Deceiving the Ear: Recontextualization, Key Association, and Auxiliary Cadence in Two Songs by Hugo Wolf
RYAN TAYCHER
The more outre and grotesque an incident is the more carefully it deserves to be examined, and the very point which appears to complicate a case is, when duly considered and scientifically handled, the one which is most likely to elucidate it.
Sir Arthur Conan Doyle (2003, 692)
The late nineteenth century was an important transitional period in Western classical music as composers created increasingly chromatic and dissonant works, moving toward an aesthetic that projected multiple perceived tonal centers and stretched the bounds of tonality. In recent years, theorists have contended that such pieces can often contain two tonics in a "directionally tonal" relationship, wherein the piece begins in one key and finishes in another. According to Deborah Stein, "The concept of directional tonality is particularly useful in depicting a lack of correspondence between the openings and closings of pieces."' Two such compositions are Hugo Wolf's An den Schlaf, in which the key signature changes from four flats to four sharps midway through the piece, and Lebe wohl, which begins in m major and ends in These seemingly abrupt shifts could lend themselves to directionally tonal interpretations, as Stein does in her analysis, stating that An den Schlaf "begins and ends in two different keys (each of which has its own network of harmonic relations), and these two networks remain distinct from one another at the song's conclusion."3 However, the underlying limitation of this view is the assumed "lack of correspondence," which diminishes the structural importance of the transition between the two perceived tonalities and their fundamental relationship. Mark Anson- Cartwright states that "if a piece begins and ends in different keys, then the harmonic-contrapuntal structure may be based, from a Schenkerian standpoint, on some other model than the Ursatz, such as an auxiliary cadence." Furthermore, he says, "pieces based on these models differ from those based on an Ursatz in that they present the structural tonic as a goal, but not as a point of departure" (2001, 234).
An earlier version of this essay was presented at the Mannes College 2012 Graduate Student Theory Conference and the Texas Society for Music Theory 2012 Conference.
1 Stein ( 1985, 145). Other theorists have used similar approaches, such as Bailey ( 1985), Kinderman ( 1988}, Kinderman and Krebs (1996), Krebs (1981 and 1991}, Loeb (1990), Nelson (1992), and Rothstein (2008). Alternately, Schachter (1999) analyzes Chopin's Fantasy, op. 49, as a monotonal structure. See also n. 23 in Jackson (1991). 2 Previous analyses of An den Schlafinclude Everett (2004, 56-58); Harrison ( 1994, 138-153); and Stein (1985, 187-214). 3 Stein (1985, 203). See also pp. 168-180 for her directionally tonal interpretation of Lebe wohl.
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(2012) (2012) 6 6 Studies Studies Schenkerian Schenkerian of of Journal Journal 94 94 Taycher 95
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(2012) (2012) 6 6 Studies Studies Schenkerian Schenkerian of of Journal Journal 98 98 Taycher 99 theE tonic in m. 21. The very same bass motive that transformed the function of has simultaneously recontextualized the Bin m. I from its initial status as the fifth of major to the leading tone of Bin m. 19 (Example 10). Whereas R was initially subsidiary to B, the roles have been reversed: D# has become an ancillary leading tone to the E major tonality. In the final measures, which are shown in Example 11, the two semi tone motives are presented successively. 0 moves to C#, then D# emphatically resolves to B three times in the highest register thus far presented, reaffirming the functional transformation. This
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Figure I. Heinrich Morike, "An den Schlaf'
Schlaf! silsser Schlaf! Sleep! sweet sleep! Obwohl dem Tod wie du Though next to death there is nothing nichts gleicht, that so much resembles you, Auf diesem Lager doch Into this bed I proclaim you welcome! willkommen heif3' ich dich!
