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Home , Ignaz Schuppanzigh, Ludwig Rellstab, Ludwig van Beethoven

"BEETHOVENNESS" IN SCHUBERT'S LATE INSTRUMENTAL WORKS by EMILY JANE ALLEY B.M., Susquehanna University, 2011 M.M., Bowling Green State University, 2014

A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Musical Arts College of 2018 ii

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Alley, Emily Jane (DMA, Collaborative ) "Beethovenness" in Schubert's Late Instrumental Works Thesis directed by Associate Professor Yonatan Malin

This paper synthesizes biographical information with music analysis to glean a more thorough understanding of Schubert's music, which may influence both performer and audience perspectives. It reveals the importance of for Schubert’s late compositional output through a critical review of scholarly discourse, theoretical analysis of “Auf dem Strom,” D. 943 and in E-flat major, Op. 100, D. 929, and a reflection on the connection between biography and audience reception. These analyses clearly demonstrate the "Beethovenness" that permeates the works mentioned above. By studying biography in conjunction with traditional , otherwise takes on extra-musical meaning: these pieces represent Schubert’s attempt to establish himself as a celebrated composer in Beethoven’s footsteps.

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ACKNOWLEDGMENTS

To Dr. Yonatan Malin, Dr. Alexandra Nguyen, and Dr. Mutsumi Moteki: Thank you for your support, dedication, and patience, especially over the last year as I wrote this paper. I truly appreciate your guidance and willingness to help throughout the process. Each of you brought a unique perspective and new ideas to this project, and it certainly would not be what it is without you.

To my husband, Zach: There is no doubt that I would still be writing this paper if you had not pushed me along the way. Even though it was not always enjoyable for either of us at the time, I appreciate how invested you were in this project and my degree, and I can't thank you enough.

To both of our families: You are the most supportive families I could imagine and your encouragement has been more helpful than you know. Thank you and I love you.

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CONTENTS

CHAPTER

I. Introduction ...... 1

Biography ...... 2

Tradition of Innovation ...... 5

Beethoven Project ...... 6

Ignaz Schuppanzigh ...... 9

Schubert's public concert of 1828 ...... 10

II. Analysis ...... 12

"Auf dem Strom," D. 943 ...... 12

Piano Trio in E-flat major, D 929 ...... 22

III. Conclusion ...... 28

Bibliography ...... 30

APPENDIX

A. Examples ...... 31

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FIGURES

Figure

1. "Auf dem Strom" text by ...... 12

2. "" text by ...... 16

I. Introduction

Franz Schubert (1797-1828) was possibly the most prolific composer in the history of Western , though he lived and worked in , a city whose scene was dominated by instrumental genres and, more specifically, ’s instrumental works. Despite his success publishing hundreds of vocal works, Schubert felt a connection to the Austro-German tradition and tasked himself with making a more meaningful contribution to instrumental genres, including chamber works and the , which he believed would more likely preserve his reputation as a composer following in the footsteps of

Mozart, Haydn, and Beethoven.

While ill with in 1823, the still-young Schubert realized his timeframe for making this contribution was shrinking quickly. Letters between friends and contemporaries, as well as diary entries, consistently document his yearning to match Beethoven’s esteem. The pressure to achieve success in Vienna with instrumental works helped cause his "year of crisis," which ignited what Gingerich calls “Schubert's Beethoven project" (referred to as Beethoven

Project from this point forward).1 This biographical information will provide extensive extra- musical insight and reveal motivations for his decision to compose in particular instrumental genres with specific instrumentation.

Through a critical and theoretical analysis of Schubert's “Auf dem Strom,” D. 943 and

Piano Trio in E-flat major, D. 929, it will become clear that Schubert was heavily influenced by

Beethoven and used these two pieces as a farewell after Beethoven’s death in 1827.

Additionally, a competitive element surfaced in Schubert, seen through his attempts to surpass

Beethoven in musical innovation.

1 John M. Gingerich, Schubert's Beethoven Project (Cambridge: Cambridge University Press, 2014), 14. 2

This paper will synthesize biographical information with music analysis to glean a more thorough understanding of Schubert's music, which may influence both performer and audience perspectives. It will reveal the extent of Ludwig van Beethoven’s influence on Schubert’s late compositional output and how their relationship has impacted interpretation and reception of

Schubert’s music through a critical review of scholarly discourse, theoretical analysis of “Auf dem Strom,” D. 943 and Piano Trio in E-flat major, D. 929, and a reflection on the connection between composer biography and audience reception. These analyses will clearly demonstrate the "Beethovenness"2 that permeates the works mentioned above. By studying biography in conjunction with traditional musical analysis, otherwise absolute music takes on extra-musical meaning: these pieces represent Schubert’s attempt to establish himself as a celebrated composer in Beethoven’s footsteps.

Biography

Before delving into Schubert’s views of Beethoven it is crucial to understand why biography is important and consider the impact it has on our listening and comprehension of music. Maynard claims that awareness of a person’s biographical data shapes the way we view them and, in this case, their music.3 How can we truly ignore the influence biography has on us? Consider how many times we have listened to a piece of music without a thread of background information and then listened again after we researched or were given biographical details surrounding that composer. Did those details not inform our second listening or conjure up different feelings or attitudes regarding the composition and its composer? Why do

2 I am using the idea of “Beethovenness” by analogy with Michael Beckerman’s notion of “Czechness” in music; see Michael Beckerman, "In Search of Czechness in Music," 19th-Century Music 10 (1986): 64. As will be discussed extensively throughout this paper, this autobiographical sensibility is tied directly to the music. Beckerman used this concept of imbuing music with an extra-musical meaning in a study of Smetana. The concept applies here as well. 3 , "Thoughts on Biography," 19th-Century Music 5, no. 3 (1982): 268-76. 3

consistently provide program notes for their audiences if not to allow extra-musical influences to inform their listening? By studying biography in all of its forms, we gain insight regarding the influence that motivated a composer to make specific decisions when writing abstract music.

With absolute music, there is much more room for interpretation and therefore more careful study is necessary if we are going to glean anything beyond what uninformed ears would hear.

In this case, a careful examination of Schubert’s biography (personal and musical) clearly identifies the impact Beethoven had on him.

One can hardly listen to Beethoven’s “Eroica” Symphony without also thinking of outside elements. Because of its original dedication to Bonaparte, its title,

Eroica ... composta per festeggiare il sovvenire di un grande Uomo (“Heroic Symphony, composed to celebrate the memory of a great man”), Beethoven’s nod to The Creatures of

Prometheus, and the , our responses to the “Eroica” have been shaped by the composer directly. Solomon asks, “Listening to the ‘Eroica,’ can we expel from our consciousness our knowledge of Beethoven’s hero- and rescue- fantasies, his suicidal thoughts, his family romance, and his nobility-pretense?”4 These extra-musical elements impact our listening and mold our thoughts perhaps far more than one might expect. After analyzing two of

Schubert’s late compositions combined with a study of his personal biography, the same will be said of Schubert’s works—the extra-musical details will inform our listening and impact our perception of his music.

There are several avenues a biographer may take in attempts to understand his subject.

