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A A Study of The Piano Concerto in A Minor of Robert Schumann. Chi 8861607 40 Chung Pei-Chi Lee, Mei-Wen Robert Schumann Concerto A A A
The first movement of Robert Schumann s A minor piano concerto is originally the Fantasy in A minor for piano and orchestra which composed in 1841. Four years later, Schumann himself added another two movements to let it become a concerto of three complete movements. The idea of monothematic is through out all movements to unite the concerto. This text is divided into four parts to research. The first part is the discussion of composing background. The second part is the realization of the compositional process. The third part is concentrated on the analysis, the formal structure of the three movements, includes the monothematic using and the strategy of thematic metamorphosis using. And the last part investigates the sound, harmony, melody and rhythm of this concerto, in order to understand the special composing method of Schumann. The A minor concerto not merely successfully incorporated Classic and Romantic composing styles, in the meanwhile, Schumann displayed his outstanding strategy of balancing the soloist and the orchestra.
1 A 2 A.7 A... 9.. 11.. 20..23..29.. 36.. 38
Robert Schumann A Fantasie in A minor for Piano and Orchestra 1 ritornello form 1 I realize I cannot write a concerto for a virtuoso, so I must think up something else.ronald Taylor. Robert Schumann: His Life and Work. (London: Granada Publishing Limited, 1982), 244. 2 Paul Henry Lang. The Concerto 1800-1900: A Norton Music Anthology. (New York: Norton, 1969), xvii.
Alfred Nieman thematic metamorphosis 3 cyclic A zwickau 4 Endenich 5 3 Alfred Nieman. The Concerto (Alan Walker ed.) Robert Schumann: The man and His Music. (London: Barrie and Jenkins Ltd., 1972), 241. 4 Saxony Silesia Bohemia 5 Bonn
prose style Jean Paul 6 Davidsbndler Chiarina Felix Meritis Bartholdy Felix Mendelssohn Florestan Eusebius 7 Allgemeine Musikalische Zeitschrift Frederic Chopin L ci darem la mano 8 9 Johannes Brahms 6 1763-1825 7 8 Wolfgang Amadeus Mozart Don Giovanni 1984), 222. 9 Hats off, gentlemen, a genius! Leon Plantinga. Romantic Music. (New York: Norton,
Neue Zeitschrift f r Musik Clara Wieck Friedrich Wieck A A Carnaval 10 10 Alfred Nieman., 242.
F 1827 E 1827 E 1828 C?1829 B F 1829-1831 D 1839 1988 12 Overture, Scherzo and Finale 11 I believe it would be best if he composed for orchestra; he imagination cannot expand sufficiently on the keyboard His composition are all orchestrally conceived, and I believe incomprehensive to the public for this reason, for the melodies and figuration are so intermingled that it is very difficult to hear the beauties of the work My highest wish is that he should compose for orchestra---that is his field! May I succeed in persuading him to enter it.alfred Nieman, 279. 12 D. Lindeman Stephan. Formal Novelty and Tradition in the Early Romantic Piano Concerto. (Ph.D. dissertation, The State University of New Jersey, 1995), 259.
A Introduction and Allegro appassionato 13 F 14 15 16 13 14 Alfred Nieman, 241 15 242 16
A A Concert Allegro with Introduction A 17 18 17 Robert has added a fine last movement to his Fantasie for Piano and Orchestra in A minor, so that it has now become a concerto.ronald Taylor, 245. 18 First movement, a self-contained movement, written in Leipzig in 1841 and called Fantasie ; the other movements written in Dresden in May and July1845.Ronald Taylor, 244.
A --- Ferdinand Hiller 19 would not be so remarkable were it not for the fact that in the intervening years Schumann suffered a serious nervous collapse In 1844 Clara Schumann took her husband to Dresden, where she hoped to restore normality to his tortured brain; the change of scene worked wonders, and the evidence is to be seen in the completion of the Piano Concerto, where the two additional movements are in such aesthetic and emotional communion with the first that there is no reflection of Schumann s intervening malady. John Culshaw, The Concerto (New York: Chanticleer Press Inc., 1949), 42.
A 20 A 21 Frederic Chopin 20 And so we await the genius who show us in a newer and brilliant way, how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.michael Thomas Roeder. A History of the Concerto. (Oregon: Amadeus Press, 1994), 252. 21 something between a symphony, a concerto and a large sonata.ronald Taylor, 244.
ritornello form seque 2 1 3 1 2 3 monothematic 1 2
3 re- creation Wanderer-Fantasy Franz Liszt 22 Cesar Franck Richard Wagner 22 Alfred Nieman, 245.
1-3 Allegro affettuoso a i 4-155 4-19 ai 19-66 a-c-e-g-c-f-d- F-Ci-III 67-111 Animato CIII 112-133 134-155 CIII 156-258 156-184 Andante espressivo AbVIb/III 185-204 205-258 259-398 Allegro Tempo I Piu Animato Ab G-V/III- 259-274 Tempo I ai 274-319 a--v/b- a- V/A 320-364 Animato AI 365-384 V/A 385-397 Accelerando poco a VI7F7 poco 398-457 458-544 Allegro molto ai
f 4 Ludwig van Beethoven Emperor 5 4 A 1-3 5 1-2
6 a b c d turn e f 6 4-11 23 d Introduction and Allegro 23 Alfred Nieman, 248.
