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Towards a Revival of Lost Art: Clara Wieck Schumann's Preluding and Selected 20Th-Century Pianist- Composers’ Approaches to Preluding

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Towards a Revival of Lost Art: Clara Wieck Schumann's Preluding and Selected 20Th-Century Pianist- Composers’ Approaches to Preluding Towards a Revival of Lost Art: Clara Wieck Schumann's Preluding and Selected 20th-Century Pianist- Composers’ Approaches to Preluding A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Mo-ah Kim B.M. Temple University, 2007 M.M. Temple University, 2009 July 2019 Committee Chair: Steven J. Cahn, Ph.D. ABSTRACT The purpose of the document is to advocate for the appreciation and application of the common nineteenth-century practice of improvised preluding. After studying Clara Wieck Schumann’s compositional process based on her eleven notated preludes and selected twentieth-century pianist- composers’ approaches to preluding, I provide three preludes based on their prelude sketches, styles, and transcriptions. Because I am an advocate of historically informed performance practice, my goal is to delve further into historical piano recordings and the artists who left their legacies through live performances and studio recordings. I endeavor to preserve some of their preluding attempts by way of transcribing them from the selected recordings. The document is organized in three main parts. Chapter one presents Clara Wieck Schumann's training and influences, preluding practices, and her notated eleven preludes. Chapter two provides the transcriptions of the selected twentieth-century pianist- composers’ preluding from the recordings of studio and historical live performances, comparing and contrasting their approaches to preluding. Chapter three contains my own transcriptions of performed preludes. The first two preludes are modeled after Einfache Praeludien für Schüler, and the last prelude will be on my own. All relate to Schumann’s concert program on December 14, 1854. ii COPYRIGHT Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn–Archiv for Clara Schumanns “Stücke für Tasteninstrumente” (Mus.ms.autogr. Schumann, K. 9) and 20 Präludien (Mus.ms. 20428) Recital Program of D-Zsch 10463,339-C3; D-Zsch 10463,87-C3 Permitted by Robert-Schumann-Haus Zwickau Copyright © 2019, Mo-ah Kim iii DEDICATION Mr. Wedeen used to say to me, “It's not the end of the world.” I would like to dedicate this to him and to his wife, Mrs. Kwalwasser-Wedeen. iv ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Steven J. Cahn for his invaluable unwavering guidance and support in every possible way. I am grateful for the committee members, Professor Michael Chertock (Piano), and Professor Stephen Conrad Meyer (Musicology) for their generous time and helpful suggestions to complete this document. I would like to extend my sincerest thanks to Professors Eugene and Elisabeth Pridonoff and to Dr. Vivian Montgomery, for their phenomenal instructions and expertise to helped me become a better musician over the course of my doctoral studies. I would like to thank Marina Schieke-Gordienko from Staatsbibliothek zu Berlin Preußischer Kulturbesitz for permitting me to include images from Clara Schumann’s manuscripts; Fr. Dr. Hrosvith Dahmen from the Robert-Schumann-Haus-Zwickau for her generous help and insight in finding Clara Schumann’s programs matching each of her reviews on 19th century-German periodicals and for allowing me to obtain digital copies of several of Clara Schumann’s many programs as well as some of her private performance archives; the UC German Department (especially Ellen Chew, Professor Richard Schade, and Birgit Weeks) for connecting me to Christian Liedtke, an UC alumni, and for his help in deciphering Marie Schumann’s note to the posthumous prelude edition; and UC librarians, David Sandor, Paul Cauthen, Kathleen Kinsey, Dawn Mosher, and Lorna Newman, for their endless renewals and for locating materials for me; and Dr. Valerie Woodring Goertzen, for her generous permission and benevolent suggestions for further research topics. I would like to express my heartfelt thanks to my friends and family; Sonia, who initially introduced Clara Schumann's preluding to me—without her, I would not have encountered this subject; two of my precious dear friends and editors, Michelle and Adam, as without their constant encouragements and senses of humor, it would have taken another year to complete this document; to name a few dear friends, Assaf, Clement, Henry, Hitomi, Asher, Michael, Dr. Lindorff; and CCM prep division and my students; my church family, Pastor Grace, Lee, Carolyn, John, Kitty, and all the angelic congregation members who have inspired me to become a better person—thank you for letting me serve you all. Thank you to my devoted parents, who invested their lives