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CHAPTER Ni une

Attj einer Ihtrg

l'unies,, hlakn oui dci 1 .nur

Ohcii i.sl der aile Hitler:

I »ruhen (lehcn ItcgeiiKiheiier.

l 'ml der Κ,ιΙ ι Ι rau si in i l u i i h da.sCiuei

r i i igov.l i liscn Dart ι ι ικΙ Haare,

l i t i i l \rrskuier i Itrusi und Kr.lUw

Sn/.ι m vielt' hundert lahre

O h m in d a sullen Klause.

UratiKcn m cs still LIIHI i ruxl luh,

Alio sind in";, "I.il ;e/ogcii,

Waldes νομοί einsam singen

In den leeren r-cnslerNigei]

Line l l m h / c i l (.'ihn da unten

Aril ( k i n Rhein in Sonnenscheine,

Musikanten spielen intiiilcr,

Und diese hone Kraul, die weinet

I .illen asleep on his WJtili

u p l h c r e i s l h c o l d k n i p h i .

Yonder rainstorms pass hv

.mil llu- m W s rustle ihrnueji l lu

I.Hike ivurk.

Overgrown Ins heard anil hair,

|ielnlieil hi.sllrea.sl ami milles.

lie has Iscen sinnig mam untunes

l l p l h e i e i i i Ins silenl eell.

Wi l l i i i i i l , ii is Mill .nul pcncHil;

evcrynnc lia.s goni down mlo ihe vallée

Sohi.li y wood hirdssine.

ni Ihe cinph wnul i iwar i l ics.

Λ weihliiiK paru i.s Hauling do» η I here

.itoiijithe Ithnie, m sunshine.

Musk laus are pl.t« ingg.nlv.

ami ihcheaulilul bride— sliei.swei-pinj·.

W a r r i o r k n i g b l s arc, a m o n g o l h e i things, supposed to rescue damsels in dis-

I r e » , Mm the old kn igh l in E i ihendwITs poem is obl iv ious lo (he düm.scl in distress

who passes by l i lcral ly under his n o « . The t ime i.s out o f j o i n t - a s the rnu.sii i.s

perhaps remark ing via the syncopations In its C major episodes.1

I. Karen Λ. Ilimkiilang .irpir,., fiillv jlleenrical and polilie.il ηκ.ιηιημ (or Ihr not™ „ι hei arlrelr

"r.k!iei>Juru\ Aal eaie, Kare j „ d Schumanns /„vfertvvi-. Opus >),' Ihe luamul>·, Monolog) Λ

IIWII,s7iusS7She.,,Su,.Mhjuh.-,.liU,,, ihlisFriisJr,ihli.,,taro<sJl,,miell.n,, l ;u.,rd,i,|1i,si-c, fi ™ c r n , V I " ' "" Kvllhauser ta mountain in the ll l i innsian I larrJ,"aMjtliMjj | „ s . w „ r i i m i i y u, return and Ic.ut ihr German ftafk ,„ ,|, t l r , , m c „| n r o T W i t . "Πκ bride represents t*n»aiwi ",

if.v

170 · Ι ' λ ι π in 'theSthiunauu*

h die bride distressed? I think it is sale—even necessary—lit suppose that slu­

ts, in one way 01 another. The ending of the poem makes no sense il her tears .tie

tears ol joy. VVc are ileal ly meant to be shoikeilancl broughl up short by .1 sense ol

puzzlement about die ending—literally, about ihe last wotd.- I he sense ol uncer­

tainly ibal we feel in this connection is. I shall soon argue, projected sironglv by the

niusii ol Sihumano's setting

t h e poem is laden with sharp antitheses. 1 he statue is "oben'' 111 a high fortress,

sttirounded by woods", ihe wedding parlv is \\j unten" in the river valley. Ihe

stalue is old anil mule, the bride young and female. Ί he statue "lives" only in the

past, the bride is very much in Ihe present—and as ,1 bride, she also invokes our

sense of the future. The statue is ,1 warrior, the bride ,1 civilian. The statue, white

twill petrifaction, remains rigid and lru/en; ihe liride, in hei while gown, is pli.inl

and warm. "I lie stalue is cotittned jnd motionless; ihe bride moves swiftly along

the river, "the Maille is in a dark chamber; ihe bride is in bright sunshine. I he slalue

is alone; the bride is surrounded bv .1 IIIHSV throng ol people. Λ lew buds pipe

mournlully to the slalue, and lliev are "solitary'; the musicians ol ihe wedding

parly play luslilv [or ihe bride, and lliev aie immersed in ,1 highly soual nois\

throng. Itamsiorms pass bv the slalue"nvei yonder" Idtubeni; the weeping ol die

bride, which also passes him by, is by way ill contrast very much m the loreground

id die poetk scene '

