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Variations on a Theme of Robert Schu...

Buer, Karin.

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Variations on a Theme of Robert Schumann: Intertextual References and Private Meaning in Clara Schumann's Opus 20 and Johannes Brahms's Opus 9.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Variations on a Theme of Robert Schumann: Intertextual References and Private Meaning in Clara Schumann's Opus 20 and Johannes Brahms's Opus 9./
Author:	Buer, Karin.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	224 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
Contained By:	Dissertations Abstracts International82-05A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28087483
ISBN:	9798678123435

Variations on a Theme of Robert Schumann: Intertextual References and Private Meaning in Clara Schumann's Opus 20 and Johannes Brahms's Opus 9.
Buer, Karin.

Variations on a Theme of Robert Schumann: Intertextual References and Private Meaning in Clara Schumann's Opus 20 and Johannes Brahms's Opus 9. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 224 p.

Source: Dissertations Abstracts International, Volume: 82-05, Section: A.

Thesis (D.A.)--University of Northern Colorado, 2020.

This item must not be sold to any third party vendors.

For centuries, composers have used their music as an expressive tool, imbuing it with publicly accessible meaning that often reflects the time and place in which the composer lived. Throughout the nineteenth century, the view of music as a means of expression, specifically self-expression, became crystallized as never before. Robert Schumann and other literary-minded nineteenth-century composers thus communicated, through their art, meanings which were both public and private, turning to extra-compositional and extramusical references as a frequent means of doing so. Consequently, an intertextual approach to their music can reveal additional layers of expressive meaning and can allow current performers and listeners to interpret the music from the perspective of a romantic-era insider.Both Robert and Clara Schumann, and later Johannes Brahms, used their music to communicate amongst themselves and with close associates, especially in more intimate genres such as piano variations. Two works which are particularly ripe with intertextual references and private meaning are Clara's Variations on a Theme of Robert Schumann, Op. 20, which she gave to Robert as a birthday present in 1853, and Brahms's Op. 9 variations on the same theme, which he wrote for Clara the following year. In her Op. 20 variations, Clara includes quotations and allusions to a number of Robert's works as well as to works she was performing and therefore practicing at the time, rendering the piece the ultimate birthday present. Brahms, in response to Clara's variations, composes a set which interweaves references to several of Robert's works and one of Clara's, often by layering multiple allusions within the same variation. In doing so, he pays respect to his beloved mentor-the recently institutionalized Robert-while privately providing comfort to and sharing the grief with Clara. A strong historical awareness rooted in documentary evidence, combined with a robust music-theoretical analysis drawing upon Schenkerian analytical methods, provides a mechanism for testing the strength of the connections found within these pieces.

ISBN: 9798678123435Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Johannes Brahms

Variations on a Theme of Robert Schumann: Intertextual References and Private Meaning in Clara Schumann's Opus 20 and Johannes Brahms's Opus 9.
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520 $a For centuries, composers have used their music as an expressive tool, imbuing it with publicly accessible meaning that often reflects the time and place in which the composer lived. Throughout the nineteenth century, the view of music as a means of expression, specifically self-expression, became crystallized as never before. Robert Schumann and other literary-minded nineteenth-century composers thus communicated, through their art, meanings which were both public and private, turning to extra-compositional and extramusical references as a frequent means of doing so. Consequently, an intertextual approach to their music can reveal additional layers of expressive meaning and can allow current performers and listeners to interpret the music from the perspective of a romantic-era insider.Both Robert and Clara Schumann, and later Johannes Brahms, used their music to communicate amongst themselves and with close associates, especially in more intimate genres such as piano variations. Two works which are particularly ripe with intertextual references and private meaning are Clara's Variations on a Theme of Robert Schumann, Op. 20, which she gave to Robert as a birthday present in 1853, and Brahms's Op. 9 variations on the same theme, which he wrote for Clara the following year. In her Op. 20 variations, Clara includes quotations and allusions to a number of Robert's works as well as to works she was performing and therefore practicing at the time, rendering the piece the ultimate birthday present. Brahms, in response to Clara's variations, composes a set which interweaves references to several of Robert's works and one of Clara's, often by layering multiple allusions within the same variation. In doing so, he pays respect to his beloved mentor-the recently institutionalized Robert-while privately providing comfort to and sharing the grief with Clara. A strong historical awareness rooted in documentary evidence, combined with a robust music-theoretical analysis drawing upon Schenkerian analytical methods, provides a mechanism for testing the strength of the connections found within these pieces.
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