Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. Her immense help made the difficult process possible and bearable. I am also indebted to my committee, Dr. Charles Atkinson and Dr. Burdette Green for their criticism and suggestions. My appreciation also goes to other music histoiy faculty members at The Ohio State University for training that they have provided me. I should like to express my gratitude to my parents who inspired me overcome illness and finish my study, and prayed every moment for my well-being. I would like to express thanks to my dear aunt Dr. Jane Jung-Ae Hur who brought me to the U.S. and gave moral and financial iii supports. I also thank to my exceptional brother, sisters, and brother-in- laws who encouraged me throughout. I offer sincere thanks to my wife, Young-Hee, for her faith, love, and sacrifice. A final word of thanks to my daughters, Shin-Ae and Shin- Young, for puttingup with me and offering love and joy. iv VITA Ju ly 16. 1958 ....................................... Bom - Seoul, Korea 1981 B.M. in Piano Performance, Kyunghee University, Seoul, Korea 1983 ........................................................ M.M. in Piano Performance, Southern Illinois University at Carbondale, Illinois 1985 ........................................................ M.M. in Music History and Literature, Southern Illinois University at Carbondale, Illinois FIELDS OF STUDY Major Field: Music Studies in History and literature with Dr. Lois Rosow, Dr. Charles Atkinson, Dr. Peter Gano, Dr. Martha Maas, Dr. Alexander Main, and Dr. Keith Mixter. Studies in Ethnomusicology with Dr. Margarita Mazo. Studies in Music Theory with Dr. Burdette Green. Studies in Piano with Dr. Donald Gren. Studies in Chamber Music (Early Music) with Dr. Martha Maas. v TABLE OF CONTENTS DEDICATION.............................................................................................. ii ACKNOWLEDGMENTS................................................................................ ill VITA.............................................................................................................. v LIST OF EXAMPLE..................................................................................... viii INTRODUCTION.......................................................................................... 1 Chapter PAGE I. HISTORICAL BACKGROUND, COMPOSITION HISTORY, AND PUBLICATION HISTORY....................................................... 6 II. THE SOURCES.............................................................................. 22 Autograph Score (the MS)......................................................... 22 The First printed edition (B&H 7415)..................................... 33 Solo part and reduction of orchestra for a second piano, edited by Carl Reinecke (B&H 10121) ............................ 34 The first edition in full score (B&H 10317) ............................ 37 Clara Schumann’s edition In Robert Schumann's Werke (RSW)................................................................................... 38 Clara Schumann’s "Instructive Edition," (B&H VA 643).... 40 III. INTERPRETING THE NOTATION................................................ 42 O rnam ents................................................................................... 42 Tempo and Expression.............................................................. 48 Pedaling....................................................................................... 52 VI. STEMMAHCS................................................................................ 55 CONCLUSION.............................................................................................. 82 APPENDICES A. The list of contents of the Wiede Collection, in Georg Eismann. "Nachweis der lntematlonalen Standorte von Notenautographen Robert Schumanns" ................................. 92 v i B. Malcolm Frager’s unpublished list of items formerly in the Wiede Collection................................................................. 96 C. List of textual variants between B&H 7415 and B&H 10121 (Piano part only).............................................. 99 D. List of textual variants among the MS, B&H 7415, B&H 10317, B&H VA 643 and RSW) ............................................104 BIBLIOGRAPHY.................................................................................................183 vii LIST OF EXAMPLES EXAMPLE PAGE 1. The MS, first movement, original shorter version of passage In mm. 130-39 ......................................................... 27 2. The MS, first movement, original version of mm. 449-62, piano part only............................................... 29 3. The MS, first movement, mm. 11-13 ...................................... 43 4. The MS, first movement, mm. 58-60 ...................................... 43 5. The MS, first movement, mm. 105-106 .................................. 45 6. The MS, first movement, mm. 7-11 ........................................ 45 7. The MS, first movement, mm. 14-16 ...................................... 47 8. The MS. third movement, mm. 961-63 piano part omitted.................................................................. 57 9. The MS. first movement, mm. 205-14, low string parts omitted......................................................... 59 10. First movement, mm. 504-509, piano and horns (in A) only.................................................... 60 11. Second movement, mm. 3-6 and 71-74, piano only .............. 62 12. The MS and B&H 7415, first movement, mm. 385-88, bassoons only ......................................................................... 63 13. The MS, first movement, mm. 4-7, oboe I only ....................... 63 14. Second movement, mm. 16 and 84, piano o n ly..................... 65 15. Phrasing of main theme of first movement.............................. 68 16. Third movement, mm. 489-503, viola parts only.................. 69 viii 17. The MS. B&H 7415 and B&H 10317, first movement. mm. 67-71, clarinet and piano only ...................................... 71 18. The MS, first movement, mm. 109-115 . ................................... 73 19. Third movement, mm. 450-53...................................................... 74 20. Second movement, mm. 1-2 ........................................................ 76 21. B&H 7415, second movement, mm. 35-36 and 59-60 ........... 78 22. Third movement, mm. 275-78 ...................................................... 80 ix INTRODUCTION Robert Schumann's Plano Concerto in A Minor. Op. 54, like many other Romantic era concertos, holds an Important place in the standard repertory of the twentieth century. Many musicians know it best in the version published by Schumann's widow Clara as part of her collected edition of Robert's works, Robert Schumann's Werke (hereafter RSW). Unfortunately, RSW has a rather negative reputation among scholars: The only "complete" edition of Schumann's music is the incomplete, somewhat unreliable set of fourteen series in thirty-one volumes prepared by Clara Schumann and Brahms, and published in 1881-93.1 Apart from the "Supplement" edited by Johannes Brahms (series 14), the edition includes no critical apparatus or commentary of any kind. Furthermore, we cannot be certain who is responsible for the editorial work in any given piece: in July 1877 Clara declared herself "quite Ignorant about the requirements of such an edition" and offered Brahms half of her fee if he would edit all the orchestral and ensemble works; in the following October she proposed employing young assistants for this work, and Brahms agreed that she should "just try giving the symphonies to both of them—say the B-flat major and the C major to W. [i.e., Woldemar Bargiel] and the B-flat, the E-flat and the D 1 William Newman, The Sonata since Beethoven. 3rd ed. (New York: Norton, 1983), pp. 261-64. 1 2 to [Ernst] Franck."2 In the late 1960s the pianist Malcolm Frager became sufficiently curious about a couple of problematic metronome markings In the