On the one hand a biographer may attempt to contextualize —in this case Schubert and Beethoven—historically and culturally, seeking a large scale understanding of the subjects; on the other hand, a musicologist or a music theorist may take the approach that is narrowly

4 Solomon, “Thoughts on Biography,” 274-75. 4

interested in the music and how musical innovations fit the Austro-German music canon. A more ambitious and insightful approach would be to combine the historical and cultural ideologies with an examination of musical innovations as they relate to contemporaries and forerunners (and even how their reception changes over time). This is, admittedly, the approach that risks a shallow understanding. As Solomon observes, “The biographer who hopes to give a more comprehensive portrait of the composer will combine these lines of investigation, aware that in attempting so much he risks the superficiality of eclecticism.”5 By thoroughly consulting experts in both forms of biography, however, the task is more simply to synthesize the extensive research that has been completed. Solomon observes that biographical and musical data ends up being intertwined, so it is important to read letters, newspapers, books, manuscripts, and any other sources that can be found, even if the subject matter does not seem immediately relevant.6

It is clear that biography has the ability to impact our perspective. However, Solomon notes that there are “highly sophisticated critics”7 who refuse to acknowledge biography’s worth and prefer to press on without it. They believe the artist or creator is merely a vessel through which ideas are communicated, essentially giving credit to unseen forces, rather than acknowledging the artist’s own ability to create. These critics frown upon the proposition that biographical information can lead to a better and more thorough understanding of a person or work. It is not that they are struggling without biography—they simply view the composer as a conduit for a divine art that is only made accessible via the composer. Solomon quotes

Siegmund Levarie, who writes, “Composition, like all true artistic creation, is a spiritual process; and physiological or psychological research will never touch the essence of it any more than that

5 Solomon, “Thoughts on Biography,” 271-72. 6 Solomon, “Thoughts on Biography,” 272. 7 Solomon, “Thoughts on Biography,” 275. 5

of life itself.”8 Levarie himself claims that his knowledge of Beethoven comes, not from biographical study, but from listening and the study of scores. It is as if these critics have a desire to actively avoid acquiring biographical knowledge about the composer or composer’s works. There are cases where composers do not wish to have their biographies considered when having their music studied, but in many cases the individual and his personal history has the potential to influence the listener. It may not change the music aesthetically, but for composers like Beethoven, who referred to the "innate summons to reveal myself to the world through my works,"9 biography is relevant. In order to appreciate a composer and his works at a basic level we are not required to have a vast bank of background information, but Solomon observes that

“such responses do not exemplify a higher form of appreciation.”10 The uninformed listener may react “naturally” to a particularly dramatic work but not to pieces with more demanding formal structures.11 The ability to have a more informed response comes from digging deep into the composer’s life and works.

Tradition of Innovation

Schubert’s admiration for Beethoven is both undeniable and unsurprising. Schubert was living in Vienna during a time of great musical development—Mozart and Haydn had made their mark and Beethoven was now both continuing the Viennese Classical tradition and transitioning into a new musical age. Composers of the Western classical music tradition have a history of simultaneously looking backward to previous practices and forward in innovation—continuing what other composers have sought to do while maintaining the tradition of innovation.

8 Siegmund Levarie, "Biography of a Composer," American Imago, 36 (1979), 322-23. 9 Solomon, “Thoughts on Biography,” 269. 10 Solomon, “Thoughts on Biography,” 275. 11 Solomon, “Thoughts on Biography,” 275. 6

Beethoven often looked to composers such as Mozart, Haydn, Handel, and Bach for guidelines and inspiration.12 Each of those composers relied on their predecessors in the same way. The parameters these composers used were merely a framework for composition, allowing them to define the current “rules” of composition. From there they were able to bend and stretch those rules, forging a new path for the Western classical music world and the composers to follow.

This pattern has continued into the twenty-first century. Schubert also looked back to previous composers and to Beethoven, especially beginning in 1824, the start of his Beethoven Project.13

Beethoven Project

John Gingerich has shown that Schubert’s Beethoven Project was an attempt to match

Beethoven by composing in those genres in which Beethoven achieved the most recognition, especially the string , piano , and symphony. Schubert had composed in those genres prior to 1824, but was most widely recognized as a song composer. He felt an increased sense that, in order to establish himself as a serious composer of abstract instrumental works, he must recommit to composing in Beethovenian genres. By devoting himself to the Beethoven

Project he was attempting to link his music with Beethoven’s, and thereby to gain public recognition.

Schubert’s Beethoven Project was a result of his “year of crisis” in 1823.14 Some scholars have labeled 1818-1823 the crisis years but the evidence points to 1823 being the most difficult year of Schubert’s short life.15 In a March 1824 letter to his friend, Leopold

Kupelwieser, Schubert revealed how deeply discouraged he was by his situation and listed

12 Douglas Johnson, Scott G. Burnham, William Drabkin, , and Alan Tyson, “Beethoven, Ludwig van,” Grove Music Online. Oxford Music Online, accessed February 23, 2018, www.oxfordmusiconline. 13 Gingerich, Schubert's Beethoven Project, 9. 14 Gingerich, Schubert's Beethoven Project, 41. 15 Gingerich, Schubert's Beethoven Project, 39. 7

several causes for that despair. His ongoing illness, loss of communication with friends, two failed , and struggles publishing new works all contributed to his unending unhappiness.

In a word, I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better; imagine a man, I say, whose most brilliant hopes have perished, to whom the happiness of love and friendship have nothing to offer but pain, at best, whose enthusiasm (at least of the stimulating kind) for all things beautiful threatens to disappear, and I ask you, is he not a miserable, unhappy being?16

Schubert even continues in his letter to quote the line “Meine Ruh’ ist hin” (My peace is gone) from “Gretchen am Spinnrade,” one of his most famous songs.17 Schubert was almost sure he would never be well again. He was weak and his reputation suffered the consequences of not being in the public eye during his year of sickness. Because he had only truly been known for slightly over two years he could not afford to lose any credibility he had built. In 1823

Schubert’s music was performed publicly a total of seven times, compared to 1821 when eighteen performances were given of his works.18 This decrease in appearances did not help

Schubert’s stature as a composer or help him pay his medical bills. Looking into his future he was pessimistic about the length of his life and level of productivity, especially since his syphilis symptoms resurfaced at will.

While Schubert’s illness slowed his compositional output and prevented him from making public appearances, it also stirred up in him an inspired determination:

Schubert’s illness precipitated a re-reckoning of the complex calculus of risk and reward, desire and inhibition, that had previously led him to confine the large instrumental genres to the realm of deferred intentions...without the illness he likely would have further

16 Gingerich, Schubert's Beethoven Project, 41. 17 The text that he quoted is as follows: "My peace is gone, my heart is sore, I shall find it never and nevermore." 18 Gingerich, Schubert's Beethoven Project, 44. 8

postponed a re-evaluation of his priorities.19

His unknown future and the possibility of losing his life, or at least the ability to compose, left

Schubert desperately wanting to create new art and essentially racing the clock to do so.

Schubert’s illness reveals his humanity—he was unhappy with his present, fearful of his future, and was struggling to establish himself. Schubert made plans to write a new and symphony, in this way paving the way “towards a grand symphony,”20 which was the highest form of art in Schubert’s mind.21 At the end of his letter Schubert addresses a concert that

Beethoven was to give in which he would debut a symphony, parts of his , and an .