7 C a b d 7 65-75 closing theme fanfare- like 8 b d 9 24
8 149-155 9 133-140 Andante espressivoa 6/4 nocturne- like 10 25 25 Michael Thomas Roeder, 252.
chamber- like 26 10 156-158 11 Piu animato G C 26 D. Lindeman Stephan, 308.
11 190-194 cadenza B Neapolitan 27 b 74. 27 Percy M. Young. Concerto. (London: Phoenix House Ltd.: Phoenix Music Guides,1957),
12 rhapsodic Un poco Andante 28 13 trill Coda 29 14 a 2/4 Allegro molto 30 a A 12 1-4 13 33-36 28 D. Lindeman Stephan, 308. 29 The cadenza is one of the most remarkable to come out of the nineteenth century.alfred Nieman, 251. 30 Percy M. Young, 74.
14 402-407 Andantino grazioso ABA ternary form 1-28 A F I 29-68 B C V-V 7 68-102 A F I 103-108 A -a -A a C-B-A b d 15
F B 16 15 1-7 16 1-6 24-32
A B A B B A A 17 100-108 a A 17
31 A 32 D 31 Michael Thomas Roeder, 254. 32
A 109-148 A I 148-188 IV B 188-251 V 252-327 V-V 7 A 327-359 I-V C 359-496 VIV A 497-528 D IV 528-568 vii B 569-632 I-V pedal 633-707 I-IV A 707-770 IVV 7 /IV Coda 771-979 IV I A fanfare-like B a b c d 18
18 17 19 19 109-117 E 20 3/2 E
20 205-212 21 d V/V trill 22 21 323-333
22 343-353 E 23 23 391-400 fugato
33 Johann Sebastian Bach counterpoint 24 34 24 365-377 A D A 33 Fugato. 34 Michael Thomas Roeder, 254.
25 25 771-778 A Kathryn Obshain 35 The American Music Teacher 35 Mrs. Obshain Radford College
36 Ronald Taylor 36 Kathryn Obshain. Schumann as Symphonist The American Music Teacher, Vol.23, no.6 (July, 1974), 31. 37 The persistent thickness of texture of Schumann s piano music, lick the technical demands it makes in its successions of massive chords, its full-blooded leaps from one register to another, in short, the sense that it is pressing towards the limits of what two hands can encompass this temp ts one to think that Schumann hears such music in terms of full orchestral sound At the same time his orchestral timbre is for the most part an undifferentiated mass, like the aggregate tonal product of his piano music---indeed, often sounding like perfunctorily orchestrated piano music.ronald Taylor, 206. 38 What is overlooked by critics is that Schumann may have written a thick symphonic texture simply because he wanted it that way. An interesting parallel may be found in the piano works, generally conceded to be Schumann s finest compositions. How often one friends an unusually thick texture, with four-and five-note chords in each hand, frequently duplicating the notes of one hand in another Conversely, over and over in the piano works there are suggestions of orchestral color ( especially the omnipresent Romantic horn-calls) which may give further substance to the validity of drawing texture analogy between the orchestral and piano composition. Kathryn Obshain. Schumann as Symphonist The American Teacher, Vol.23, no.6 (July, 1974), 31.
A 6 26 23 39 impassioned conversation between the orchestra and soloist, thought at times very gentle and kindly.clara Schumann. Clara Schumann s Teaching. Music and Letters. Vol.26, no.3 (July, 1945), 147.
26 17-21 41 40 music resembles chess. The queen (melody) has the great power, but the king (harmony) decides the game. Robert Schumann. Aphorisms On Music and Musicians. Konrad Wolff, ed. translated by Paul Rosenfeld. (New York: Pantheon Books Inc., 1964), 40. 41 One of its secrets lies in the variety of its harmonic rhythm, which traces larges spans across the bar lines, alternating with quick changes. Suspensions and dissonances, too, stimulate the ear in a seemingly reckless flow of enharmonic changes that Schubert would have loved.alfred Nieman, 255.
4 9 A A 27 27 27 787-790 24 12 Cherubini Cours de Conterpoint 42 43 42 He himself has been seized by regular passion for fugues, and beautiful themes pour from him.joan Chissell. Schumann Piano Music. (London: Broadcasting Corporation, 1972.), 58-59. 43 From 1845 onwards, when I started to invent and work out in my head, a quite different way of composing began to develop. 59
Palestrina polyphony Heidelberg Justus Thibaut ueber Reinheit der Tonkunst, 1825 C-B-A- A Clara C- A-A Chiarina ASCH ASCH 44 contour 14 moto perpetuo A B 15 44 that so much melody has been made to come from so few sources. Nieman, Alfred, 255.
20 rhythmic displacement 25 45 Dr. Wylde New Philharmonic 46 Clara Schumann s first London performance of the Piano Concerto in 1856, was a disaster because of a rhythmic misunderstanding. She wrote to Brahms: Dr.Wylde Could not grasp the rhythm of the last movement. At the performance he put the orchestra quite out Clara Schumann, quoted in Berthold Litzmann: Clara Schumann: An Artist s Life, translated by Grace Hadow. (London: Macmillan and Company, 1913), 133.
A 47 47 Percy M. Young, 73.
Wolfgang Amadeus Mozart Carl Maria Weber A A
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