Thesis--Halle-Wittenberg. / Vita.

Thesis--Halle-Wittenberg. / Vita.

abstract: This project details specific placement and usage of the Clara motive in Robert Schumann’s Dichterliebe. The analysis categorizes the motive according to its different shapes and relationships to the poetry in Dichterliebe. Four main permutations of the motive are discussed in great detail: the original motive, inverted motive, retrograde motive, and retrograde inverted motive. Schumann (1810–1856) composed more than 160 vocal works in 1840, commonly referred to as his Liederjahr. At the time, Schumann and Clara Wieck (1819–1896) were planning to marry, despite the objections of her father Friedrich Wieck (1785–1873). Robert was inspired to write Dichterliebe because of the happiness-and anxiety-surrounding his love for Clara, and the difficulties leading to their impending marriage. Schumann used the Clara motive (C-Bb-A-G#-A), which incorporates the letters of her name, throughout the song cycle in special moments as a tool of musical expression that alludes to his future wife. Eric Sams (1926–2004), a specialist of German Lieder, has made significant contributions to the research of the Clara motive in Schumann’s music (through his book The Songs of Robert Schumann). However, research into specific locations and transformations of the Clara motive within the Dichterliebe are still insufficient. A further awareness of the Clara motive’s inner working is intended to help performers interpret this song cycle. / Dissertation/Thesis / Doctoral Dissertation Music 2019

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Universiẗat, Diss., 2006--Trier. / Erscheinungsjahr an der Haupttitelstelle: 2005.

Zugl.: Berlin, Kirchliche Hochsch., Diplom-Arbeit, 2006

Diss.--Cologne, 1996. / Volume spécial des "Schumann-Studien", publié séparément. Bibliogr. p. 193-206.

No description available.

No description available.

In this thesis, I analyze the first, second, and final songs of Clara Schumann's Six Lieder, Opus 13. In each one, special attention is paid to two aspects of Clara's composition. First, I use my research on Clara and Robert's correspondence to attempt to demonstrate ways in which she may have drawn from events during their courtship as inspiration for her compositional choices and techniques in these songs. Second, I interpret a motive that spans the set, the notes of which could be a cipher representative of her and Robert, to construct a narrative across the cycle informed by her and Robert's relationship. My analysis expands in part on questions David Lewin has raised about the first song, "Ich stand in dunkeln Träumen." I hope that these analyses can shed more light on Clara's first set of lieder published independently from Robert's. Further research could be done to see if there are clear similarities between the third, fourth, and fifth songs of this cycle and significant events in Clara and Robert's courtship.