In dus connection, one ni.iv reasonable look lot aspects ol die song that pro-

lecl timsic.il contrasts ol .1 simil.it sort. I he present chaplei proposes stich a u m

trail, specifically an antithesis between "j i i i ieni 'e-l 'hiygian modality and "mod­

ern'' luiiilioil.il a-minoi lonahly.1 Ihe musical uileiplav ol these organizations

woman jionyeuii,tn.il sllllliol lor.111.111011 w hu li.alsii.1 huile, an ilk lew stinkil toi Ihe I" hnsiian

eliiikh. viilshi on the one rivoi wbn.li represents ihe murscut ijeiiiiaiihisiur>.Ahim-hei I linden

tang i.ilinii.ih/cs al sunn lenglli llu- giugi aphu jl inipussihihlies involved in sikh au jlli-μ,,πι jl lus

lapuMiton ul'lhe Ithlnc wnlt llu ll.tr/ nmiirilains| is llu saviolu nl die Ccriuan penpk, die single tig-

uie who could restore poluis.il sljhlhli. lehgliHls harmony, and the peace tit Λ vanished golden agi

A new era is .11 hand Vcl, while llu 1 ivei Hnyvsihroligh unie, 1 he .11)1 km kingieinaiiislin/.eu m Mini

the hiule and llu Magill . . j ie kepi ,I|UII And IliC hndi, ifUllc uildelsl.uidjhlv, yvicps"(SKIl-Sm )

2. Karlheinz Sililjger, 111 "11 skulk- Idylle, Silliliiuiius Liilicrulorli Verständnis nil Lied op W/Vll tsttil emei Hurgl."/!«/1/1-/JI1 MKsiini..eji<i/«i/i,2i 2ilsJ?6i, I19-12,2. Jeunes some aiuiiiioitioilusiopii "I he hiul verse remains open lor iiilerpiItalian is il ιόν, sillied up kilmgs. 01 llu perteption thai

Ilk ι rnelion.i ] μιηυιι,Ι is Riving wji he Ileal li tier [eel li- it lui m u t.,km il« Im Je ami L.HINC- hci til

weep' lit jjiv ease II gives risi lu j tilseojuholniljtiiig inipelcis. like llu- unexpectedly ironie echo | J I

1 lie end ul I inanva Heine pneiii"! 122). [|)u-Sihluls/.eilt slehi del Interpretation nlleii 1st es Fieuile.

Ituhruiigoilei die Frkcmilliks lies sihwankcnilen luundcs, du Itraill heklllen h.ll und /um Weinen

liriuglr Lslsl 111 Jedecn l-allem Moment der lini.ition.,ihnluh dein unerw.irlet manischen Awskljllg

eielei Heine ( j e d n h l c . ,) While Silllagci does mil rule mil Icjrsol Jiiv—,ls I Jo—Ik append» .isitg

gesliv« kutlliole In lite lirsl scntuue ahuvc The |epiiiiyinous| Weeping Hudi.in | iuu nl] I ulien

dm IT-, Ro/)mm es, bew.uh hei desiiiu.lii have iihiaiiied J» hushand ,1 man she dues-mil kive'Viil'id 1

(/»«-»»•meinii tlieul aus den KIMIIIIIüI-II ITUII NÜOKII S htklagi das Sihkksal, einen ungeliebten Mann /um Hallen /η hekntnmen )

.1.1 am indchied 10 Uchorah Stein, who pointed out manv ul these aoiiihcses m J lecture on Scliti-

mann's FietieildoiH I iivteillri'isgnen 111 Nm-emhei lyftà.allhc meeting ut llu Sijeielyhlr Mu.su. Hic ury m New Haven I have added some liirlliei antitheses of my own.