to me; without them, I would not have been born into this world; my thanks to my brother’s loving family; and Yuting— without her, I would have given up a long time ago. v TABLE OF CONTENTS ABSTRACT………………………………………………………………………………………………ii COPYRIGHT…………………………………………………………………………………………….iii DEDICATION………………………………………………………………………………....................iv ACKNOWLEDGEMENT...........................................................................................................................v TABLE OF CONTENTS………………………………………………………………………………...vi LIST OF FIGURES AND TABLES…………………………………………………………………….vii INTRODUCTION………………………………………………………………………………………...1 CHAPTER ONE: CLARA WIECK SCHUMANN’S TRAINING, PRELUDING PRACTICES, AND PRELUDES……………………………………………………………………………………….6 Pedagogy of Friedrich Wieck and Carl Czerny Survey of Clara Schumann’s Preluding Practices Through the Reviews Introduction of Robert Schumann’s Music by Clara Schumann Clara Schumann's Eleven Preludes CHAPTER TWO: PRELUDING STYLES OF SELECTED 20TH CENTURY PIANISTS- COMPOSERS……………………………………………………………………………………69 First Category: Testing the instrument Second Category: Quotation Third Category: Free Crossover in Simple and Elaborated Chords CHAPTER THREE: MY REALIZED PRELUDES BASED ON CLARA SCHUMANN’S EINFACHE PRAELUDIEN FÜR SCHÜLER AND THE SELECTED 20TH CENTURY PIANIST- COMPOSERS’ PRELUDES………………………………………………………....98 Prelude no. 1 in C Major Prelude no. 2 in A-flat Major Prelude no. 3 in C Major CONCLUSION…………………………………………………………………………………………104 BIBLIOGRAPHY………………………………………………………………………………………106 APPENDIX I: GERMAN TRANSLATIONS………………………………………………………….111 APPENDIX II: TRANSCRIPTIONS OF RECORDINGS ……………………………………………124 vi LIST OF FIGURES AND TABLES Figure 1. Friedrich Wieck’s Two Short Examples of Preluding from Pianoforte Studies ..................... 9 Figure 2. Friedrich Wieck’s Realization of Broken Chords from Blocked Chords from Pianoforte Studies ..................................................................................................................................................... 10 Figure 3. Alwin Wieck’s Realizations of Non-Chord Tones (Similar to Pianoforte Studies, Fig. 2).....11 Table 1. Carl Czerny’s First Type of “Fantasieren (‘Improvisieren’)”: Preludien (‘Vorspiele’)........... 13 Figure 4. Czerny’s First Subtype of the First Subset: A Few Chords as a Prelude ............................... 13 Figure 5a. Czerny’s First Subtype of the Second Subset: Example 1. Chord Progression ................... 14 Figure 5b. Czerny’s First Subtype of the Second Subset: Elaboration Based on the Chord Progression Example in Figure 5a .............................................................................................................................. 15 Figure 6. Czerny’s First Subtype of the Third Subset: Modulatory....................................................... 16 Figure 7. Czerny’s Second Subtype of the First Subset: Prelude to his “God Save the King” Variation, op. 77, mm. 1-8 ....................................................................................................................................... 17 Table 2. The Overall Context of Clara Schumann’s 11 Preludes .......................................................... 31 Figure 8. Contour of Prelude no. 1......................................................................................................... 33 Figure 8a. Prelude no. 1, mm. 1-4 ......................................................................................................... 35 Figure 8b. Transcription of Prelude no. 1, mm. 1-4 .............................................................................. 35 Figure 8c. Inscription after the Last Measure of Prelude no. 1 .............................................................. 36 Figure 9. Pamina’s Aria, “Ach ich fühl’s, es ist entschwunden” (“Ah, I feel it, it is vanished”) from Act II, Scene 4 from Die Zauberflöte (The Magic Flute), K. 620 by Wolfgang Amadeus Mozart...............39 Figure 9a. Prelude no. 2..........................................................................................................................39 Figure 10. Prelude no. 3 ......................................................................................................................... 41 Figure 11. Johannes Brahms’ “Sehnsucht” from Fünf Lieder, op. 49, no. 3 ......................................... 42 Figure 12. Prelude no. 4 ......................................................................................................................... 47 Figure 13. Prelude no. 5 ......................................................................................................................... 51 Figure 13a. Prelude no. 5, continued, and Prelude no. 6 ......................................................................
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