Clara Wieck Schumann’s 1836 Piano Concerto Op. 7 represents an era of radical formal experimentation in the early nineteenth century. As such, critics including Robert Schumann questioned its unity, thus prompting late twentieth-century scholars to reassess both its departures from tradition and its cohesive mechanisms. I propose that the concerto’s formal innovations are a result of Wieck’s decision to construct a tripartite work from her autonomous Concertsatz, which became the Finale after the addition of a first and second movement. This study uses William Caplin’s theory of formal functions and Steven Vande Moortele’s theory of two-dimensional sonata form to examine how Wieck complemented the independent Finale with a formally divergent first movement, which facilitates the projection of an overarching sonata form spanning the entire work. In doing so, this study produces a model to assess the concerto’s internal logic.
| Identifer | oai:union.ndltd.org:uottawa.ca/oai:ruor.uottawa.ca:10393/32002 |
| Date | January 2015 |
| Creators | Fox, Margaret Elizabeth |
| Contributors | Pedneault-Deslauriers, Julie |
| Publisher | Université d'Ottawa / University of Ottawa |
| Source Sets | Université d’Ottawa |
| Language | English |
| Detected Language | English |
| Type | Thesis |
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