Ί. llehulahSlein (see nolc .1 ptu[>osed a eonlrasi luiween Iwo rtineuoiial keys.c illinol and a nimm.the

tlinsu mnjulalllie, tioill line in Ihe olhei during eat h ol the two slrophes Her ule.i provided a eonsld-

Π Ι ΛΡ Π It 9 Alll einer /iure "- 171

eu.ids the idea that "the statue 'lives'in the past," while "the bride is very much in

the present." 'lb the poim in this connection is die shadowy presence ol the narrat­

ing persona m the poem. This person is situated .11 an ambivalent level, for h i m —

like those in ι lie wedding parly—die statue is"oben,",uid he ihus views llieaniieul

world of chivalry from I he standpoint ol present-day reality. Util also lot him— like

the statue—the wedding-parly is going past "da unten," and he remains—like the

sl.iiue—a délai lied observer ol the present-day crisis viewing that ι risis sub specie ,tc-

(eniilalis r.uliei than as an active participant in its peripaleia ' In my reading,

the ambiguity between ,1 minor and e-l'hrygi.ui modalities enacts and is enacted

by this dual nature of the ambivalent narrating persona. The uncertainly dial we

leel ,il the end ol the poem as 10 whv the bride is weeping, an uncertainly lo whiih

I alluded earlier, is also well projected by the musical ambivalence just proposed.

Ihe reader will recall in this cotilicclion mv analysis ol Aiiltliip wollt' :<h /ml

iiTzuee». In last, I undertook that analysis parilv as a preliminary e.seiiisc lor the

prcscni one: I wauled lo show thai Schumann was sensitive m intrinsic ambigui­

ties between modern minor hall-tadcnics and lull c.kleines in a siHIeentb-ii'rilurv

sort ol I'hrygian mode, and willing- lo cvploil them when (he musical dev in suilcd

his dramatic purposes.

Thai said, some dillerences bel ween Aul einer βιηγ and Anhing* wollt' ich should

be examined at once. Filsl ol all, the music ol Auhing* is ihrough-coniposed. while

Ani n u n Pure comprises iwo parallel slrophes thai proieit essenlialb ihe same

nuisic. Then loo,/ln/uiiys progresses harmomcalb Irom ils beginning to Ms end, .is

ί —* V in minor, 01 ,ts it —» i: m Phrygian. In u n m a s k ,1»/ emei mire prolongs one

Slide through each ol its Iwo strophes (and hence through its entirely), protecting

a harmonically sialic ν — ; in minor, or i — : m I'luygiaii.'" 1 inallv, die song ih.tt

inllows Anlmig* ni ils ι vile, Μη Myrihen mnl RUMW, ulule m the (m.iior) kev im

riidilt- impellis tor mi own I lllmllls hei tdt.i tueause I tjnjiol Ιιυι a modulation Iront liiilslioil.il-

L iniiuii ,u ihclu-guiiiiiigol die song, loan iiii.iinhiuliuus luneliolial .1 muiiH al ilserul I he Imali.i-

deiiieol llu vinii; in tin hearing, uutsl hi ilmtllgltoll. as lo I. or \ ι ein runs and am I eelilikih there

liliisl pcrloicehe Phrygian, nul limituuutlv lun.il

Hnitlenljiig [Λιι/ erne' tttifft, 5K21 Willi's llut "Ihe lonjlily is uiidei lite miklal inlllieiiic ol Γ

,ιιόΙι.ιιι.'Ίίιι I eamtm hiai what she means, hcvond ihr proniiiienieof l> natural as.i si.de degree in

die musii—cipiallv tiuisisteni with e Phrygian, .nul more so when nilcniilitig harninnkiillv with

Viinous I nalui.iL· .ippnuuhing ihe llll.ll cadence. She lu-heves lli.il llu end ol Ihe sung has been

"misitlenlihcd" In JII.IIVSH who have lomulercd II Phrvgiatl. while "ihe eai easily rciogni/cs ihe

luintisl.lkuhle sound ol . . ι he 1 rue |.t iiiiiiui | doiniii jnfohid.l Ml cans not soejsih lOllvuktd

.is hers is. Ntu do I think thai I'uleittriiij's ear would easily have mugni/ed ihe unniisiakaltlc sound

ul a true ,ι-iiiuinr ilomtiijni.The relereuee to Paleslriiiiisoai will he jiifked un laier on.

i.Schljgei ("ErslarrW Id vile." ] 21 M'hscrvcs. "It is this vit-ii uonian elevated vantage poim dial is

also relied upon in inaiiv paintings hvt. .isjvu Jtjvid riiedikh.wlii'reatiguri- in the loi'egrntintl is sei nil

m shadiHvv retiel .t^.iuisi an mlinilely exleiiilin(ibiidse.ipe."IEs isi d ies . . . Illuk von ritieiii erhnhieii

