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Schumann: Edition

Widmung Nr. Die Klavierbegleitung bewegt sich in Dreiklangsbrechungen in Achteln, die von charakteristischen Punktierungen durchzogen werden.

Lied Nr. Das zweite der Lieder aus dem Schenkenbuch im Divan Nr. Schumann verbindet den Beginn des zweiten Hefts mit dem ersten Heft Nr. Das zweite Heft beginnt mit Die Lotosblume Nr.

Robert Schumann Sheet Music on MusicaNeo (Digital Download) | Robert Schumann | Opus Number

Die erste Strophe beginnt mit einem Clara-Motiv T. Wenn ich handle, wenn ich dichte, gib du meinem Weg die Richte! Auch im Klaviernachspiel wird diese Chromatik aufgegriffen. Das erste Lied Nr.

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Eine Braut beruhigt ihre Mutter, dass die Liebe zu ihrem Mann die Liebe zu ihr nur noch vertieft habe. Das zweite Lied der Braut Nr. Das dritte Heft der Myrthen besteht aus sechs Liedern. Nur englischsprachige Dichter werden hier zusammengefasst. Vor-, Zwischen- und Nachspiel sind identisch aufgebaut.

Myrthen, Op. 25: No. 21, Was will die einsame Träne?

Das Thema der Nr. Wie in mehreren anderen Liedern der Myrthen greift Schumann auch hier durch die Wiederholung der ersten Strophe nach der dritten in den Text ein. Der fragende Gestus des Textes findet in der Unbestimmtheit des verminderten Septakkords am Beginn eine harmonische Entsprechung. This, of course, has occasioned much eyebrow-raising in the musicological community, and has led to successive refutation and counter-refutation. Popper's attitude towards psychoanalysis is often misrepresented: his rejection of it as an experimental science is not a denial of its interest or significance, and Popper at times finds himself in agreement with Freud.

James Strachey New York : Norton , They are not in Schubert's hand. In spite of the many autobiographical elements in Buch der Lieder and Die Heimkehr in particular, one should at least be cautious in approaching the collection from that angle. Cook , Roger F. Perraudin identifies her presence throughout the sub-cycle of poems nos.


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Nymphs, originally benevolent deities, are also remarkable for their sexual freedom and their insubordination to mortal males. Such a sequence may also be found in Schubert's sonata-form developments, where it serves to prolong one of the chords involved in the cycle. Each cycle may be understood as constituting a specific harmonic region, which stands in opposition to the regions defined by the other cycles.

To put it simply, if B minor is the Leittonwechselklang or LT of G major, involving one semitonal displacement and two common notes, then their respective parallel chords, B major and G minor, stand in the co-Leittonwechsel or CoLT relation, with three semitonal displacements and no common note.

Although it is hard to identify a definitive winner in the conflict between the major cadence in the voice and the ensuing minor cadence in the piano, I am uncomfortable with any reading that minimizes the tragic ending of the poem and the formidable resonance thus generated in the accompaniment, which re-establishes the dominant depressed affect with a vengeance.

Schumann Robert

The major cadence is fundamentally contradictory, undermined by despair, and cannot be taken as an unmixed expression of hope. As I have argued above, it rather signifies negation — of reality, but also of hope itself, if hope be a desire that may be transformed into reality. Drabkin , William , vol.

David Lewin, in his beautiful and penetrating essay on the song, proposes a tenor Urlinie an octave higher than that shown in my own Ex. Although the inscription of the Urlinie in such a low register may present difficulty for the orthodox Schenkerian, it renders well in my opinion the deep inner voice which gradually comes to predominate, illustrating the fact that the Poet eventually becomes submerged by his affects.

See Lewin , D. Ernst Oster , vol.


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These resemblances may well have been uncalculated on Schubert's part — they are nevertheless present in the music and tend to show that the conception of the Heine songs stemmed from a single compositional impulse. Rather than a unifying theme in the sense of nineteenth-century cyclic musical form, the return of the same material in changing contexts is better understood as a common element such as, for Freud, allows the dream to create associations and analogies.

As I imagine is the case with most ghost manifestations, this one was completely unsolicited, but nevertheless quite striking. Readers unable to recreate the experience on their own piano should accept my apologies, but not doubt the veracity of this testimony. The theory has a long history behind it. Both motions are physiologically and, more importantly, psychologically related. See Werke , Goethes IV ,.

Abtheilung: Briefe , vol. Samuel , Richard , vol. Italics original. Email your librarian or administrator to recommend adding this journal to your organisation's collection. This data will be updated every 24 hours. Login Alert.