"God willing, I too am thinking of giving a similar concert next year."22 This ultimately lead to

Schubert's Symphony No. 9 in , D. 944 (scored in 1827 and finally published posthumously in 1840). Schumann and Mendelssohn promoted and embraced the symphony, viewing it as a worthy successor to Beethoven’s Ninth Symphony and proof that the symphony could continue to flourish, even after Beethoven.23 Schubert proved to have the capacity to draw on Beethoven’s model and further innovate.

In addition to his illness, 1823 brought relationship and compositional frustrations. His friends were dispersing one by one for various reasons, ultimately resulting in fewer

Schubertiads and literature readings. Schubert wrote in a letter to Schober in 1824 about his desire to once again have those happy hours back, when they spent time with one another and shared their artistic dreams and works.24 Whether out of desperation, inspiration, or—more likely—both, Schubert set out to compose his most ambitious instrumental works, looking to

19 Gingerich, Schubert's Beethoven Project, 46. 20 Gingerich, Schubert's Beethoven Project, 42. 21 Otto Erich Deutsch, ed. Eric Blom, trans. The Schubert Reader: A Life of in Letters and Documents (New York: W. W. Norton, 1947). 22 Gingerich, Schubert's Beethoven Project, 42. 23 , Konrad Wolff, ed. Paul Rosenfeld, trans., On Music and Musicians (Berkeley: University of Press, 1983), 108. 24 Gingerich, Schubert's Beethoven Project, 47. 9

Beethoven as his inspiration and attempting to continue, and even surpass, Beethoven’s legacy.

Ignaz Schuppanzigh

Another reason 1824 was the right time for Schubert to start his Beethoven project was the return of Ignaz Schuppanzigh to Vienna in 1823. Schuppanzigh, a well-known violinist and contemporary of Schubert, began a concert series in Vienna in 1823. Schubert greatly appreciated the , of which Schuppanzigh was the first violinist.

They were known for their precision and nuance, due to the fact that they played together often and for many years, while other groups performed together only once or twice and with minimal rehearsal time. Schubert was also familiar with the Gesellschaft der Musikfreunde (GdMf). The reputation of the GdMf was second to the Schuppanzigh Quartet because of their lack of rehearsal time together as an ensemble and the constantly changing roster of musicians.

However, while their own chamber music series, the Abendunterhaltungen (Evening

Entertainments), was created for amateurs, there were many professionals who participated in the series, some of whom continued on to perform with the Schuppanzigh Quartet.25

It was at this point, in the midst of his personal and professional frustrations, that

Schubert was considering writing more and wished to have his music performed publicly, specifically by Schuppanzigh and his ensemble. Schuppanzigh performed one of

Schubert's string quartets, but that was followed by two seasons of Schubert-less concerts.

Schubert’s desire to have his works played by Schuppanzigh was so strong, however, that even when Schuppanzigh turned down several requests to perform his works, Schubert was persistent in his requests and did not seek premieres by the GdMf. Why did Schubert choose to go without public performances when Schuppanzigh turned him down? The primary answer has to do with

25 Gingerich, Schubert's Beethoven Project, 59-60. 10

Schuppanzigh’s aim to promote the music of the “famous masters.”26 His programs featured works by Beethoven, as well as Mozart and Haydn. He also programmed Spohr, Hummel,

Czerny, and lesser-known local composers, but not to the extent as had the GdMf, who promoted local talent and “participation in all aspects of music making.”27 Schubert wanted to be included in the list of exclusive “famous masters”28 and desired to have his music known by the audiences that heard and accepted Beethoven’s music. This would result in increased credibility by association. Having Schubert’s music performed by Schuppanzigh would also nearly guarantee a polished performance by skilled players.

Schubert’s public concert of 1828

By 1827, three years into his Beethoven Project, Schubert was growing impatient with the slow growth in popularity of his instrumental works. Schubert’s friend, Eduard von

Bauernfeld, encouraged him to promote himself and his works, especially the string quartets, trios, and , by giving a public concert. “Make an effort, conquer your laziness, give a concert next winter—just your own things, of course! ... The public will scramble for tickets, and ... a single concert will still suffice to cover your expenses for the whole year.”29 Schubert took Bauernfeld’s advice and scheduled a concert for March 26, 1828, precisely one year after

Beethoven’s death. Considering the immense admiration Schubert had for Beethoven and that two of the pieces on the program (which will be analyzed below) included direct musical quotations and references to Beethoven, it is clear that he purposely chose this significant date for his first, and what would ultimately be his only public concert.

26 Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens, Wien. 1806-1860, 16/64 (29 May 1823), 256. 27 Gingerich, Schubert's Beethoven Project, 66. 28 Gingerich, Schubert's Beethoven Project, 67. 29 Deutsch, The Schubert Reader, 237. 11

On the program were seven pieces: three for solo voice with pianoforte accompaniment, two partsongs, and two instrumental chamber works. The Schuppanzigh Quartet performed in the concert, although Schuppanzigh himself was not in attendance.

1) First movement of a new string quartet, performed by [Joseph Michael] Böhm [], [Karl] Holz [violin], [Franz] Weiss []and [Joseph] Linke []. [Schuppanzigh’s quartet with Böhm substituting for Schuppanzigh.] 2) Songs with pianoforte accompaniment, performed by [Johann Michael] Vogl a) “Der Kreuzzug” by Leitner [D 932] b) “Die Sterne” by the same [D 939] c) “Der Wanderer an den Mond” by Seidl [D 870] d) “Fragment from Aeschylus” [D 450] 3) [“Ständchen,” D 920] by Grillparzer, soprano solo and chorus, performed by Josephine Frohlich and the schoolgirls of the Conservatory 4) New Trio for pianoforte, violin and violoncello, performed by Bocklet, Böhm, and Linke. 5) “Auf dem Strome” [D 943] by [Ludwig] Rellstab, song with and pianoforte accompaniment, performed by Tietze and Lewy.30 6) “Die Allmacht” [D 852] by Ladislaus Pyrker, song with pianoforte accompaniment, performed by Vogl. 7) “Schlachtgesang” [D 912] by Klopstock, double chorus for male voices.31

In Vienna “new” meant that a piece had not yet been heard in public and was not available in published form.32 “Ständchen” was the only work on the concert that had been performed prior to this event and “Der Wanderer an den Mond” and “Die Allmacht” were the only works that were already published, technically leaving the remainder of the works with the designation “new.” To draw the audience’s attention to the purely instrumental works, however,

Schubert saved the label for the Piano Trio in E-flat major, Op. 70 No. 2 and string quartet33 hoping to arouse more interest.34

30 This piece was listed as “Auf dem Strome” on this program as well as in the concert announcements. However, in the manuscript and published edition it is titled “Auf dem Strom” as we know it today. 31 Gingerich, Schubert's Beethoven Project, 275. 32 Gingerich, Schubert's Beethoven Project, 276. 33 Gingerich points out that it was one movement from either the String Quartet in G major, D 887 or the Quartet in , D 810 that was performed. (Gingerich, Schubert's Beethoven Project, 275) 34 Gingerich, Schubert's Beethoven Project, 276. 12

Schubert’s venture was so successful that after the event the audience petitioned for a repeat performance. Schubert received a letter from Johann Schickh, editor of the Modenzeitung, containing an article written by the composer’s admirers in an effort to persuade him to give another public concert.35 This gesture from audience members showed their support and acceptance of Schubert as a composer of instrumental music.