•îlatidputikl JUS.der .uieli von vielen tieinaldeii Casp.u tiavul l-ru-di-iehs [177 -lü!(i| veruaui ist, in denen eine tiesinli un Vordergrund steh silhniielleiiluill vin emei endlos weilen Lanil.scli.iri . alihetil-1 Schlager, however, does nol ilhiilss the view upward Intni the vantagc-poml ul laihen-durlTs nanalor, upward Inward the slalue. ! lake this duality-ol view, hoili up and down, to he a sig-nilk.inl aspcel ol die ρ,κ-ηι (and Ihe nliiMt J.

r, I rule nut hearing die strophe as a "niodul.il ion" thai heginsm luneliolial e-minni jnd ends on a noil

lonal e-Phrygian. (I I .nu lu hear the song as ktnjllv luiuluinal, I ivanl lo hear II ut J minor, nul

"e minor."

172 s PARI m The Schumann!.

which the final ι bord ol Anhing* is a iliimiii.ini, is not related in any obvious mo-

livic or Ihenialk way lo Anfang*. In eonlrasi, die song lhat lollows Aiij einer Hurg

in Us cycle, In dei I réunie 12), is very strongly related moliviutlly and ihcilldlically

to Aiij emei llnrg. I .veil more: iusl dial molivu-lhenial'k ivork, at the beginning of

In det Pretmtc (2), keeps alive and anive die ambiguity between a luniciiy and

e-toniiily lhal I have asserted of Aul enter Hing. Specifically, die Γ-A-H-C figure

ol In tier Ireniile, measures 2-1, ileaily presents die basic melodic niolif ol Anl

einer Hurg, here "in a minor" radier than "e minor" or "e Phrygian." And then nicu

sures t-.ï ol In der I rennte transpose the same motil "back" lo ihe original e-level

ol /tu/ einer llnrg, measures 1-2. The immediale jtixiapusiii.iii and progression ol"

u-lcvcl aiul e-level monf-lorms, over measures 2-S ol In der hvintk; recalls very

si rough' die middle of \ul einer Hing, where the piano interlude (niiii. IK-211 Iv-

gins bv presenting ihe molil and Us sei]uel"in .i,".nnl this is iminedialely followed

by Ihe beginning ol the second strophe (mm. 22-25), which li.ilispuses measures

18-21 so as lo present the molil and Us sequel "back in ι."

Ί bus, allhollgli ihe hnal ladenie ol In der ireniile (2) is very loniliislvelv in

luniiion.il a-miniu (widi tieneile l'uuahc).tme should be war), I iliuik, of hying lo

make the o|x-ning measures yd thai song carry loo much weight, in delenitiiiing the

resolution ol auv ambiguity beiween a-minor and e-Phrygian just heard mAuj emei

llnrg. Wbalever modal a iiibigutties ol litis son one hears in Auf einer Hurg slroilgiv

lomttiue nun die beginning ol in ili-ι liemilell), lo be resolved musically in knur

ol lunclional u-minoi only al die end of In dri I lennle. The Iwo songs are Ihus m

some sense J pair ol musical pieces. And die pan, as such, is lu be hc'.tid in ,i luiii

tional a muioi, when analyzeel in telrospeit from the ending ol In rlei fremde.

Why ihen analyze In, eine) Itnrg as il il were an itidependenl pteici 11ère I

niusi plead thai Aul einet Burg projects such a strong pllcuoincnotogica] presence

in Us null ι lull I, as lo reiiilei unconiloflable any nul ion lhat it is merely— or even

primarily—m the nature ol a musical prelude (dominant preparation) for die

Ionic downbeat al the end ol the ne.xl song. Co support my plea, i would point oui

dial Anl emei llnrg is surely ihe more weighty of die Iwo songs from virtually any

aeslhelu point of view oilier than thai ol an abstract lunclional doniinanl-and-

lonii . ' In this connection, though there are certain points ol conlact between die

Iwo poems ( rutin hen, Widd, singing birds, Lmsamkcit, ,\m\ Ihe like), these ate fairly

commun materials of the poelic genre at hand, whereas die lexl ol in der ΓκηιϊΙι',

as a putative "résoluι ion" for the preceding poem, is nol well able lo surmount Ihe

overwhelming lacl dial die slalue jnd Ihe wedding parly are gone, leaving us wilh

our rjiieslioiis, once Λη/ enter Hing has concluded.