Denn ohne Leben so, For without life so, Wie lieblich lebt es sich! How lovely it is to live! So weit vom Sterben, So far from death, Ach, wie stirbt es sich so Ieicht! Oh, how easy it is to die! I 02 Journal of Schenkerian Studies 6 (20 12)
second part of the song, beginning at 'Denn ohne Leben' (For without life), is announced in a new key, and here the music remains until the slow final relaxation of the piano postlude, without returning to the original tonality-as if sleep had indeed intervened" (1962, 69). However, the harmonic narrative conveyed by traditional key associations creates a different story. In the late 18'h and early 19'h centuries, keys were often associated with various concepts, affects, and moods. The most influential description of key associations was C.F.D. Schubart's ldeen zu einer Asthetik der Tonkunst, written from 1784 to 1785 and published posthumously in 1806. Despite the centuries-long debate over the existence of innate key characteristics and their validity, it should be no stretch of the imagination to suggest that through history certain keys could have developed affectational connotations-just as the descending tetrachord has become a symbol of lament, or the plagal cadence's association with the sacred-and that Wolf could have utilized them in his music. Many composers, such as Beethoven, Schubert, and Schumann, were familiar with these key associations and incorporated them into their own compositions.4 Anton Schindler quotes Beethoven referencing his 1814 opera Fidelio:
You say it doesn't matter whether a song is in F minor, E minor, or G minor; I call that as nonsensical as saying that two times two are five. When I make Pizarro sing in harsh keys (even in G# major) when he makes his heinous accusations of Florestan to the jailer, I do it to convey the nature of this individual, which is fully revealed in his duet with Rocco. These keys give me the best colors with which to express his character.5
Schumann also wrote an essay on key characteristics for his Neue Zeitschrift fiir Musik with which Wolf was likely familiar.6 It would be a considerable fallacy to suggest that key characteristics were significant to every composer in every work, but it would be equally misguided to deny altogether the potential significance of key associations, especially within the Lieder tradition in which Wolf was undeniably rooted. Therefore, by combining Schubart's key associations (Figure 2) with the harmonic progression, Wolf's setting creates a harmonic narrative that is quite the opposite of Sams's interpretation. In An den Schlaf, the first line of text, "Schlaf! siisser Schlaf!" (Sleep! sweet sleep!) is set in suggesting that the protagonist is in fact yearning for death through the metaphor of sleep. With the motion to B minor in m. 9, although not as a tonal center, he is awaiting his fate: this can be none other than "Tod," or death, as it aligns with the arrival on B. The words "willkommen heiss' ich dich!" (I proclaim thee welcome!) occur at the arrival of the tonal center, signifying his resignation and acceptance of imminent death.
4 Ossenkop (2011). See also Reed (1997, 484-494) and Code (1995). Furthermore, Bailey (1977) discusses Wagner's development and use of associative tonality. 5 Schindler (1996,369). In addition, he writes, "One of the books in !Beethoven's! very limited personal library was Schubart's ldeen zu einer Aesthetik der Tonkunst" (366), and that "Beethoven did not hesitate to declare that before setting a text he would deliberate with himself as to the most suitable key. To deny without reason the special character of the different keys was to Beethoven like denying the effect of the sun and the moon on the ebb and How of the tides" (369). 6 Schumann (1835, 43-44). Wolf references another article of Schumann's from the same year in one of his concert reviews. saying, "It may be assumed that Schumann's famous critique Jof Berlioz's Symphonie Fantastiquel is familiar to every music lover" (1979, 130). Taycher 103
Figure 2. Select Key Associations after Schubart (as quoted by Steblin 2002)
major Resignation, Solemnity, "A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying" (234). E major "Noisy shouts of joy, laughing pleasure and not yet complete, full delight" (252)? m major "Triumph over difficulty, free sigh of relief uttered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key" (266).
major "The key of the grave. Death, grave, putrefaction, judgement, eternity lie in its radius" (276).
8 minor "This is as it were the key of patience, of calm awaiting one's fate and of submission to divine dispensation. For that reason its lament is so mild, without ever breaking out into offensive murmuring or whimpering" (296).
However, just as he is about to succumb, the harmony stops on the dominant of Instead of accepting death, as a resolution to Db would imply, B is transformed into and becomes the leading tone to Eq, the key that symbolizes his renewed will to live. The final stanza then serves as a reflection on the motivation that lifted him from the brink of death. Through the recontextualization of the harmony and the transformation of B into the leading tone of E major, the disconnect between the two tonal centers is metamorphosed into continuity through which the protagonist is able to find new meaning in life.