II. Analysis

“Auf dem Strom,” D. 943

The fifth piece on Schubert’s public concert was “Auf dem Strom.” The influence of

Beethoven on this work is apparent and has been noted by musicologists and performers such as

Rufus Hallmark and Graham Johnson. The text of "Auf dem Strom" was by the poet Ludwig

Rellstab and was among those that Beethoven had planned to set (see figure 1). It was this connection that likely sparked Schubert's interest in the poem.

Figure 1: "Auf dem Strom" text by Ludwig Rellstab36

Nimm die letzten Abschiedsküsse, Take the last parting kiss, Und die wehenden, die Grüße, and the wavy greeting Die ich noch ans Ufer sende, that I'm still sending ashore Eh' dein Fuß sich scheidend wende! before you turn your feet and leave! Schon wird von des Stromes Wogen Already the waves of the stream Rasch der Nachen fortgezogen are pulling briskly at my boat, Doch den tränendunklen Blick yet my tear-dimmed gaze Zieht die stets zurück! keeps being tugged back by longing!

Und so trägt mich denn die Welle And so the waves bear me forward Fort mit unerflehter Schnelle. with unsympathetic speed. Ach, schon ise die Flur verschwunden, Ah, the fields have already disappeared Wo ich selig Sie gefunden! where I once discovered her!

35 Gingerich, Schubert's Beethoven Project, 277. 36 Emily Ezust, LiederNet Archive, accessed January 24, 2018, http://www.lieder.net/. 13

Ewig hin, ihr Wonnetage! Blissful days, you are eternally past! Hoffnungsleer verhallt die Klage Hopelessly my lament echoes Um das schöne Heimatland, around my fair homeland, Wo ich ihre Liebe fand. where I found her love.

Sieh, wie flieht der Strand vorüber, See how the shore dashes past; Und wie drängt es mich hinüber, yet how drawn I am to cross: Zieht mit unnennbaren Banden, I'm pulled by unnamable bonds An der Hütte dort zu landen to land there by that little hut In der Laube dort zu weilen; and to linger there beneath the foliage; Doch des Stromes Wellen eilen but the waves of the river Weiter ohne Rast und Ruh, hurry me onward without rest, Führen mich dem Weltmeer zu! leading me out to the sea!

Ach, vor jener dunklen Wüste, Ah, before that dark wasteland Fern von jeder heitern Küste, far from every smiling coast, Wo kein Eiland zu erschauen, where no island can be seen O, wie faßt mich zitternd Grauen! oh how I'm gripped with trembling horror! Wehmutstränen sanft zu bringen, Gently bringing tears of grief, Kann kein vom Ufer dringen; songs from the shore can no longer reach me; Nur der Strum weht kalt daher only a , blowing coldly from there, Durch das grau gehobne Meer! can cross the grey, heaving sea!

Kann des Auges sehnend Schweifen If my longing eyes, surveying the shore, Keine Ufer mehr ergreifen, can no longer glimpse it, Nun so schau' ich zu den Sternen then I will gaze upward to the stars Auf in jenen heil'gen Fernen! into that sacred distance! Ach, bei ihrem milden Scheine Ah, beneath their placid light Nannt' ich sie zuerst die Meine; I once called her mine; Dort vielleicht, o tröstend Glück! there perhaps, o comforting future! Dort begegn' ich ihrem Blick. there perhaps I shall meet her gaze.

In February 1827 presented Beethoven with a collection of approximately sixty Schubert songs. After examining them, he was delighted: “Truly, in 14

Schubert there dwells a divine spark!...If I had this poem I would have set it to music too!”37

Upon learning of Beethoven’s approval, Schubert was greatly pleased and became close friends with Schindler.

The question of how Schubert came to have Rellstab’s poetry in his possession can be answered by Schindler, who claims to have had frequent visits at his homestead with Schubert during the summer of 1827.

During these visits, certain portions of Beethoven’s literary estate had engaged his very special attention, among them once more the lyric poems of all kinds which had been sent to the great master. A collection of perhaps twenty items absorbed his attention, because I was able to tell him that Beethoven had ear-marked several of them to compose himself...Schubert put these poems in his pocket. Only two days later he brought me ‘Liebesbotschaft’, 'Kriegers Ahnung’ and ‘Aufenthalt’ set to music. These, together with four others from that collection, form the major part of the contents of ‘Schwanengesang’, the name of ‘Rellstab’ being added.38

In Franz Schubert: The Complete Songs, Volume One, Graham Johnson opens his discussion of

“Auf dem Strom” by saying that this piece is "dominated by thought of Beethoven: in writing it

Schubert was both paying homage to the memory of his great musical forebear and establishing his right to be considered Beethoven's natural, and worthy, successor."39

37 Rufus Hallmark, "Auf dem Strom," in Problems of style and chronology, ed. Eva Badura-Skoda and Peter Branscombe (Cambride: Cambridge University Press, 1982), 42. 38 Hallmark, "Auf dem Strom," 43. This story is confirmed by Rellstab who visited Beethoven in Vienna in 1825, bringing with him an text and some song texts in hopes of joining forces with Beethoven. It is Rellstab's account that confirms the story Schindler told, at least in part. "These scraps of paper have not been lost; Professor Schindler returned them to me from Beethoven's estate years ago. Some had pencil marks in Beethoven's own handwriting; they were the ones he liked best and the ones he had given Schubert to compose at that time, because he himself felt too unwell. Moreover they are to be found among Schubert's vocal works and some of them have become generally well known." Quote from Hallmark, 43. While some elements of these stories differ, they give us insight into how Schubert may have possibly gotten the Rellstab texts he set and the influence that Beethoven had in this process. It seems Schubert was either given the texts by Beethoven himself because he was too unwell to use them or Schubert was inspired by the fact that Beethoven had considered setting Rellstab's poems and ventured to set them himself. Regardless, Schubert's admiration for Beethoven is evident and should be considered when analyzing “Auf dem Strom.” 39 Graham Johnson, Franz Schubert: The Complete Songs, Volume One (New Haven: Yale University Press: 2014), 234. 15

Both Johnson and Hallmark compare this piece to Beethoven's , his only work considered to be a . The text of An die Ferne Geliebte is by Alois Isidor

Jeitteles and, like “Auf dem Strom,” is about "the union of loved ones despite their separation.

In Beethoven's cycle, the singer's songs reach his distant beloved; in Schubert's song, the beloved's face is beheld in the stars."40 Of “Auf dem Strom” wrote, "If any of

Schubert's songs was influenced by the spirit and 'sentiment' of Beethoven's An die ferne

Geliebte, it was this one."41 Whether it is referred to as “spirit" or "sentiment," as Einstein does, or “thought,” as Johnson says, or whether it be the theoretical analysis referring concretely to

Beethoven, there has been for decades an attempt to describe the elusive quality of Beethoven in

Schubert's music. Using the method of imbuing the music as demonstrated by Michael

Beckerman in his discussion of Bedřich Smetana’s nationalist music, we are able to identify this elusive quality as “Beethovenness.”42

Besides the textual similarities, both of these works lie in a high vocal register, repeat melodic material in the codas, and end on the third scale degree of their respective tonic keys.