Then, mo, the musical Stimmung ol Aul einer Hnrg is solemn, majestic, la­

bored, learned, ami heavily (hoiigbllul, while the music of In ilci Fremde is more

siherzoso—despite the delicate tempo indication and the serious subject mailer ot

the lexl. This relation beiween the iwo songs makes it diflicull lo pnl loo much es-

I hei ii weigh I on the second song of die pair, as if they were say,ι prelude and lugue.

Λ better model, to my way of thinking, would be two Stullen (for die two slrophes

7 Fven here, one tuighl argue ahstrjelly lhat the (hi perimetric weight ol a fiiiieiioiial V -» I progres­

sion ι nil lie taken hv iht dominant harmony, rather than die tonic, in suiiahlc contests.

(ΊΙΛΙΊΊΊ! « Aid einer Hurg iT

ol Anl aim Hurg), followed by ,m Abgoung Un der l rende). Using that model, I

c m argue ih.tl ihe two Stallen might projet I Phrygian tonics o. functional lon.il d ( , m m ' m »hivaiendy, and lh.il the Abgcsoug (al ils end) releases the lension ol Ihe ambivalence, providing a film I ion ι,,,,.,Ι cadence by way ol conclusion

A P h r y g i a n V o i c e - l e a d i n g Ursatz for ( h e S t r o p h e of Auf einer Burg

So l.„ I have ireaied die ideaol "Phrygian slrucltne'somewhal iiiipressmnisiicilly

I have pointed out (in note 4) the emphasis on harmonics containing »natural and

I nalural.approatlnngihe final c d e n c e o l d.esirophe.'l his sort ol'observatioi, could

be worked out m more detail lo show ι h ,u die Intal cademe, as a musical gesltire

uinlormslova,iousol'lhccailcnielo,ni„ta.sialegi,rizcd.is"| 'hrvgian"bv(",ei-ii,,,,i'

iheonsis o| Iheseveuieenlh and eighteenth centuries (e.g., I Icibsi, I'rmiz, U'altbei

Kirnbetgei, lurk. Knecht, and Voglei I." Oilier geMur.il aspeels of the sirophe. be­

sides ,ts hnal cadence, are also slyhslicallv h pte.ll ol large-scale I'hrvg,,.,, „igainz.i.

lion In particulai, strong opening and hnal cadences on e, logcilier will, secondare

medial e d e u e s on C and a, are very Irctjl.cnlly lound in composilions ol ihe six-

tecnlh Century commonly classified as Phrvoi.in. kliomalk. loo. is the use ol a

minor hannonv as a means lo prolong udenli.il e hariiiony. as u sloes to some c v

lenl approaching ihe final l a d e m i o l the strophe,and also—jMniiul.irlv-.is tldoes

m llie piano interlude between the two slrophes. Then, loo, the pairing of principal

motif enlries '"one" with imiiaiiveenlnes "on ,,""-as,n measure l .or in the piano tiilerlude - is a char.uicrisik aspeel ol sixlcciilh-ieniurv"lJliivgi,,i," rhelorn."

Although the gestural leaiures discussed in the preceding pai.tgraph are more

lh.ui iti.pressiomslie, ihey seem only incidental sidc-relcrem.es, poetic obeisances

tl von will, in ibeioiilexl ol a .Schenkerian analysis lhal would heat both strophes of

Aul enter Burg .is prolongations o i lunuional a-minor V hannonv i n j 5"chenkethn

sense, preliminary features within a functional a-mi,.oi Ur*iu wln.se ΚψΙωιι oc­

curs (only) wilh,η /„ der Ircimlc ,tnd whose final closure occurs (only) ,tl the end

ol /// i/o Prämie."· I intend to show now lhat i( yvc restrict on. musical aitentiou

lo Ihe strophe ol Auf einer Burg itscll. as a smallet eonlexl lor musical perecplion

Ihen we can und a .|u.isi-.Sihenkenan voiic-leading Urmtz for lh.,1 slrophe-in-

ilscll. wliah can legitiniaiely Ix.· asseried as a "Phrygian Urinn" lor lhal coniext

Such,ι voice-leading Urvifr can be only"c|ua.si"Sihc,ikerian, because ilssiruc-lural upper voice, corresponding lo evenis in the vocal part of Ihe song, can nol

it Λ uselul summary discussion „I these theortsls" eadent, lomtui.n can he k.und ,n 1 Ml Hums «mil.,Un/«/( /«>riiiis(Stlivves.iiil.N.V.:IViidiagi)ii Press, I«VtI, I«7-31H