LEBEWOHL
A similar harmonic discrepancy between the opening and closing tonal centers is presented in Wolf's setting of Lebe wahl. Although there is no change in the key signature as there is in An den Schlaf, Lebe wahl begins in m major and ends very clearly in major. In the poem, the protagonist tells of the anguish caused by a lost love who apathetically bid him "farewell" (Figure 3), and Wolf's choice of keys in which to set the text is very appropriate.H Schubart writes that portrays "triumph over difficulty, lal free sigh of relief uttered when hurdles are surmounted; lthel echo of a soul which has fiercely struggled and finally conquered" (Steblin 2002, 266). Similarly, Hugh MacDonald notes the prevalent use of major in 19th-century opera, such as in Les Huguenots and Die Meistersinger von Niirnberg,
7 Eric McKee notes that ''by the beginning of the nineteenth century the keys of E major and Ab major were popularly conceived as polar opposites.( ... ( E major was the key of brightness. release from torment, and of things spiritual; A' major was the key of darkness. doom, and death" (2005, 133). 8 Choosing G' major, a difficult and seldom used key, seems to have been very deliberate. Equal temperament had eliminated the intonational differences between keys. and there were no physical qualities of the piano or the voice to consider that would yield acoustical variances, such as with open or depressed strings. The vocal range does not warrant the choice of key signature either-the song could just as easily have been written in For G, which would have been much easier to play, and would still contain essentially the same range for the singer. For this reason. the choice of m major was not for the sake of practicality and was plausibly chosen for its connotation.
l l
the the
of of
dominant dominant the the is is
that that fact fact
the the of of Conscious Conscious 14). 14). (Example (Example to to resolving resolving sixth sixth augmented augmented
an an create create to to harmony harmony opening opening the the with with exchange exchange voice voice doubly-chromatic doubly-chromatic a a of of part part as as and and tone tone leading leading
a a as as functions functions it it where where 6 6 m. m. in in piano piano the the of of voice voice alto alto the the in in up up m m picked picked then then is is The The degree. degree. scale scale
second second diatonic diatonic the the of of deformation deformation chromatic chromatic 2 2 painful painful a a as as acts acts Phrygian Phrygian The The (pain). (pain). "Schmerzen" "Schmerzen"
word word the the with with coinciding coinciding to to sinks sinks immediately immediately but but 4, 4, m. m. in in 2 2 dominant dominant back-relating back-relating a a above above to to
through through moves moves ground ground middle middle the the in in Urlinie Urlinie the the of of descent descent chromatic chromatic a a time, time, same same the the At At
3 3 Dk Dk of of and and m m above above seventh seventh a a F, F, to to moves moves and and registers registers shifts shifts piano piano
the the of of voice voice soprano soprano the the figure figure sighing sighing 3 3 chromatic chromatic a a After After voice. voice. top top the the in in with with harmony harmony
m m clear clear a a with with opens opens song song
the the 13, 13, Example Example in in seen seen As As major. major. inevitable inevitable the the prevent prevent and and major major m m of of
bliss bliss the the maintain maintain to to desperately desperately struggles struggles he he as as music music the the in in reflected reflected is is sentiment sentiment This This gone. gone. has has love love
his his that that accept accept to to refuses refuses disbelief disbelief in in who who protagonist protagonist a a depicts depicts Wolf Wolf text, text, the the of of setting setting his his With With
