Franz Schubert’s Use of Harmony To Express the Texts in His Musical Settings of Franz Grillparzer's Poetry Item Type text; Electronic Dissertation Authors Crosby, Matthew Citation Crosby, Matthew. (2020). Franz Schubert’s Use of Harmony To Express the Texts in His Musical Settings of Franz Grillparzer’s Poetry (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 04:10:38 Link to Item http://hdl.handle.net/10150/650869 FRANZ SCHUBERT’S USE OF HARMONY TO EXPRESS THE TEXTS IN HIS MUSICAL SETTINGS OF FRANZ GRILLPARZER’S POETRY by Matthew Mark Crosby _____________________ Copyright © Matthew Mark Crosby 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 Acknowledgements To the members of my committee, Dr. Chamberlain, Dr. Brobeck, and Dr. Schauer: your unparalleled devotion to your students as teachers, musicians, and artists is accompanied by your genuine interest in them as people. I am astounded and truly grateful. To my friends and family: thank you for your encouragement, love, and support, especially my wife Amber and five children, Simon, Phoebe, Sophia, Jude, and Chloe. To follow the practice of J.S. Bach, soli Deo gloria (glory to God alone). 3 Contents Musical Examples.............................................................................................................................5 Abstract.............................................................................................................................................7 Intent and Scope................................................................................................................................8 Review of the Scholarly Literature.................................................................................................15 Methodology...................................................................................................................................27 Harmonic Analysis of Bertha’s Lied in der Nacht , D 653............................................................. 31 Harmonic Analysis of Ständchen, D 920........................................................................................40 Harmonic Analysis of Mirjams Siegesegesang , D 942.................................................................. 48 Section 1, (mm. 1-77).................................................................................................................48 Section 2, (mm. 78-165).............................................................................................................53 Section 3, (mm. 166-229)...........................................................................................................62 Section 4, (mm. 230-269)...........................................................................................................70 Section 5, (mm. 270-368)...........................................................................................................75 Section 6, (mm. 369-486)...........................................................................................................83 Conclusion...................................................................................................................................... 90 Bibliography................................................................................................................................... 92 4 Musical Examples Musical Example 1. Bertha’s Lied in der Nacht , D 653, mm. 1-2................................................ 32 Musical Example 2. Bertha’s Lied in der Nacht , D 653, mm. 1-2, 12-13.....................................33 Musical Example 3. Bertha’s Lied in der Nacht , D 653, mm. 1-2, 18-27.....................................35 Musical Example 4. Bertha’s Lied in der Nacht , D 653, mm. 1-2, 21-22.....................................36 Musical Example 5. Bertha’s Lied in der Nacht , D 653, mm. 21-27............................................ 38 Musical Example 6. Bertha’s Lied in der Nacht , D 653, mm. 2, 18, 21, 26..................................39 Musical Example 7. Ständchen , D 920, mm. 1-6...........................................................................41 Musical Example 8. Ständchen , D 920, mm. 45-48.......................................................................43 Musical Example 9. Ständchen , D 920, mm. 52-54.......................................................................44 Musical Example 10. Harmonic Reduction of Ständchen , D 920, mm. 2, 45, 48, 50, 52............. 45 Musical Example 11. Ständchen , D 920, mm. 82-88.................................................................... 46 Musical Example 12. Mirjams Siegesgesang , D 942, mm. 1-6..................................................... 49 Musical Example 13. Mirjams Siegesgesang , D 942, mm. 20-23................................................. 50 Musical Example 14. Mirjams Siegesgesang , D 942, mm. 27-32................................................. 50 Musical Example 15. Mirjams Siegesgesang , D 942, mm. 13-18................................................. 51 Musical Example 16. Mirjams Siegesgesang , D 942, mm. 35-42................................................. 52 Musical Example 17. Mirjams Siegesgesang , D 942, mm. 78-79................................................. 53 Musical Example 18. Mirjams Siegesgesang , D 942, mm. 88-96................................................. 55 Musical Example 19. Mirjams Siegesgesang, D 942, mm. 97-99................................................. 56 Musical Example 20. Mirjams Siegesgesang , D 942, mm. 107-118............................................. 57 Musical Example 21. Mirjams Siegesgesang , D 942, mm. 126-130............................................. 58 Musical Example 22. Mirjams Siegesgesang , D 942, mm. 137-145............................................. 60 5 Musical Example 23. Mirjams Siegesgesang , D 942, mm. 166-170.............................................63 Musical Example 24. Mirjams Siegesgesang , D 942, mm. 171-173.............................................64 Musical Example 25. Mirjams Siegesgesang , D 942, mm. 189-192.............................................65 Musical Example 26. Mirjams Siegesgesang , D 942, mm. 175-188.............................................66 Musical Example 27. Mirjams Siegesgesang , D 942, mm. 204-216.............................................68 Musical Example 28. Mirjams Siegesgesang , D 942, mm. 225-233.............................................71 Musical Example 29. Mirjams Siegesgesang , D 942, mm. 255-269.............................................73 Musical Example 30. Mirjams Siegesgesang , D 942, mm. 1-6, 270-275......................................76 Musical Example 31. Mirjams Siegesgesang , D 942, mm. 270-293.............................................78 Musical Example 32. Mirjams Siegesgesang , D 942, mm. 292-298.............................................79 Musical Example 33. Mirjams Siegesgesang , D 942, mm. 299-314.............................................81 Musical Example 34. Mirjams Siegesgesang , D 942, mm. 352-368.............................................82 Musical Example 35. Mirjams Siegesgesang , D 942, mm. 424-437.............................................84 Musical Example 36. Mirjams Siegesgesang , D 942, mm. 456-467.............................................86 Musical Example 37. Mirjams Siegesgesang , D 942, mm. 468-486.............................................88 6 Abstract Franz Schubert (1797-1828) is perhaps best known for his artistic development of German Lieder. Schubert’s choral songs with poetic texts, however, have been given little attention, especially with regard to his treatment of harmony. Three vocal works, the art song Bertha’s Lied in der Nacht, D 653, the part-song Ständchen, D 920, and the cantata Mirjams Siegesgesang, D 942, are Schubert’s only musical settings of the texts of the Austrian poet Franz Grillparzer (1791-1872). This paper will focus on the harmonic elements in these works and their abilities to express the text. Harmonic motives, as discussed in the analysis of Brian Black, serve as descriptors for Schubert’s harmonic expression of text on the micro and macro levels. Schubert has been both lauded and berated for his incorporation of chromatic harmony. This document suggests that the study of the relationship between Schubert’s choice of harmony and his text setting is key to understanding his artistry as a composer and essential to interpreting these works as a performer. 7 Intent and Scope Although the music and life of Franz Peter Schubert have generated an abundance of research, relatively little has been written about his German-texted secular choral settings. Unlike the other three members of the first Viennese school, Wolfgang Amadeus Mozart (1756-1791), Franz Joseph Haydn (1732-1809), and Ludwig van Beethoven (1770-1827), Schubert was not a Viennese transplant. This fact alone has given musicologists much to ponder, as his experiences growing up in Vienna had major