'J lipii,d"l>luvgi.u,'ihar.uie, I lespedsdiseiissid during the prneyling paragraph c-nihch-seived in the S,,M,»|,< !,„,„ IMIey|rm.,\ mass S„,e ,„„,„«,·, ea Ihe //«„,„„ |„„„ |,„ ,„;,„ „,.,,,,.„„„ ·« »imm hunk. There arc. ol enurse. „,,,,,ν „iher iumpos.nul,s ol ,h,s son Many were highly re gaided hv Schumann,.« nested by his leite. ι„ U.C. title,,, April 1. IHs* »„,«.· pieces must he lell fur ihe η.,..,,,,,,. |„r ,|u. k,y... in.ly a.ltslic minds.and iheylutve Palestrma. !lael,.Meell,o,e,.'sla>. runnels, el.. Theexie.pl Iron. Ihe teller appears 111 Κ,.Ικ-η S,lm,nam,,Oa.!/,„„ „„,;,W |„„„„„ Λ | Kuiliad Wi.lII, Irans Paul Itosenlrld (Nrw'n.rk: Pantheon Huoks, 19,1,1.s"

I a. I .hall discuss Inter on why ,l ,s pnthlemam lo assert a Κ,ψίι,,α lor any sihenkeuji, a minor [ W yvillun Auf finer /Jure jlselt'

174 s- PARI ill The Schumanns

close on lire lone \i. The voial part, lh.H is, does not carry a large-scale structural

.1-2-1 descent (ot other conjunct descent to i from » o r 51 lhal would be wcli-

lormed as a Schenkerian Vrlniie loi a Phrygian structure. Neverlheless, I intend lo

assert such a 3 -2 - i in a structural innei voice. While not in conformity wuh

Sehenker's rest rid ions, oil ihe behavioi of a luiltlitmaUy tonal Vrlmie, my inner-

voice Urlinie is idiomatic, where il lies, as a .structural tenor or canlus firmtis for a

compnsili.m in Renaissance modal style, li also comports nicely with Schumann's

interest in musically "innig" phenomena.

Fxutiijile 9.1

J-J it. • j ï I ' D ' - I «

ι l l l l l l lffl <* iMl iyf j l j i , .

ih. *-*

.'if .., I * I T

m 12 H

HI I

?·>";

Lxample 9.1 is a colleclion of voice-leading sketches thai address my poim.

Fxample 9.1(a) is a high-level middleground sketch. Measure numbers'for the

Inst strophe appeal above Ihe music. (Those lor (be second slrophe are respec-

hvely 21 measures Idler: 22. 2ft, 15, 3d, 37.) Aller the cadenli.il F. harmony arrives

al measure Id on the example, allernale possible contimialions are sketched in

brackets: one "resolves" ihe F. harmony as a dominant in functional., minor; the

oilier protongsihef . harmony as a Phrygian Ionic, in die manner ol the music fol­lowing measure 37.

Example 9.1(b) works oui, at a more delailed middleground level, Ihe struc­

tural voice-leading Irom measure 9 lo measure 14. The a minor harmony shown at

measure 14 on ihe example does nol assert itself si rongly as a local Ionic; rather, it

sounds as vi of the V. major Stufe from measure 9. The Zug in ihe upper voice of

Example 9.1(b) goes 5-6-7-K within the C Stufe-, die parallel lenihs below go

3-4-5-6 within Ihe C Stufe, In neither the Zug nor the lower parallel line i.s die C

CIIAPT|"«9 Aiij einer Hurg - 1 75

raised lo CS as „ approaches Λ. ( No, is 1- raised lo hi „, ,),e loyyer line.) Ί he struc­

tura j - m m o r harmony as vi-of-C is portrayed very summarily on Example 9 If,,. "

lie rhylhmic a s p 0 C | of Lxample 9.1(a) is word, noting. Rhythmic dilations

like the one lhal begins a. measure 14 on the sketch are a .s.rong resource las well

as a problematical aspeel ) of Schenkerian analysis, a resource (and a problem)

shared by my ouasi-Schenkcrian skelch. The sketch asserts iwo s.ruuiual har-

mou.CN compressed „m, the climactic chord of measure 14, which occupies a rhylb-

tmc psychological time Commensurate will, thai lake,, „,, bv the firs, eight measures