and and between between conftict conftict vivid vivid the the and and wahl wahl Lebe Lebe of of structure structure harmonic harmonic
large-scale large-scale the the understanding understanding for for apt apt particularly particularly is is cadence cadence auxiliary auxiliary "bitonic" "bitonic" the the of of description description This This
189) 189) (2001, (2001, second. second. the the to to subsidiary subsidiary as as tonic tonic first first the the perceive perceive
to to able able listener listener the the conclusion-is conclusion-is its its reaches reaches composition composition the the as as retrospectively-i.e. retrospectively-i.e. Only Only
second. second. the the to to way way gives gives ultimately ultimately tonic tonic first first the the whereby whereby tonics tonics competing competing two two of of impression impression
the the create create hand, hand, other other the the on on cadences, cadences, auxiliary auxiliary "bitonic" "bitonic" arrival]; arrival]; tonic tonic fdefinitive fdefinitive delaying delaying
simultaneously simultaneously while while chord chord tonic tonic concluding concluding the the of of key key the the evoke evoke cadences cadences auxiliary auxiliary "Monotonic" "Monotonic"
cadences: cadences: auxiliary auxiliary
of of categories categories broad broad two two identifies identifies Jackson Jackson Timothy Timothy song. song. the the of of majority majority vast vast a a for for persists persists tonic tonic the the
mas mas of of perception perception the the that that fact fact the the
despite despite piece, piece, the the in in early early tonic tonic concluding concluding the the foreshadow foreshadow that that
features features several several presents presents wahl wahl Lebe Lebe centers, centers, tonal tonal in in shift shift clear clear a a contains contains Schlaf Schlaf den den An An Whereas Whereas
major. major. in in written written fittingly fittingly is is love, love, his his of of loss loss agonizing agonizing
the the with with terms terms to to comes comes narrator narrator the the which which in in 8311), 8311), (op. (op. Resignation Resignation song song own own Schumann's Schumann's Indeed, Indeed,
fate. fate. sorrowful sorrowful one's one's of of acceptance acceptance the the and and
resignation resignation conveys conveys hand, hand, other other the the on on 230). 230). (1988, (1988,
duets" duets" love love for for particular particular in in bliss, bliss, heavenly heavenly and and "ecstasy "ecstasy depict depict to to and and character character "otherworldly" "otherworldly" its its for for
it! it! with with heart heart my my broken broken have have I I gebrochen! gebrochen! damit damit Herz Herz das das Mir Mir
pain pain insatiable insatiable in in And And Qual Qual nimmersatter nimmersatter in in Und Und
myself, myself, to to it it said said I I Have Have vorgesprochen, vorgesprochen, mires mires ich ich Hab' Hab'
times times thousand thousand a a Oh Oh Farewell! Farewell! tausendmal tausendmal Ach Ach wohl! wohl! Lebe Lebe
heart. heart. light light a a with with and and it, it, spoke spoke You You Herzen. Herzen. leichtem leichtem und und du's du's Sagtest Sagtest
face face confident confident a a With With Angesicht Angesicht getrostem getrostem Mit Mit
pain; pain; of of word word this this means, means, it it What What Schmerzen; Schmerzen; der der Wort Wort dies dies heiBt, heiBt, es es Was Was
not not feel feel You You "Farewell!" "Farewell!" nicht, nicht, fiihlest fiihlest Du Du !" !" wohl wohl "Lebe "Lebe
wohl" wohl" "Lebe "Lebe Morike, Morike, Heinrich Heinrich 3. 3. Figure Figure
(2012) (2012) 6 6 Studies Studies Schenkerian Schenkerian of of Journal Journal 104 104 Taycher 105
Example 13. Hugo Wolf, Lebe wohl, mm. 1-5
D>: 3 r--- A A A A G>: 3,--- 2 -•2 fl -,.....
t) fl ---... I I
t) --- - v=J ' - ' .. : ..