The codas are worth noting also because of the composers' attention to the last four lines of the poems, which ultimately promise reunion with loved ones.43 Schubert created a deep connection to Beethoven by referencing Beethoven’s only song cycle and adding horn to his traditional instrumentation of voice and piano, thus recalling Beethoven’s instrumental genres and the significance of the horn in some of his instrumental works.44

40 Hallmark, "Auf dem Strom," 40. 41 Hallmark, "Auf dem Strom," 40. 42 Beckerman, "In Search of Czechness in Music," 64. 43 Hallmark, "Auf dem Strom," 40. 44 Beethoven's use of the horn is often interpreted as heroic in nature. He also wrote the Sonata for Piano and Horn, Op. 17, which was the first of its kind. Olivier Huebscher discusses this at length in his article: Olivier Huebscher, "Beethoven's Horn Sonata First Movement: An Analysis," The Horn Call – Journal of the International Horn Society 45, no. 2 (Feb 2015): 25-27. 16

"Auf dem Strom" is also reminiscent of Beethoven's "Adelaide," written around 1797.

This song is similar to "Auf dem Strom" and "An die ferne Geliebte" in that it also depicts someone longing for a loved one who is not with them. In this case it seems to be a person who is perhaps unattainable in this life, but not so in the next life (see figure 2).

Figure 2: "Adelaide" text by Friedrich von Matthisson45

Einsam wandelt dein Freund im Früglingsgarten, Your friend wanders along in the garden of spring, Mild vom lieblichen Zauberlicht umflossen, Gently bathed in lovely magical light, Das durch wankende Blütenzweige zittert, Which shimmers through the swaying branches of flowers: Adelaide! Adelaide!

In der spiegelnden Flut, im Schnee der Alpen, In the reflection of the river, in the snows of the Alps, In des sinkenden Tages Goldgewölken, In the golden clouds of singing day, Im Gefilde der Sterne strahlt dein Bildnis, In the fields of stars thy face beams forth, Adelaide! Adelaide!

Abendlüfte im zarten Laube flüstern, Evening breezes whisper through the tender leaves Silberglöckchen des Mais im Grase säuseln, The silver bells at Maytime rustle in the grass, Wellen rauschen und Nachtigallen flöten: Waves roar and nightingales sing, Adelaide! Adelaide!

Einst, o Wunder! entblüht auf meinem Grabe Some day, o miracle! a flower will blossom, Eine Blume der Asche meines Herzens; Upon my grave from the ashes of my heart; Deutlich schimmert auf jedem Purpurblättchen: And clearly on every violet petal will shine: Adelaide! Adelaide!

There are several specific attributes of "Adelaide" that can be related to "Auf dem

Strom." Both songs begin with triplet introductions in the piano and a melody that ascends sixth (see examples 1 and 2 in the Appendix). The triplets continue throughout much of the song, similar to "Auf dem Strom." In measure 17 of "Adelaide" the triplet chords in the piano represent the flowing water of the stream in stanza two (see example 3).

45 Emily Ezust, LiederNet Archive, accessed March 28, 2018, http://www.lieder.net/. 17

Schubert has a similar gesture in "Auf dem Strom" beginning in measure 51 (see example

4). He provides triplet chords, just as Beethoven had done, that depict the raging waters of the poem. Schubert's chordal triplet sections are more agitated than are Beethoven's, but both composers are clearly attempting to represent the crashing of waves and flowing of water in their respective poems.

The endings of "Adelaide" and "Auf dem Strom" both carry with them a sense of hope, promise, and the possibility of unification after death. Beethoven and Schubert each have one final outburst before the last several measures of their songs, when the piano rhythms become longer and all becomes quieter. In "Adelaide" the last peak begins in measure 167 at a piano dynamic and reaches a fortissimo (in the voice and piano parts) in measure 169 (see example 5).

The fortissimo lasts for two bars and is taken over by the piano in measure 171 at a piano dynamic. The voice joins again for the last time in measure 177. Two measures later the voice sings the last two syllables of "Adelaide" on the pitches C and B-flat (the second and first scale degrees of B-flat major, the key of the piece), and the piano finishes the song in the following two measures.

The final exclamation of "Auf dem Strom" begins on beat three of measure 198 and continues to grow until the downbeat of measure 200, where it starts to decrescendo into a piano in measure 201 (see example 6). The horn and piano continue together while the voice rests until measure 206. In the measure after that, the voice sings the pitches F-sharp and E, which are the second and first scale degrees of (the key of "Auf dem Strom"), similar to the voice at end of "Adelaide." The difference between the two instances is that Schubert continues the voice part for four beats after the F-sharp and E. Despite the difference, the endings are similar enough to warrant a comparison. 18

The opening horn melody of "Auf dem Strom" is an almost direct quote from the fourth movement of Beethoven's Symphony No. 5 in , Op. 67 (see examples 7 and 8).46 Instead of playing straight eighth notes in measures 235 and 239 of the melody as is done in the equivalent measures of "Auf dem Strom," the horn plays a dotted rhythm in those measures of the symphony. The other difference between the Beethoven and Schubert is that the D beginning in measure 236 of the symphony is longer in length than the D in measure 4 of "Auf dem Strom."

The melodic material between the two pieces are otherwise identical. Example 7 is taken from mm. 234-241, however the horn melody appears as early as mm. 26 of the movement. In that case, the horn first plays a quarter note D instead of an E on the downbeat of the seventh measure of the melody, leaving mm. 234-241 the most similar to "Auf dem Strom." This quote that

Schubert chose to use for his public concert is so direct that it can hardly be mistaken as a coincidence. Schubert yet again displays his respect for Beethoven by using the quote in the opening of "Auf dem Strom."

In stanzas two and four of “Auf dem Strom,” the idea of physical separation of loved ones is prominent. While there will eventually be reunification, the lyric persona is stuck in his world of loss and hurt during these stanzas. To represent this musically, Schubert turns to

Beethoven's Marcia funebre, the second movement from the Eroica Symphony (see examples 9 and 10). Beethoven originally dedicated this symphony to Napoleon Bonaparte but ended up re- dedicating it to Prince Joseph Franz Maximilian Lobkowitz.47 The published score, however, had the more general title, specifically excluding Napoleon: Sinfonia Eroica...composta per festeggiare il sovvenire di un grande Uomo.48 When Beethoven found out Napoleon had died in

46 Larry Hamberlin, “The Beethoven allusions in ‘Auf dem Strom,’” in The Unknown Schubert, eds. Barbara M. Reul and Lorraine Byrne Bodley (Burlington, VT: Ashgate Publishing Company, 2008), 143. 47 This was because he did not want to risk losing the composer's fee he would receive. 48 "Heroic Symphony, composed to celebrate the memory of a great man" 19

1821, he claimed he had already composed a work for this sad occasion—the funeral march from his Eroica Symphony. Schubert chose to quote the movement that Beethoven had used to honor

"the memory of a great man," leaving little doubt that this was Schubert's way of paying homage to Beethoven.49 This connection on its own is significant and interesting, but it takes on added significance with the context of Schubert’s concert on the first anniversary of Beethoven’s death.

We hear Beethoven in Schubert’s music, as Johnson and Einstein did, and the “absolute” instrumental music is imbued with new meaning. This quotation adds symbolism or even a programmatic element to this composition, which is only fully understood by studying both the score and the biography of the composer.

