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The Inner Musical Workings of Robert Schumann, 1828-1840

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The Inner Musical Workings of Robert Schumann, 1828-1840 OF ll .1' oZ lna Two Volumes Geoffrey Narramore Moon Volume One A Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in The Elder Conservatorium - School of Performing Arts, Adelaide University. November 200I Volume 1 Abstract i Copyright statement ii Acknowledgments iii Chapter 1: Introduction 1 Chapter 2: Foundations of a Compositional Habit 20 Chapter 3: Schumann and Jean Paul 33 Chapter 4: Schumann and Music Theory 47 Chapter 5: Cracking the Code 67 Chapter 6: The Wedding KeYs 93 Chapter 7: Clara's Keys 160 Chapter 8: Robert's Keys 185 Chapter 9: The Schumann Keys 236 Chapter 10: Keys of Parental Authority 271 Volume 2 Chapter 11: A Hero in Disguise 298 Chapter 12: Doubles and Trouble 339 Chapter 13: I)etours Through the Alphabet 393 Chapter 14: Two Laments for Clara 460 Chapter 15: Solemn as the Pause 515 Chapter 16: The Mad Musician s4t Chapter 17: Conclusion 583 Appendix I Songs, February - September 1840 607 Appendix II Works for Piano Solo, 1830 - 1840 611 Bibliography 612 Taking into consideration recent scholarship involving a comparison of Schumann's musical procedures with the literary techniques of the early German Romantics, such as Jean Paul Richter and E.T.A. Hoffman, this study is weighted in the direction of Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. The stimulus for the study came from Schumann's owÌl statement, in a letter to a friend, that his song cycle Myrthen, Opus 25, provided a deeper insight into his inner musical workings, as well as from an entry in his diary in 1833: "how much more true and rich speaks the fantasy when it comes from the midst of life". After observing his early attempts to convey a message through the notes of music, this study traces the development of Schumann's procedures by first analysing the songs of 1840 (at least the period from February to mid-September of that year) to see which repeated musical devices connected with texts (specific words and phrases) might reveal some extra-musical significance beyond the literal meaning of the those texts. Once they have been identified, the application of these devices is then examined, rel"rospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyielding opposition to the idea. This work contains no material which has been accepted for the award of any other degree or diploma in any Universþ or other tertiary institution and, to the best of my knowledge and belief, this thesis contains no material previously published or written by another person, except where due reference is made in the text of the thesis. I give consent to this copy, when deposited in the University Library, being available for photocopying and loan. Signed: Date: 7 1 t\, a ll There are many people who, in a variety of ways, have rendered assistance to me in the creation of this thesis. It is to the following that I express my gratitude. To those at the University of Adelaide including my supervisors Dr Warren Boume and Dr Kimi Coaldrake who have patiently read drafts and endured my enthusiastic obsession with the subject; to Gordon Abbott and his staff at the Performing Arts Library who have always been helpful and pleasant in all my dealings with them; to Emeritus Professor Andrew McCredie, who has been a guiding light and a benchmark of excellence throughout the years of my association with the University and to the late Professor Frits Noske of Amsterdam who, visiting Adelaide :r;,1979,left with me the indelible aphorism: "the music never lies". To my German friends and associates including Dr Gerd Nauhaus, the Director of the Robert-Schumann-Haus in Zwickau who sent, by request, photocopies of several important manuscripts and early editions of Schumann's works and above all to Heribert Esser who provided me with a newly published copy of each of Schumann's diaries when they were not readily available in the Vy'est, checked almost all of my translations of the same (and much more) and, along with his wife Rosemarre, gave continual encouragement for the project throughout the years. To those who assisted in the compilation and processing of the copy: Glenys Jones, the former Secretary of the Music Studies Department, who initially typed up about one third of the text and Diana Weekes, who, with all the electronic paraphernalia and expertise to tie neoph¡es in knots and with such enthusiasm as might resurrect the dead, has freely spent hours and hours bringing it to presentable life. Finally, to my friend Fivo Ioannou who, though