G>: -I v" D>: IV'
Example 14. Hugo Wolf, Lebe wohl, mm. 6-7
m. m. prior prior the the from from enharmonically enharmonically derived derived A>. A>. the the above above implied implied be be can can Fl Fl reason. reason. this this For For sixth. sixth. augmented augmented an an
were were it it if if would would it it as as octave octave Gl Gl a a to to resolves resolves A> A> the the However. However. sixth. sixth. augmented augmented the the without without yet yet chord. chord. sixth sixth augmented augmented French French a a
resembles resembles which which A>, A>, above above prolonged prolonged are are and and 0 0 Both Both context. context. the the given given implied implied be be may may it it but but 6, 6, m. m. in in present present Fl Fl no no is is There There 9 9
IV IV DO: DO:
II, II, V' V' I I G>: G>:
IV IV DO: DO:
v' v' II, II,
5-9 5-9 mm. mm. wohl, wohl, Lebe Lebe Wolf, Wolf, Hugo Hugo 15. 15. Example Example
succeeds. succeeds. he he present present
the the for for and and illusion, illusion, blissful blissful his his prolonging prolonging thereby thereby closure, closure, structural structural prevent prevent to to stratagem stratagem this this uses uses
protagonist protagonist the the to to modulation modulation the the thwarting thwarting in in did did he he as as reality reality off off fend fend To To significance. significance. narrative narrative
carries carries also also and and background background the the in in interruption interruption the the over over bridging bridging by by continuity continuity provides provides substitution substitution This This
4. 4. 2 2 neighbor neighbor upper upper the the by by usurped usurped 2 2 immediately immediately is is However, However, suspension. suspension. 4-3 4-3 the the following following to to moves moves
rlinie rlinie U U the the and and 15, 15, Example Example in in shown shown stanza, stanza, first first the the of of end end the the mat mat of of dominant dominant the the reaches reaches Wolf Wolf
chord. seventh seventh dominant dominant a a
becoming becoming from from the the preventing preventing
9 9
to to resolves resolves that that above above built built is is chord chord sixth sixth augmented augmented French French a a voice, voice, top top the the in in F# F# implied implied an an With With
pitches. pitches. both both prolongs prolongs that that exchange exchange voice voice a a creating creating to to moved moved has has piano piano the the of of voice voice soprano soprano the the
reached reached is is time time the the by by 0 0 but but above above third third consonant consonant (the (the to to route route en en 0 0 tone tone passing passing chromatic chromatic a a
considered considered be be could could piano piano the the of of voice voice tenor tenor the the in in The The dominant. dominant. a a as as than than other other way way any any in in resolve resolve
to to as as so so harmony harmony dominant dominant the the distort distort to to tries tries frantically frantically protagonist protagonist the the fate, fate, his his signifies signifies which which key key
12) 12) (20 (20 6 6 Studies Studies Schenkerian Schenkerian of of Journal Journal 106 106 Taycher 107
The second half of the piece begins in m. 9 with a return to the Gb tonic and the same sighing figure as in the first measure (Example 16). The bass moves tom in m. 11 over which the F Kapftan is picked up and the m unfolds as a dominant seventh of B. The voice then moves from F to Bin m. 13 (Example 17), initiating a voice exchange with the top line of the piano. The vocal line ascends from B to Ab, exclaiming "Qual" (pain) at the climactic moment in the piece, while the piano descends from Ab to Fb, the chromatically lowered 3. The climax in m. 14 seems to emphasize an arrival on Db, but the protagonist once again circumvents the Db tonic using the downward momentum of the piano line to continue through to Fb. The Fb is then transferred into the bass through another voice exchange and moves to H, the Neapolitan six chord of the concluding Db tonic. The bass then ascends chromatically, reaching the dominant at the moment his heart is broken. 10
Example 16. Hugo Wolf, Lebe wahl, mm. 9-13 D>: J ,., T_
G>: 3 ,., I------I -
I I I I.-- h. I !'--; : ' ---- •
' ------";: r------1 --- I ...... --- G>: -I III VI D>: IV
Example 17. Hugo Wolf, Lebe wahl, mm. 13-17
D>: I]
10 "das Herz damit gebrochen!"" (mm. 14-16).
key. key. in in change change clear clear the the despite despite maintained, maintained, is is signature signature key key them them further, further, Even Even fate. fate. his his accepts accepts truly truly never never protagonist protagonist the the if if as as
major, major, in[)!, in[)!, sings sings never never vocalist vocalist the the wahl: wahl: in in Lebe Lebe expanded expanded is is idea idea This This Wolf. Wolf. for for precedent precedent possible possible a a postlude, postlude, piano piano the the in in only only
closure closure
structural structural achieved achieved and and conclusion conclusion its its at at unresolved unresolved line line vocal vocal the the left left Schumann Schumann songs, songs, the the Dichterliebe Dichterliebe of of several several In In II II
4-3 4-3
>6-S >6-S v••-l v••-l
J J
I I -
:::::: :::::: :"'l :"'l ....___.._ ....___.._
: :
t----J t----J ---...... ,---- .. .. IJ. IJ.
