CHAPTER II: SCHUMANN

SECOND LAYER: ROUGH INTERPRETATION OF MÄRCHENBILDER

III. Rasch  

In 1782 Johann Wolfgang von Goethe (1749 – 1832) wrote the poem The Erlkönig. This poem tells of a father who sets off on horseback at night with his fevered son in order to seek help. Franz Schubert (1797-1828) set this story in song form in 1815, which may have inspired Schumann. This movement starts with a fiery character created by the speedy passages in the viola (maybe a galloping horse) embedded by ominous chords in the piano. Throughout the movement the roles of the viola and piano change (see excerpt) The middle section of this movement then appears very suddenly as a bolt out of the blue. However, the character is anything but ‘bolt’-like. The tonality is B-major (preceded by D-minor) and the thematic material is lyrical and giddy. This passage could be seen as a feverish dream. However, the dream lasts only for a short time and the ominous 16^th triplets in the viola occur again. The end of this movement comprises two lyrical bars with a final outburst in both instruments. In the Erlkönig, the man arrived at his destination, but it was too late: the child died. His father cries out in sorrow.

II. Lebhaft 

This second movement consists of one main theme and two episodes of a different character. Whereas the first movement implies a Eusebius-like character, this second movement is more Florestan-like. The title already implies a lively character that is full of adventure, life force and self-confidence. The movement is introduced by a loud trumpet sound in the viola. The tonality is F-major and the movement is full of alternating rhythmic patterns. I imagine a group of riders approaching, galloping, on their horses from a distance. For a moment the feeling of courage from the main theme seems to sink into a sense of despair and doubt, in the first episode (bar 51). Here the tonality is D-minor. The piano is playing 16^th with a nervous character accompanied by a volatile rhythmic motif in the viola. After an outburst in bar 67, the piano plays a falling cadenza-like pattern blowing away the feelings of uncertainty. The rhythm of the main motif starts in a soft dynamic and we are brought back to the heroic equestrian-like theme Now, the main theme changes into a second episode: a majestic middle section in Bflat-major. The piano and viola have alternating lines with a melody that is almost a bit ludicrous. I see the great hall of a castle before me, dancing, and toasting with golden chalices into which red wine is poured. However, before the sun rises, the riders have to leave again and gallop towards the horizon. The main theme takes over again and brings us to an untroubled end.

I. Nicht schnell  

In my opinion, this movement is a concise embodiment of romantic themes like fate (or fatalism), the struggle between the soul and senses, the inevitable bond between love and suffering, and the urge for a higher plane of existence. Already with the ambiguous tempo indication ‘nicht schnell’ (instead of ‘langsam’ or ’ruhig’), Schumann gives a hint of an inner struggle. In this first movement, Schumann did not use basic structure but rather a free form with two main themes that are continuously cast in a different light. Although the musical lines between the viola and piano insinuate various dialogues, I would say that the dialogues reflect the inner struggles of one person since the motifs that are used stay the same. At some point a slight hint of Beethoven’s Fur Elise is audible (although the identity of Elise was not certain, there are speculations that Beethoven was referring to the soprano Elisabeth Ruckel, who was also a friend of E. T. A. Hoffmann).[1]

The tonality of the movement varies mainly between a somber D-minor and a more optimistic F-major. Throughout the movement, Schumann notated different symbols: forte piano (fp), fortzando (Fz), a one-note hairpin, a wedge, and a circumflex. I think that these symbols are meant to define a certain melody, articulation or rhythm that should underscore a certain phrasing that is needed in the movement.[2]

IV. Langsam, mit melancholischem Ausdruck

This final movement is written in D-major and has a solemn melancholic character: the reconcilement of Meister Raro appears. The main melodic material floats fluently through both instruments from one to another. The first four bars can be interpreted as a question and answer pattern that continues throughout the movement.

The single-note hairpins in bar 7 and 8 could insinuate a certain restlessness and questioning. The four-bar phrase is then repeated again, but now with a different answer: in F-major. A new melody starts in the piano accompanied by floating 16ths in the viola. When the new melody seems to resolve in a final F-major chord, a new section starts with 16th triplets in the piano. The character of this section is more restless, as if the acceptance-like melody also brings worries about what comes next. At some point a slight hint of Ave Maria seems detectable as a possible prayer to god. After this more restless passage, the beginning theme enters again. The acceptance now seems even stronger.

References