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Seminar paper from the year in the subject Musicology, grade: 1, University of Rochester, Eastman School of Music, language: English, abstract: To precede my comparison of Schumann's 'Mondnacht' and Brahms's setting of the same poem I would like to begin…. Joan Didion's California by Danko Drusko. But there is no indication that Clara thought of her Op. Example 6. Robert Schumann, Arabeske , Op. In fact my brother, who is here today, might just remember this piece as one of the many that often competed with Chicago White Sox games on the TV in our childhood living room.

PLAY : measures 1— After this, the entire first part of the rondo refrain returns. And that is exactly what will happen with each subsequent appearance of the refrain—the complete passage at measures 1—40 will return unchanged.

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Word has it that Schumann often sat dreamily at the keyboard and played favorite passages of his music over and over again; it seems that he invites us to do precisely the same with his rondo theme. Pretending to be a refrain within a smaller rondo-within-the-rondo, the opening phrase of Minore I returns twice; in fact the episode ends with that phrase, again arriving at the half cadence in E minor at measure Indeed, as the ultimate harmonic link back to the rondo refrain, the Neapolitan at measures appears pianissimo out of the blue; it is approached via tritone in the bass.

PLAY : measures 81— PLAY : measures — The second part measures — , also repeated, forcefully works its way through an ascending-5ths sequence to close in E minor iii. And then the rondo theme returns for the last time. Listen especially to the extraordinary effect of release, and relief, when, finally—at measures —16—the E-D motive—augmented, no less—at least attains a half cadence! In the final phrase, the music does indeed find a C-natural at measure ; but the submediant harmony here denies this tone a structural role, and instead, the melody moves back into the lower register.

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So much, then, for an Urlinie closure; here is a closing that remains melodically open. And moving forward means moving away from home and childhood, away from idyllic, self-centered ease, and out into the complexities of the world. Figure 2.

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Closings in R. Interpretations of the first movement, especially, have drawn upon quintessential categories of romantic aesthetics: fragment, Witz , and arabesque. But no other work by Schumann could serve so well today as a culminating, and final, example of my topic, and so I ask you to bear with me. Example 7. Beethoven, An die ferne Geliebte , Op. Example 8. Excerpts from R. The text given here will remind you that this is the cycle in which the poet strives to surmount the spatial and temporal distance between himself and his beloved by singing songs of love and then asking her to sing them back to him; accordingly, the last song not only begins with a variant of the first song but then also cyclically recapitulates the first song, at the very point where the poet hopes that his beloved has begun to sing.

Certainly the key of D minor helps to sustain focus upon the A-natural with which the main theme MT began, now even giving it consonant support. First comes a newly interpreted version of a , then b , as follows. PLAY : measures 60— For those on the inside track, the fundamental direction of the movement now begins to emerge. Everything is leading inexorably to a revelation at the very end: the Adagio at measure quotes the b -idea in its clearest, most Beethoven-like form, and in doing this, it closes the movement with the first and only authentic cadence in C major.

Example 9. Excerpts from the Fantasie , Op. No blatant cyclicism here; instead something much more moving—for its subtlety, and because now the music celebrates a homecoming over the distant span of the complete three-movement work. A circle within a circle is closed here: the texture and harmonic progression beginning at measure bring us back to the beginning of the movement see Example 9a , and the pervasive neighbor motion G-A-G clearly remembers the opening of the first movement.

The end of the Fantasie may just be one of the great musical homecomings of all time. PLAY : end of last movement. And, yes, music like the Fantasie is wildly esoteric. Botstein, Leon.

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    Daverio, John. New York: Schirmer Books. Crossing Paths: Schubert, Schumann, and Brahms. Oxford: Oxford University Press. Downes, Stephen. Ferris, David. Fisk, Charles. Hoeckner, Berthold. Princeton, N. Kaminsky, Peter. Ann Arbor: UMI. Lester, Joel. Marston, Nicholas. McCreless, Patrick.

    Poem to Music: Schumann's "Mondnacht" Setting

    Morgan, Robert P. In Journal of Modern History 67 September : — Muxfeldt, Kristina. Newcomb, Anthony. Larry Todd, — Reich, Nancy B.