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Clara Schumann as innovator and collaborator: The Piano Trio in G minor, Op. 17 Item Type text; Dissertation-Reproduction (electronic) Authors Nemko, Deborah Gail Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 21:30:35 Link to Item http://hdl.handle.net/10150/282380 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directfy^ from the origmal or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, v<^e others may be from ai^ type of computer printer. The quality of this reproduction Is dependent upon tiie quality of the copy submitted. 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Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zedb Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 CLARA SCHUMANN AS INNOVATOR AND COLLABORATOR: THE PIANO TRIO IN G MINOR, OP. 17 by Deborah Nemko Copyright © Deborah Nemko A Document Submitted to the Faculty of the DEPARTMENT OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR ESI PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1997 UMI Nunber: 9738961 Copyright 1997 by Nemko, D^orah Gail All r^hts resenred. UMI Microfonn 9738961 Copyright 1997, by UMI Company. All rights reserred. This microform edition is protected against unauthorized copyii% under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Deborah Nemko entitled Clara Schumann as Innovator and Conaborator: The Piano Trio in G Minor, Op. 17 and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts a Fernandez Date Date ' ± Dr.(Jjay Rosenblatt DatekL Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date 3 STATEMENT BY AUTHOR This doctunent has been submitted in partial fulfillment of requirements of an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library- Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS For her patient demeanor and constant encouragement, I am most grateful to Dr. Nohema Fem^dez, Professor of Piano, my mentor and committee chair. She is an excellent role model, and I am fortimate, indeed, to have received her guidance. In addition, I owe thaixks to Dr. Paula Fan, Professor of Piano, for her creative insight into the writing process and her patience with the many last minute alterations of the text. Kudos to Dr. Jay Rosenblatt, Assistant Professor of Musicology, for his willingness to step into the role of third committee member as a sabbatical replacement. His careful attention to detail has elevated my project to a higher level of scholarship. I would like to also extend my thaiiks to Dr. Rex Woods, Professor of Piano, for his careful editing of my proposal. His comments, occurring at the initial stage of the document, facilitated the acceptance by committee of the document's proposal. A heartfelt thaiik you to Professor Jocelyn Reiter, Director of Graduate Studies in Music and Ms. Lyneen Elmore, administrative assistant, for their calm, friendly attitude and the wealth of information they dispensed freely. Finally, I am indebted to Nelzimar Neves, cellist and friend, who was always eager to escape to the nearest coffee shop and sensitively sort through the immense jumble of ideas and emotions that is connected to the naissance of any creative project. 5 TABLE OF CONTENTS List of Musical Examples 6 Abstract 7 Introduction 8 L Clara Schumaim's Musical Development 10 n. The Creative Partnership 17 in. Correlatioris Between Clara's Op. 17 and Robert's Op. 63 Trio 27 IV. Performance Consideration 37 Conclusion 44 Works Cited 46 6 LIST OF MUSICAL EXAMPLES Example 1, mm.1-4, first movement. Op. 63 Piano Trio 28 Example 2, mm. 1-4, first movement. Op. 17 Piano Trio 29 Example 3a, mm. 20-25, first movement. Op. 63 29 Example 3b, mm. 15-18, first movement. Op. 63 30 Example 4a, mm. 58-63, first movement. Op. 17 30 Example 4b, mm. 27-29, first movement. Op. 63 31 Example 5, mm. 1-5, second movement. Op. 17 32 Example 6a, mm. 9-13, third movement. Op. 17 33 Example 6b, mm. 10-13, third movement. Op. 63 34 Example 7a, mm. 1-5, fourth movement. Op. 63 35 Example 7b, m. 1, first movement. Op. 63 35 Example 8, mm. 177-183, fourth movement. Op. 17 42 ABSTRACT This paper traces the musical development of pianist and composer Qara Schumarm (1819-1896) leading to the composition of the Piano Trio, Op. 17, one of her most significant works. Like her to contemporaries, the virtuosi Anton Rubinstein and Sigismond Thalberg, Qara Schumann was a gifted pianist and one of the leading musicians of her day. Until recently, little was known about her role as a composer, and her works were consistently relegated to the domain of the "salon." The musical collaboration between Qara and Robert Schumann was productive due both to the close nature of their relationship and their mutual respect for each other's musicianship. Throughout their lives, they developed a lively artistic exchange which included borrowing musical materials from each other. Not coinddentally, the first Piano Trio of Robert Schumann, a w^ork of substantial craftsmanship, bears a strong musical resemblance to Clara's Piano Trio, Op. 17, written one year earlier. In addition, to aid the performer unfamiliar with the Piano Trio, a discussion of performance considerations is induded. 8 INTRODUCTION: NECESSITY FOR A STUDY OF THE PIANO TRIO, OP. 17 One of the most powerful statements on the ability of genius to create works of art in the face of insurmountable odds can be seen in the compositions of Clara Schumann. Clara Schumann managed to raise seven children to adulthood, take care of an ailing husband while pursuing her career as concert pianist, and, in brief moments of calm, compose music. Unfortunately, she did not live to see the kind of social changes witnessed by women artists in the twentieth century. Almost a century later, Virginia Woolf would champion the need for a woman artist, in order to develop her full creative potential, to have "a room of one's own": financial independence and freedom from the all-encompassing responsibilities of a family. Clara was considered "the Priestess" of the piano and felt equal or better to any other female pianist of her day. Yet, she doubted her own ability as a composer, claiming on numerous occasions that the field of composition was not within the grasp of a member of her sex. Fortianately, her own self-doubt did not completely prevent her from composing music. Her works consist of published pieces from Op. 1 through Op. 23 as well as unpublished works, many of which are still unavailable to the public. Clara's compositions span the gamut from Lieder to piano concerto, yet, it is her Piano Trio, Op. 17, that we may identify as her greatest achievement. It is a work of both carefully delineated form and haimting beauty, written after thorough study of compositional technique and Q counterpoint. In addition, written in 1846, one year before the composition by Robert Schumann of his first piano trio. Op. 63, the piece contains many interesting similarities to the work by Robert, suggesting perhaps, an influence on the composition of Op. 63. Furthermore, by examining the Op. 17 trio, we are offered a rare opportunity to observe the compositional and pianistic skills of its composer. Unfortunately, while Op. 17 may be considered representative of the apex of Qara Schumann's compositional style, past scholarly works have failed to examine the possibility of its influence on the writing of Robert Schumann's first trio. Op. 63. This paper focuses on the origins of the Piano Trio in G Minor, Op.

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