Abstracts - American Musicological Society

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ThursdaY afternoon that of the thematic surface, saturating the texture without being confined to nornal processes of rnotivic transformation and thematic development. Applied to the whole of the quartet, this insight illuminates a design that focuses on shifting inflectional tensions within one element of this "subthematic" configuration: the f-e half-step first presented in the opening measures of the first movement. Within this design, the precarious tonal modal balance of the Dankgesang emerges as a node of extreme ambiguity in which any sense of a stable inflectional relation between f and e is completely obscured, generating tensions that spill over into the follovring movements--tensions for which no normal process of resolution seems appropriate. SCHUMANN AND R. Larry Todd, Duke BRUCKNER Univers ity, Chair SCHUMANN'S IM LEGENDENTON AND FRIEDRICH SCHLEGEL'S ARABESKE John J. Daverio, Boston Universicy The writings of Friedrich Schlegel, perhaps the chief early romantic critic/philosopher, have received little attention frorn musical scholars. While music did not much figure in SchIegeL's romantic programme (he was indeed a litcle suspicious of it), there are numerous aspects of his literary theory that are useful in assessing the more disruptive qualities of nineteenth-century musical form. This paper examines the concept that was at the heart of Schlegel's critical theory: the Arabeske (arabesque), a notion developed principally in his "GesprSch riber die poesie" (L799) and Atheneum Fragmenre (I797 /99) . In a limired sense, the arabesque refers to digressive interpoLations that intentionally disturl chronological the flow of a typical narrative; as form, a total the arabesque tempers a seemingly diversity through a deliberately .or,"""1"d "h"oti. process. logicat rhis rwof old principle is :: 'fJ-.". *1.*:l^".:_1:t:", ::q : :. " ^ :: "*n-.j_.- rh^e f i r s r, *;;;;" ; ; "'# ","";i1"";1i ""' ; [?:;:","*:E:=+,. of."" 17, -s;;;"rr]' .'".""""r11X.J : l I :l .'" ff,,:"' : .i," il: ^ -';';. " : ; i' ;' ;:;'" ".'i' form. While --rnrveE! J rranorlng most ot : sonata ::.. : Leeend.enton /o view -^r.."11":a:ao1" the ":"r" cenrral ]n Hf" .*trtff" . ^,-", i : r r _ ; ; ;;;i o' " " " .,,t= subscitute . i I i I o for u unafakterstlick) .."?", th . u"""1,. as ta close anat-"r. -^-_.^,more. usual d"rulopra.I-"u.tior,, a 11o"."n""".""tJ;.r,1,,:,.:_"^"_i-"'.r.,".""iJ."r"r"..":""01.;.r""....r.r'""r1,r.i : :. Jr1', .' " i' q i t,'ia t J'-J ; ;; : ; : " "'"' ;::' "" earlier: i - .il 1;' ; : : : : i : : ____::: H!vLcss Degun some arabesque rnusical "a"u""or"'r'--'ir^t"., in .n. ", "daydream, 1i*i."'i"'"""i'"". ".,ff.."?:;;"r'.: Eures of # the .i:
Thursday afternoon Schlegelian arabesque as total form liker,rise inform the movement as a whole: "absichtliche Versehiedenheit" ( intentional variety) is suggested through the absolute contrasts, formal and thematic, between the Im Legendenton and its surroundings; "witzige Konstruktion" (witty design) through the veiled motivic links that connect it with the remainder of the movement; and "unendliche Fii11e" (infinite richness) through Schumann' s mixture of sonata form, rondo , Charakterstiick, and Lied (the An die ferne Geliebte quotation). Thus, the movement emerges as a dialectic play of what Schumann called " smaller" and "higher" f orms - Even though there is little evidence to suggest that Schumann was directly influenced by SchIegel's theories (Schumann's own Arabeske, Opus 18, has nothing to do with Schlegel's critical category) , remarkable sirnilarities can be noted in their critical thought. For both of them, the fragment- - Schlegel's digressive arabesque, and Schumann's notion of the oapil-1on! - -was the basis of romantic form. A REJECTED MOVEMENT FOR SCHUMANN'S REQUIEM, OPUS 148 Gregory W. Harwood, Wichita State University The opening movements of the Requiern are remarkable in several ways. In the Introit, Schumann departs from the standard formal organization of other Requiem settings. Instead of setting the verse "Te decet hymnus" as part of the Introit, Schumann begins a separate movement in which he treats the "Te decet" with the "Kyrie eleison" - - first each of these sections individually , then the two texts and the ir theme s cornbined contrapuntally. The dramatic shift from the opening in D-f1at major to the ne$r movement in A najor underscores the novel formal design. The continuity draft for the Requiem shows that "Requiem aeternam" was a particularly difficult movenent for the composer. The manuscript contains two settings: the rather peaceful version in D-f1at, which Schumann used in the completed work, and a more anguished and dramatic setting in D minor, which makes extensive use of chrornatic dissonance for expressive purposes . This later vers ion is nearly conplete in draft forrn, but the manuscript shows a large number of deleted passages and revisions. The continuity draft also indicates that the novel formal design was probably not preconceived, but came to Schumann in the course of his compositional struggles over the first two movenents. A study of the continuity draft reveals 1) some reasons that might have led Schumann to abandon the D minor version, 2) the role of large-sca1e formal L1
Page 1 and 2: Abstracts of Papers Read at the Fif
Page 3 and 4: THURSDAY,5 NOVEMBER,2:OO - 5:00 P.M
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Page 17 and 18: Thursday afternoon THE PATH FROM EX
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Luscig, Roger' 63- \\aceY, Patrick'
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Abstracts - American Musicological Society

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