor, K. 27 G major, K. 241 Fantasia (Variations), Opus 25 Ben Weber (1916.- ) II Sonata in Eb Major, Opus 31, No. I Beethoven Allegro Scherzo: Allegretto vivace Menuetto: Moderato e grazioso Presto con fuoco III Chose en soi, Opus 45b Prokofieff Pensee, Opus 62, No. 1 Polonaise in E major Liszt Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. viii NORTH H TEXAS STATE UNIVERSITY SCHOOL OF MuSIc presents OLIVE PADGETT, Pianist in a LECTURE RECITAL Monday, July 30, 1979 5:00 p.m. Concert Hall SYMBOLISM IN THE DAVIDSBUNDLER DANCES OF ROBERT SCHUIMIANN Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts ix CHAPTER I INTRODUCTION Robert Alexander Schumann has been called the most romantic of the Romantic composers--romantic in the sense that he was "the most personal and poetic of composers, . the one most symbolic of his age, the most introspective, and the one most responsive to the new allied art forms that were sweeping Europe." 1 Schumann spoke of music as a language, and of musicians as poets. As he wrote in 1838 to Clara Wieck, the brilliant pianist who later became his wife: I am affected by everything that goes on in the world, and think it all over in my own way, politics, literature, and people, and then I long to express my feelings and find an outlet for them in music. That is why my compositions are sometimes difficult to understand, because they are connected with distant interests; and sometimes striking, because everything extraordinary that happens impresses me, and impels me to express it in music. That Schumann meant this in a literal, and not only in a figurative, sense is obvious from the many examples of extra-musical allusions which abound in his words, a few examples of which will suffice: IHarold C. Schonberg, "Most Romantic of Them All," Musical Courier, CLIII (February, 1956), 42-43. Robert Schumann, Early Letters of Robert Schumann, translated by May Herbert (London,1888), p. 270. 1 2 First, the Papillons, Op. 2, consist of twelve sketches inspired by "The Masked Ball," chapter 63 of Jean Paul's novel, Flegeljahre. The last page of Schumann's score bore the words: "The noise of the carnival is stilled. The clock in the tower strikes six.,,3 Schumann very literally depicts the noise being stilled with a motive from the first Papillon, each successive appearance of which is shortened by one additional note. (See Figure 1.) Fig. 1--Papillons, No. 12, measures 53-69. At the same time, six high A's are struck to represent the tower clock, as the sounds of the carnival die out. 3 Robert Schauffler, Florestan: The Life and Work of Robert Schumann (New York, 1963), p. 279. 3 His third Symphony, the "Rhenish," was intended to portray scenes from life along the Rhine River. Its fourth movement for example, Feierlich (or Ceremonial), is program music inspired by the enthronement of an archbishop in Cologne Cathedral.4 A final example is his use of a tonal analogue on the name of Abegg in the Abegg Variations, Op. 1. Schumann also testified that in his mind words and music were different forms of the same thing when he wrote "When I am playing [Schubert's] music, I feel as if I were reading a Jean Paul novel turned into music." 5 Background of the Davidsbindler Dances The eighteen pieces we know today as the Davidsbindler Dances were begun in 1837, completed in 1838, and published as Op. 6 by Friese in Leipzig, under the title DavidsbUndler- tdnze, and the composer was given as Florestan and Eusebius. The dances first appeared in two sets of nine pieces each. In this original edition, Schumann indicated the programmatic nature of the work by signing each of the eighteen dances with an "F" (for Florestan) or an "E" (for Eusebius), after signing the first one "Florestan und Eusebius." The only dances not so signed are the ninth and eighteenth, where a prefatory statement identifies the author, and the sixteenth, 4Ibid., p. 414. SSchumann, Early Letters, p. 80. 4 which flows without interruption into the seventeenth; the two together then are attributed to "F. u. E." Under the title was an "old saying": In all' und jeder Zeit VerknUpft sich Lust und Leid: Bleibt fromm in Lust und seyd Beim Leid mit Muth bereit. (Forever and ever Joy and sorrow are entwined; Remain devout in joy And meet sorrow with courage.) The performing directions for each piece were given in German rather than the customary Italian.
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