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Plot Archetypes in Robert Schumann's Piano Quintet and Piano Quartet Emily S

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Plot Archetypes in Robert Schumann's Piano Quintet and Piano Quartet Emily S Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Narratives of Innocence and Experience: Plot Archetypes in Robert Schumann's Piano Quintet and Piano Quartet Emily S. Gertsch Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC NARRATIVES OF INNOCENCE AND EXPERIENCE: PLOT ARCHETYPES IN ROBERT SCHUMANN’S PIANO QUINTET AND PIANO QUARTET By EMILY S. GERTSCH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Emily S. Gertsch defended this dissertation on April 22, 2013. The members of the supervisory committee were: Joseph Kraus Professor Directing Dissertation Douglass Seaton University Representative Michael Buchler Committee Member James Mathes Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Oscar, my greatest supporter, and Mom and Dad, my most influential teachers. iii ACKNOWLEDGMENTS This dissertation would not have been possible without the help of a number of people. To my advisor, Joseph Kraus, I owe special thanks for his unending support, guidance, encouragement, and patience. His doctoral seminar during my first year at Florida State University exposed me to the world of music and meaning and this project grew from a research paper begun in that special seminar. I have learned so much from Professor Kraus, especially in the areas of music and meaning and Schenkerian analysis, and I will be forever grateful for his guidance and friendship. I would also like to express my sincere gratitude to the other members of my committee—Michael Buchler, Jim Mathes, and Douglass Seaton—for their support, discerning editorial comments, and insightful suggestions. It has truly been a pleasure to work with each member of my committee and I look forward to continued professional relationships and friendships with these great teachers and scholars. The music theory faculty as a whole at Florida State University is special for many reasons. But it is the wonderful example of a collegial environment and the enormous amount of work and time that each faculty member personally invests in their students that has made the most impact on me. I will always be grateful that I had the opportunity to learn from and work with each music theory faculty member at Florida State. The professional and personal relationships I developed while attending Florida State are ones that will last a lifetime, and I will always cherish the times spent with fellow students (especially Sarah Sarver, Greg Decker, Sara Nodine, and Judith Ofcarcik). The support my family has given me during my doctoral studies is immeasurable. My parents, George and Mary Swift, have provided continuous encouragement to pursue this dream, and have offered both the material and intangible resources that have allowed me to achieve my musical and academic goals. The home- cooked meals and endless hours of babysitting only scratch the surface of the many ways they have helped me to complete this project. My gratitude for this and for their love is inexpressible. My brother, Bill Swift, has also provided an enormous amount of support and encouragement, and I am proud to call him not only my brother, but also one of my closest friends. I would like to thank my mother-in-law and father-in-law, Alida and Bruno Gertsch, for their love, encouragement, and for the weekends of iv babysitting that enabled me to work on this project with no distractions. Finally, I would like to thank my friend Katie Bray, who is like a sister to me. She has provided me with support and encouragement for more than twenty-four years. Most of all, I would like to thank my husband Oscar. He has made many sacrifices in order to support me in reaching my goals, and I am forever grateful for his patience, unconditional love, and devotion. I cannot imagine a better person with whom to share my life. He is an amazing husband to me and a wonderful father to our children, Charlotte and Owen—I look forward to the many new adventures that await us as a family. v TABLE OF CONTENTS List of Tables ................................................................................................................................. viii List of Figures ................................................................................................................................. ix List of Examples .............................................................................................................................. x Abstract ........................................................................................................................................... xv 1. INTRODUCTION AND METHODOLOGY ........................................................................1 1.1 Introduction to the Topic ..............................................................................................1 1.2 Review of Literature on Music and Meaning ............................................................2 1.2.1 Semiotic Approaches ...........................................................................................2 1.2.2 Narratological Approaches ................................................................................9 1.2.3 Conclusion ..........................................................................................................19 1.3 Methodology and Significance of the Project ..........................................................20 2. HISTORICAL BACKGROUND ...........................................................................................23 2.1 1842: Schumann’s "Chamber Music Year" ................................................................23 2.2 Schumann’s Chamber Music Models .......................................................................28 2.3 Schumann and the Musical Setting of Chamber Music .........................................32 2.4 Schumann’s Compositional Process .........................................................................34 2.4.1 Schumann’s Early Compositional Process .....................................................34 2.4.2 Schumann’s Late Compositional Process .......................................................35 2.5 Conclusions ...................................................................................................................37 3. A ROMANCE NARRATIVE: JEAN PAUL AND THE PERSONA IN THE FIRST MOVEMENT OF THE PIANO QUINTET .........................................................................38 3.1 Romance Narrative in Literature and Music ...........................................................38 3.2 Schumann and Jean Paul ............................................................................................40 3.3 The Persona Theory .....................................................................................................44 3.4 Analysis: The First Movement of the Piano Quintet ...............................................45 3.4.1 The Order-Imposing Hierarchy and Transgression ....................................45 3.4.2 The Exposition: P ..............................................................................................47 3.4.3 The Exposition: TR1 ..........................................................................................49 3.4.4 The Exposition: TR2 ..........................................................................................52 3.4.5 The Exposition: TR3 ..........................................................................................54 3.4.6 The Exposition: S1.1 ..........................................................................................58 3.4.7 The Exposition: S1.2 and S2 .............................................................................60 3.4.8 The Development ..............................................................................................64 3.4.9 The Recapitulation and Coda ..........................................................................72 3.4.10 The Persona ........................................................................................................75 3.5 Conclusions ...................................................................................................................76 4. A FAILED TRAGIC-TO-TRANSCENDENT NARRATIVE: THE SECOND MOVEMENT OF THE PIANO QUINTET .........................................................................78 4.1 Tragic Topics versus Tragic Narrative .....................................................................78 4.2 Analysis: The Second Movement of the Piano Quintet ..........................................79 4.2.1 The Order-Imposing Hierarchy and Transgression .....................................79 4.2.2 Formal Problems That Complicate a Tragic Reading ...................................80 vi 4.2.3 “The Anxiety of Influence” and Schumann’s Misreading of Beethoven .81 4.2.4 Structural Analysis ........................................................................................ 86 4.2.5 Conclusion: A Failed Tragic-to-Transcendent Narrative ..........................97 5. COMIC IRONY IN SCHUMANN’S DIALOGUE WITH BEETHOVEN’S FIRST SYMPHONY: THE THIRD MOVEMENT OF THE PIANO QUINTET ...................100 5.1 Schumann and
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