In the openings of the "Eroica" and "Auf dem Strom" there is a sense of elasticity in the phrases, which gives one section in particular of each work the feeling of the suspension of time.

The symphony, in Eb Major, begins with two boisterous tonic chords played by the full

(see example 11). There are two beats of rest after each chord (in a triple meter) and the introduce the theme on the downbeat of measure three while the second and play constant eighth notes in the tonic key (G and Bb respectively). The cellos outline an Eb major chord for four measures. On beat three of bar six the cellos pass from Eb to D and land on a C# on the downbeat of the next measure. This is unexpected, considering this harmony came out of all Eb major chords. The cellos' D in bar six could be considered a passing tone or the fifth scale degree of g minor, the mediant in Eb. From either standpoint, it happens quickly and the real surprise is the C#. This is the section that gives the impression of the suspension of time. While the cellos are holding the C# for two full measures, the second violins and violas are still playing

G's and Bb's and the first violins have entered with offbeat G's one octave higher than the second violins. A crescendo begins in measure seven and lasts until measure ten. In bar nine the cellos

49 Johnson, Franz Schubert, 234. 20

move to a D, the violin ones hold their G, violin twos alternate between G and Bb eighth notes, and violas rest for two beats after playing their final Bb on the downbeat. In bar ten, the height of the crescendo and beginning of a decrescendo into a piano dynamic, the first violins move up a half step to Ab, the second violins are now alternating between F and Bb eighth notes, and violas have leaped up a seventh to Ab—all of which adds up to Bb7 or V7 in the home key of

Eb. On the third beat of that measure the cellos replay the D that was tied in the previous bar and land on the tonic Eb on the downbeat of measure eleven.

There is a similar elasticity of phrasing and time in “Auf dem Strom.” The first six bars prolong the tonic harmony with motion to the dominant and back. The piano arpeggiates chords with triplet eighths and the horn outlines a melody that hovers around ^3 (G#) (see example 12).

It is a simple melody, easy to remember, similar to the first theme in the Beethoven symphony.

The tonic is outlined in the melody and the purpose of the constant eighth note accompaniment is to provide the harmony and also the sense of forward motion. The triplet eighth notes in the piano part help give momentum when there are long notes in the melody, whether in the horn or voice. In bar seven of “Auf dem Strom” Schubert gives the horn a whole note (a B), while the piano has made an unusual move to the mediant (iii), G# minor. There is a crescendo from bar seven into bar eight and a decrescendo from bar eight into nine. In measure nine the left hand of the piano is still playing a D# but the right-hand harmony has changed to D# Major and the horn plays an A#--all of which suggests V in the temporary key of G# minor. Thus, Schubert follows

Beethoven in tonicizing iii within the first phrase. For Beethoven, this is G minor in the key of

Eb; for Schubert it is G# minor in the key of E. After four beats of D# Major, the piano and horn bring us back to E major with the pianissimo dominant seventh. It is in bars seven to ten that we feel the suspension of time, as we do in the Beethoven. Both pieces include an opening with a 21

melodic note that is prolonged while the accompaniment surges underneath and one note stays the same from harmony to harmony—in “Auf dem Strom” it is the D# in the of the piano; in the Eroica Symphony it is the G in the first violin part while the cellos move from D# to D, then the D in the cello moves to Eb while the violins play the Ab.

Without the aid of biography this comparison may seem too ordinary to be worth noting.

When it is looked at through biographical and theoretical lenses, however, it becomes more meaningful. In Schubert's attempts to become more widely accepted by the public, as Beethoven had been, he used certain compositional techniques that Beethoven used. In this case he incorporated a simple melody, forward-moving accompaniment, similar harmony, and a sense of temporal elasticity that Beethoven had used in the Eroica.

Aside from directly quoting Beethoven and using the aforementioned techniques,

Schubert's use of the horn is a clear nod to his predecessor, a composer known for his use of the instrument. The horn often represents heroism, strength, and heroic death, and it is reasonable to suggest that this is yet another way that Schubert chose to pay his respects to Beethoven. The opening horn melody of “Auf dem Strom” has a beautifully elegiac quality to it that sounds almost other-worldly, according to Johnson.50 It is noble and distant51 and could perhaps represent the high level at which Schubert regarded Beethoven.

One question remains: who is the main character in “Auf dem Strom?” As a performer, one might consider oneself to represent the person in the poem who is leaving his loved one behind on the shore. The beauty of a poem like this one by Rellstab is that, almost without exception, everybody experiences some version of love and loss in their lifetime. It is valid to put oneself in the place of the character in the poem, especially for the sake of performance. It is

50 Johnson, Franz Schubert, 234 51 Johnson, Franz Schubert, 235. 22

also possible that, for Schubert, Beethoven was the one in the poem who is "cut off from human contact, unable to hear songs from the distant shore (as if he were deaf)."52 Or did Schubert, who was still battling with illness, consider himself the man in the text who was saying farewell to his loved ones, left with the hope that one day they would again see each other after death? Given the above analysis and the known biographical information, it is reasonable to say that this was indeed a farewell to Beethoven, an idea that performers should keep in mind when presenting it to their audience. In this case, extra-musical influences provide both performer and audience with options for interpretation based again on the synthesis of theoretical and biographical analysis.

Piano Trio in E-flat major, D 929

Directly before “Auf dem Strom” on the concert was Schubert’s Piano Trio in Eb major,

D. 929. This work was the “pièce de résistance”53 of the concert, the one on whose success

Schubert dwelled after its premiere. It was one of two new, strictly instrumental works on the program and Schubert was counting on it to help bring him the recognition he desired as a composer of instrumental works, not just vocal ones. He could have chosen any type of chamber ensemble for which to write, but his decision to compose a piano trio for a concert on the anniversary of Beethoven’s death must be a nod to the late composer, who had written a total of eleven piano trios during his life. The first of those trios, Op. 1, No.1, is in the key of E-flat major. While Schubert's E-flat trio was his second in that genre, perhaps he was looking back to

Beethoven's earliest trio in an attempt to create something "new" for his public concert that was

52 Johnson, Franz Schubert, 234. 53 Gingerich, Schubert's Beethoven Project, 271. 23

connected to Beethoven's first work. Schubert’s piano trio honored Beethoven, but Schubert still remained true to his own artistic voice.

In the piano trio, we see Schubert once again referencing Beethoven’s marcia funebre from the Eroica Symphony. The second movement of the piano trio and marcia funebre are both in C minor. These two movements share several other traits including similarities in rhythm, melody, and affect. Each of them begins with a march-like accompaniment containing a dotted sixteenth and thirty-second note, reminiscent of a funeral march. Schubert’s plagal progression in the first two bars of the accompaniment can be related to Beethoven’s plagal in bar eight of his second movement (see examples 13 and 14).