"' "'
g. g. "---::::___ "---::::___ .. .. --. --. tJ tJ
, ,
II II
2 2 I I •3 •3 4 4 [3 [3 3] 3] 3 3 4 4 2 2 o3 o3
1\ 1\ 1\_J 1\_J 1\ 1\ 1\ 1\ 1\ 1\ 1\ 1\ 1\ 1\ 1\ 1\
1\ 1\ 1\ 1\ tJ tJ
2 4 4 2 •3 •3
1\ 1\ 1\ 1\ 1\ 1\
16-20 16-20 mm. mm. wohl, wohl, Lebe Lebe Wolf, Wolf, Hugo Hugo 18. 18. Example Example
tried. tried. he he desperately desperately how how matter matter no no love, love, lost lost his his to to on on hold hold not not could could protagonist protagonist the the
as as just just tonic, tonic, the the as as function function truly truly never never could could m m end end the the In In 21). 21). (Example (Example cadence cadence auxiliary auxiliary m6-V7-l m6-V7-l
3, 3, IV a a beginning beginning as as F F with with of of subdominant subdominant the the as as
recontextualized recontextualized - is is "tonic" "tonic" them them progresses, progresses, 7
song song the the As As seventh. seventh. a a adding adding by by m m of of status status tonic tonic the the destabilizes destabilizes measure, measure, second second the the in in beginning beginning
F, F, on on emphasis emphasis prevalent prevalent The The beginning. beginning. the the from from plagued plagued was was identity identity structural structural its its second, second, the the into into
well well and and stanza stanza first first entire entire the the for for tonic tonic the the be be to to appears appears convincingly convincingly very very major major m m Although Although
I. I. 3 3 to to directly directly from from falls falls line line the the as as resolution resolution of of means means proper proper the the through through go go to to even even bear bear cannot cannot he he
exhausted, exhausted, Utterly Utterly longer. longer. no no resist resist to to able able is is he he measure measure penultimate penultimate the the in in finally finally until until reluctance, reluctance, his his
(3--!>3-2-4) (3--!>3-2-4) reiterating reiterating more, more, twice twice motive motive this this echoes echoes postlude postlude piano piano The The piano.'' piano.'' the the to to fate fate tragic tragic his his
I, I, relegating relegating reaches reaches never never and and unresolved unresolved left left is is line line vocal vocal the the time time this this However, However, stanza. stanza. first first the the of of
end end the the at at 8 8 4 4 m. m. in in as as just just closure, closure, structural structural avoid avoid to to top top on on places places again again yet yet Urlinie, Urlinie, the the of of descent descent
2 2
final final the the be be to to seems seems what what in in dominant dominant the the over over to to through through moves moves line line vocal vocal The The ending. ending. from from piece piece
the the prevent prevent to to desperately desperately tries tries protagonist protagonist the the 18, 18, Example Example in in shown shown measures, measures, final final the the in in Even Even
12) 12) (20 (20 6 6 Studies Studies Schenkerian Schenkerian of of Journal Journal 108 108 Taycher 109
l, l,
-"')11
N .:st: [/) -"'..... ti: '- 0 "'0 t: ::l 0..... 0/J :a
cz 1oz) 9 s:J!Pnls uup:l)JU:l4:>s 10 1uumor o11 Taycher Ill
Example 21. Hugo Wolf, Lebe wahl, Background
15 16 17
1\ 1\ 1
II '--- I L J I I I u r \ I i0r- '--'i X I : '"f---r-.._/
IV'
The outre features of these two songs-the complex and dissonant progressions, the disparate tonal centers, the abrupt shift in key signature, the pronounced seventh above m-have complicated theorists' analytical understanding of these compositions, and many more similar works. Yet, to understand the context of these complexities, their relationship to the background structure, and ultimately their connection to the text, sheds light on their meaning. Interpreting An den Schlaf or Lebe wahl as directionally tonal is not necessarily incorrect, but it provides only a small part of the picture. Viewing each piece retrospectively as a unified monotonal structure through which the initial harmony is recontextualized to assume new meaning clarifies the function of these complications and demonstrates how the opening and closing tonal centers are intrinsically related. These crucial aspects inform not only the interpretation of the tonal structures, but also the interpretation of the poems themselves, illuminating the harmonic narratives created to complement the texts. Understanding the pieces in this manner contributes to a fuller comprehension and a deeper appreciation of two of Hugo Wolf's beautifully complex songs. 112 Journal of Schenkerian Studies 6 (2012)
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