no musician, provided constant moral and companionable support throughout the years of my arduous labow. It is to my friends Diana V/eekes and Fivo Ioannou that I dedicate this thesis. ill On 31 December 1840, Schumann wrote to his füend and co-worker A.W.F. von Zuccalmaglio: ... the Myrthen [Opus 25] certainly allow a deeper insight into my inner musical workings.l This somewhat enigmatic statement has proved to be the stimulus for the direction taken in this study; enigmatic, because Schumann does not indicate what those "inner musical workings" are, nor does he give any clue as to how we might determine them. Is he refening to the structure of each song? - or the harmonic language, in each song? - is the answer in the setting of the texts? - or in the melodic treatment? Perhaps Schumann has given us a starting point with Opus 25:16, "Räthsel" (Riddle) in B major (H dur, in German) but that song, at face value, appears to have as its answer the letter "H" hidden, as it were, in various words that make up the text. "Räthsel" alone does not provide the answer; one has to range more widely than the Myrthen for a complete explication of Schumann's statement, but at least it is a beginning. The aim of this study has been to discover these "inner musical workings" and to suggest their significance for an understanding of Schumann's music, in particular the piano music of 1830-1839 and the songs from February to September 1840. This has been done through an analysis of the works composed during this period. The reason why these years have been chosen is that, after Robert and Clara were married on 12 September 1840, an entirely new and different situation prevailed for Schumann. t Robert Schumann. Briefe, Neue Folge. F. Gustav Jansen, ed. (Leipzig: Breitkopf und Håirtel, 1904) 203. Though the majority of compositions for solo piano were written earlier, the songs have been analysed first because they provide both text and music, and therefore evaluative judgements and critical comparisons can be made of repeated musical devices that coincide with certain words, phrases and ideas. In this way, it has been possible to identiff and categorize motifs and harmonic practices that are then applied retrospectively to the earlier piano works. Apart from the music itself, two further ingredients are needed to decipher Schumann's enigmatic statement; they are his own writings (diaries, letters and journal articles) and the literary works of Jean Paul Richter. Schumann's personal letters, diaries and writings To understand Schumann's approach to his own music and its meaning one needs to go back to the beginning of his compositional activities, especially those of 1828, when he wrote several songs for Agnes Carus, a married friend for whom he was an accompanist. This relationship and its influence on Schumann were recorded in his diaries at that time, and this is discussed in Chapter 2 under the heading "Foundations of a Compositional Habit", thus setting the framework for the continuation of ow study. Indeed, this thesis is vitally dependent on primary sources and will therefore rely significantly on Schumann's own diaries and letters, wherein his personal life and his relationships with women are revealed, sometimes in prurient detail. Fortunately for the student, the diaries of Schumann have now been published. Nevertheless, since the limits of this study are confined to the period l828-September 1840, reference to the diaries will primarily be concerned with the whole of the Tagebticher Band I, (1827-1838) andTagebacher, Band II (i,836-1854), inthe latter 2 case, from pages 22 to 97, involving the period immediately prior to the inauguration of the marriage diary which was begun on 13 September 1840, the day after Robert and Clara were married. Some letters of Schumann have been available for many years, such as the collected editions edited by Clara Schumann herself (Jugendbriefe von Robert Schumann) and by F.G Hansen (Robert Schumanns Briefe, Neue Folge). Both these works have been translated by May Herbert, the first published in 1888 and the second in 1890. Added to these are letters appearing in biographies of, or studies on Schumarur, such as those of H. Erler (1887), W. Boetticher (1942), and Clara's biographer B.Litzmann (1902). More recently the collected correspondence between Robert and Clara has been published, edited by Eva'Weissweiler (1984) and this is now also available in translation (by H. Fritsch and R.L.Crawford, 1994). A third, important source is Schumann's own Gesammelte Schriften über Musikund Musiker, published in his lifetime, though revised several times since.
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