The opening of Schubert’s second movement has similar melodic contour to that of

Beethoven. They each begin on the same G and leap up a fourth to a C. Before finishing the first two bars on that C, both reach their high point on the E-flat third above.54 (See examples 13 and 14 again.) Christopher Gibbs calls this andante theme “the ghost of Beethoven” and it returns in the final movement.55

Beethoven combines sonata, variation, and forms within the structure of his marcia funebre. Schubert’s second movement is in rondo form (ABA’B’A”).56 Despite the difference in form, there are other connections that can be made between these movements. The Trio’s second “B” section is in C major, following a section of “violence and anger,”57 characteristic of several of his late works in which he interrupts a lyrical passage with an outburst of rage. In measure 129 the piano has arpeggiated triplet sixteenth notes beginning in C major while the cello plays the melody (see example 15). Beethoven’s marcia funebre also contains a section in

54 Christopher H. Gibbs, "Schubert's Tombeau de Beethoven: Decrypting the Piano Trio in E-flat Major, Op. 100," in Franz Schubert and His World, ed. Christopher H. Gibbs and Morten Solvik (Princeton: Princeton University Press, 2014), 267. 55 Gibbs, "Schubert's Tombeau de Beethoven," 277. 56 Gibbs, "Schubert's Tombeau de Beethoven," 271. 57 Gibbs, "Schubert's Tombeau de Beethoven," 272. 24

C major, starting in measure 69, in which the violins play arpeggiated triplets. The triplets are first in C major and accompany the melody (see example 16). The original sketches of the piano trio show that Schubert meant to include this section from the start. These sketches of the second movement have proven valuable. Maurice Brown, a Schubert biographer, called them

“the most fascinating and important of all Schubert’s manifold sketches.”58 One aspect that sheds light on Schubert’s intentions to pay homage to Beethoven begins in measure 80 of the original sketch. Here Schubert uses the minor third motive from Beethoven’s Fifth Symphony.

It is played in canon, first by the violin, followed by the cello two octaves below. Schubert likely decided this quote was too obvious to use and left it out of the final version.

Although a quote from Beethoven’s Fifth might have been too explicit for Schubert, he did reference Beethoven in a different manner at the end of the movement. In the final bars of the marcia funebre, after a stormy passage, Beethoven features a passage of triplet sixteenths figuration over a dominant pedal (example 17). Schubert uses almost identical figuration over a dominant at the end of the trio (see example 18). In measure 209 of the Trio, Schubert maintains his triplet sixteenth run instead of switching to duple sixteenths like Beethoven had done. The melodic contour is similar, however, with the piano playing a descending scale and finishing on the tonic in the next bar. These similarities of pitch, rhythm, and affect between Schubert’s and

Beethoven’s slow movements cannot be overlooked and support the theory that Schubert had his predecessor in mind when composing the Trio.59

Aside from sharing rhythmic and melodic commonalities with Beethoven’s marcia funebre, Schubert pays homage to the late composer through his use of song quotes. In

Schubert’s second movement he quotes a Swedish folk song, “Se solen sjunker,” written by Isak

58 Gibbs, "Schubert's Tombeau de Beethoven," 272. 59 Gibbs, "Schubert's Tombeau de Beethoven," 277. 25

Albert Berg, a nineteenth century Swedish composer, singer, and pedagogue. Schubert was likely introduced to this song during a Schubertiad at the home of the Fröhlich sisters, friends of

Schubert.60 The text and translation of the poem is as follows61:

Se solen sjunker ner back höga See the sun is setting behind the high bergens topp för nattens dystra skyggor mountain peaks into the dark shadows Du flyr o sköna hopp. Forväl. of the night. Farewell. Forväl ack vännen glömdebort sin Farewell o friend, your faithful bride you trogna väna brud. have forgotten. La, la, la, ... La, la, la, ...

Schubert placed a great deal of importance on the texts he chose for his songs. The same must be true for songs on which he modeled his instrumental works, including this trio. The opening line about the sun setting can be seen as a reference to the death of Beethoven, "the end of an ."62 Aside from using its melodic material, Schubert fills the movement with the song’s march-like rhythm, like Beethoven’s marcia funebre, and uses similar harmonic language as the song. Both have a 2/4 and begin with repeated tonic chords.63

One quote Schubert takes from Berg’s folk song64 (from now on called Quote One) appears in measure 17 of the Schubert and measure 15 of the Berg (see examples 19 and 20).

What Berg uses as the end of a theme, Schubert uses as an interruption to his own melodic line, complete with accents on the high E-flats (as Berg had done). The second section of thematic material Schubert uses (from now on called Quote Two) begins in the pickup to measure 19 of the Berg and is seen in measure 11 of the Schubert (see examples 21 and 22). Quote Two not

60 Gibbs, "Schubert's Tombeau de Beethoven," 267. 61 Ensemble Tobias Reiser. Schubert und die Volksmusik. : Profil Medien, 2006. CD-ROM. 62 Gibbs, "Schubert's Tombeau de Beethoven," 270. 63 “Se solen sjunker” was originally written in D minor, but for these purposes I will compare the C minor second movement of Schubert’s piano trio to a transposed version of “Se solen sjunker” in C minor. 64 It is unclear whether Berg’s song is actually a folk song or simply in a folk style. 26

only has the same melodic material as Berg's song, but also a similar piano part. The bass line and voicing between the two works are almost identical.

The final quotation seen in the second movement (from now on called Quote Three) is the simplest of the three but the most important, evident in the amount of times Schubert uses it and its return in the final movement. The text of Quote Three is “ferväl,” translated to “farewell” in English. Considering Schubert’s frequent use of Quote Three, his history of careful treatment of text in his songs, and the date of his public concert (the anniversary of Beethoven’s death), it can be confidently assumed that Schubert deliberately chose to reference Quote Three often as a way of bidding “farewell” to his predecessor.65

The first entrance of Quote Three, taken from the pickup to measure 10 of the Berg, is in measure 15 of the Schubert (see examples 23 and 24). Schubert often uses a staccato and an accent on the top note of the octave and places the first note on an offbeat (as in the song), making it clear when he means for it to be motivic material and not simply an octave melody.66

In many cases, however, Schubert changes the material, using the rhythm and general character

Berg provided, but altering it to fit his own artistic vision. This shows Schubert’s ability to compose in his own voice while borrowing motivic material from others. Schubert also altered the idea to become a three-note motive; see the left hand of example 25. There are two ascending octave leaps before bar 45, where Schubert finally provides a more accurate rendition of Quote

Three by giving the left hand octave leaps.

Another example of Schubert being creative in his use of Quote Three is found in measure 67 (see example 26). Schubert places a staccato with an accent on the G of the left hand of the piano. It begins on an offbeat and lands on an octave E-flat on beat two. This pattern

65 Walther Dürr, "Compositional Strategies in Schubert's Late Music," in Rethinking Schubert, ed. Lorraine Byrne Bodley and Julian Horton (New York: Oxford University Press, 2016), 36. 66 Dürr, "Compositional Strategies in Schubert's Late Music," 36. 27

continues for several measures, outlining triads, rather than octaves, with each leap. The pattern begins with an eighth note on the “and” of one and lands on a quarter note tied to an eighth note each time. While it is not an exact replica of the quote from the Berg song, it holds similar rhythmic energy and motivic value. It can also be argued that a quarter note on beat two is not far from the original note value, as Berg wrote a fermata on the second eighth note of the piano part, which repeats the “farewell” motive that the voice first states (see example 23 again).

While the left hand of the piano is outlining beginning on the “and” of one, the violin is mimicking the piano beginning on the “and” of two each time. The result is a canon between the piano and violin, a technique which Schubert further explores in the piano trio. Contrapuntal writing, as well as a focus on motivic relationships, is seen more in Schubert’s late works, although it was not a new technique at the time. Perhaps it is related to his study of Beethoven’s works and his “more intensive orientation towards the Beethovenian model.”67

Continuing in measure 78, the cello joins the violin in unison with octave G’s, the dominant of C minor, copying what Berg wrote in his song.68 The piano plays a Pedal-6/4 (i6/4) on the pickup to measure 79, followed by a V chord on the downbeat. The same happens in the next bar, this time one octave lower. The first chord in each grouping has an accent and a staccato marking, leading to the conclusion that this, too, is an allusion to the “farewell” motive.

After this build-up from all three instruments leading to the climactic dominant chord on the second beat of 78, Schubert interrupts the intense “farewell” with one measure of rest. The next two bars, labeled p and pp, lead back to the opening material--eighth note C minor chords, this time in the strings, with an E-flat in the soprano as Berg wrote in his introduction (see example

27).

67 Dürr, "Compositional Strategies in Schubert's Late Music," 30. 68 Berg would have written octave A’s, the dominant of the original key of D minor. 28

After numerous statements of Quote Three from “Se solen sjunker,” Schubert ends the movement with a final, complete statement of the “farewell” quote in the strings. All instruments are at a ppp dynamic and there is a fermata on the last note, as if to dwell on the truth that Beethoven is no longer present in this world. Did Schubert do this solely for the listener?

Or was it a final goodbye from Schubert, a way to bid farewell to his great predecessor in a way he saw most fitting? Because of the biographical and analytical information acquired, we are able to listen to this work in a new light, understanding the great lengths to which Schubert went to pay tribute to Beethoven.

III. Conclusion

Schubert's Beethoven Project was an attempt to establish himself as a composer of instrumental genres and to pay homage to his famous predecessor. This information can only be gleaned through studying journals, diaries, letters, and other primary sources in addition to the score. If not explicitly programmatic, several of Schubert's late compositions abound in quotations from Beethoven and other sources, and these quotations give clues about the emotional and programmatic intent. "Auf dem Strom" and the Piano Trio in E-flat major Op. 70,

No. 2 are almost autobiographical in what they convey about the composer beyond music.

Audiences and performers alike can experience music with greater depth and understanding when the music is paired with study of biography and detailed historical context.

While it is not always necessary or even appropriate to superimpose extra-musical content, it is the responsibility of an informed performer to be aware of the origins of a given piece of music; and, unless explicitly instructed not to do so, it is acceptable to interpret the music in light of that process. It is clear that Schubert was not untouched by Beethoven's influence; however, after a 29

careful study of his music, it also becomes clear that, regardless of his many connections to

Beethoven, Schubert maintains his own voice. When performing Schubert's late instrumental works it is important to be aware of the ways in which Beethoven impacted his music while preserving Schubert's unique writing style.

The use of symbolism and extra-musical references in instrumental (or “absolute” music) neither started nor ended with Schubert. It was Mahler who said, in reference to his symphonic works, "My whole life is contained in my two symphonies. In them I have set down my experiences and suffering . . . To anyone who knows how to listen, my whole life will become clear."69 In the case of Schubert, the efforts to link himself musically to Beethoven was no secret. The choice of genre, musical quotations and references, musical style, the date of the public concert, references to Beethoven in letters, and choice of performance ensemble all suggest that Schubert never intended to hide his struggle and attempt to make a musical and professional connection with Beethoven, who is also known to include heavy symbolism in his own absolute music.

69 Letter of February 1893 to Gisela Tolney-Witt. H.L. de La Grange, Mahler. I (New York, 1973), p. 272. 30

Bibliography

Fischer-Dieskau, Dietrich. Schubert's Songs. New York: Knopf, 1977.

Gingerich, John M.. Schubert's Beethoven Project. Cambridge: Cambridge University Press, 2016.

Hallmark, Rufus. "Schubert's Auf dem Strom." In Schubert Studies: Problems Of Style And Chronology, edited by Eva Badura-Skoda and Peter Branscombe, 25-46. Cambridge: Cambridge University Press, 1982.

Humphries, John. The Early Horn: A Pratical Guide. Cambridge: Cambridge University Press, 2000.

Johnson, Graham, and Richard Wigmore. Franz Schubert: The Complete Songs. New Haven: Yale University Press, 2014.

Reed, John. The Schubert Song Companion. Manchester: Manchester University Press, 1997.

Reul, Barbara M., and Lorraine Byrne Bodley. The Unknown Schubert. Aldershot: Ashgate Publishing Company, 2008.

Youens, Susan. Franz Schubert: The Lied Transformed. New York: Routledge, 2010.

31

APPENDIX

Example 1: Beethoven's "Adelaide" m. 1-7

Example 2: Schubert's "Auf dem Strom" mm. 1-7

32

Example 3: Beethoven's "Adelaide" mm. 17-20

Example 4: Schubert's "Auf dem Strom" mm. 51-54

33

Example 5: Beethoven's "Adelaide" mm. 167-end

34

Example 6: Schubert's "Auf dem Strom" mm. 198-end

Example 7: Schubert's "Auf dem Strom," mm. 2-7

35

Example 8: Beethoven's Symphony No. 5, Op. 67, mvt. IV, mm. 234-241

Example 9: Beethoven's Symphony No. 3 "Eroica" in E flat major, Op. 55, mvt. II marcia funebre, mm. 1-5

Ex. 10: Schubert's "Auf dem Strom" mm. 50-54

36

Example 11: Beethoven's Symphony No. 3 "Eroica" in E flat major, Op. 55, mm. 1-17

37

Example 12: Schubert's "Auf dem Strom" mm. 1-11

38

Ex. 13: Beethoven's "Eroica" Op. 55, mvt. II marcia funebre, mm. 1-8

Ex. 14: Schubert's Piano Trio in E-flat major, Op. 100, mvt. II, mm. 1-6

39

Example 15: Schubert's Piano Trio in E-flat major, Op. 70 No. 2, mvt. II, mm. 129-132

Example 16: Beethoven's Symphony No. 3 "Eroica" in E flat major, Op. 55, mvt. II marcia funebre, mm. 69-72

40

Example 17: Beethoven's Symphony No. 3 "Eroica" in E flat major, Op. 55, mvt. II marcia funebre, mm. 235-237

Example 18: Example 5: Schubert's Piano Trio in E-flat major, Op. 70 No. 2, mvt. II, mm. 203- 212

41

Example 19: Berg's "Se solen sjunker" measures 15-19

Ex. 20: Schubert's Piano Trio in E-flat major, Op. 100, mvt. II, mm. 17-21

42

Ex. 21: Berg's "Se solen sjunker" mm. 19-20 (with pickup)

Ex. 22: Schubert's Piano Trio in E-flat major, Op. 100, mvt. II, mm. 11-12

Ex. 23: Berg's "Se solen sjunker" mm. 10-11 (with pickup)

43

Ex. 24: Schubert's Piano Trio in E-flat major, Op. 100, mvt. II, mm. 15-16 (with pickup)

Example 25: Schubert's Piano Trio in E-flat major, Op. 70 No. 2, mvt. II, mm. 41-48

44

Example 26: Schubert's Piano Trio in E-flat major, Op. 70 No. 2, mvt. II, mm. 67-81

Example 27: Schubert's Piano Trio in E-flat major, Op. 70 No. 2, mvt. II, mm. 82-89