<>l Ihe piece. Here the lemporal loreshorletiing enacts ihc'lexl well.as ihe exigen­

cies ο the temporal present surge in on .he „arralnr. who has „„her.,, iden.ihed

humelfwrtluhesjajue, undergoing theendle*. stately and balanced processions of

tune past. '

Fxample 9 1(e) reduces Fxample 9.1(a) to a level Josely approaching, an (/,.

mtz. Measure „umbers are again given for (he ftrst strophe; the second strophe u n

be analyzed ,„ ihe same way, will, measures 22, 15, and 37. Λ Phrygian Urlinie ,s

beamed „i the all,, voice of the treble clef. The t/r/We is supported conlrapuntallv

bv Ihe beamed noies ol die bass beneath i«. Ol course, one canno, speak of a

Hrechiing (arpeggi.i.ton) here; thai is., familiar aspeel ol "Phrygian "cadence l„r-

nm as, s imc the fil.b degree of .In Phrygian mode does „ol carry ,, perlec. l.l.h

wnhin Ihe scale.

S a m p l e s 9.ltd) and (el reduce ihe formula even farther As regards ihe treble

clef of Lxample 9 1(d), Curl Schachter has pom.ed oui lhal ihe notes C-t - i t - i i :

compose out ihe secondary melodic mold ol die p t e c e - a s beard in the voiceove,

measures 1 and 4 ("Oben is, der alle Rilte, "). '-' Ι xampk· y.lle) reduces the slrnc

lure to my Phrygian Urlmie and its bass support, plus a descant iuvoh jug the vocal

p.,, I ol the song. The descant descends from 5 ol e harmony lo * ί of F hannonv

Illicit in by a passing4.

Schach.er's brilliant observa.ion is completely convincing ,„ mv ear, where il

seems untie compatible will, my Phrygian reading even though he hears Anfeiner

Hurg complcely .„„ally, prolonging ., functional dom.li.inl of a minor ih.,, re­

solves wnhin hl der Fremde. Unconvinced by n,v Phrygian analysis ofthe slroplie-

m-,lsell, Schachler pom.ed out lhat the Fna.ural on my Examples 9,l(e)(d)(e) is

no, sung by Ihe voice, and he was uncomfortable with a reading dial allows soil, a

thing to happen. Some fourteen years late., I still do no, have a response to

Schachte, s crtlicism lhal satislies me, reading the relation of singer ,ο,κα.η,.η,,η.

men, in some way that gives ihe piano something i o > n a i l " i„ producing the F

naturals on Examples 9.1(d) and (e).

And yet, as I have already indicated, 1 ,[m uncomfortable yvilh a reading thai

does no, a low any possibililyof musical closure a. ihe end of Auf enter Htug. While

I feel that /„ der irernrfead«,iMlety resolves the psychological uncertainties we feel

11. Ikcnusc nl these lémures, the s tn^rs hiuh Γ in measure Η can,,,,, su,,»,, rttt hegm,,,,« ot „ kuu-Itunat a n„„o, Vrhaie l„ r „,„ „,„,, tUir, „,r lor ,he pan Ael.-plns-tdr,. There is J, .deou, e a , ,.,or root s u p , . , i m „,,, J n „ „ . „ « , . On Fxample V „ a , . ,he hamicii . ^ Ί I , . I h( I. and sixlh i,„„ner-no,cs p,o,cl,s a eitnirapunld 5-1, ove, a C commun hass, followed r>i' .ι υ runt nass

12. Private correspondence, lollnwuij. Ihe New Haven meeting r,r 111« l .clcd in Hole I

17ft - ΡΛΙΙΙ Ml Ihe Siliiiiittiiuiy

41 die end ol Aul einer llnrg, I d o licit wanl lo hear the earhei song's voice-leading

and l i a i i i i o n i i s t ructure only as a p r e l i t i n n a t y to i In der I rennte. Such uncerta in­

ties are Well t . t p l u r e d . l o my eat, when ween<|uire ol Fxample 9.1(c), in ivhai ways

is this a complete Phrygian piece? A n d in wh.u ways is i l a d o m i n a n t lor some

a-ni inot l o n n In come? Here, tl seems essential lo me that we do nol ask; "Is this a

complete Phrygian piece? O r is il a d o m i n a n t for some a- iu inor tonic lo come?" 1

louched on the m e l b o d o l o g i i . i l pouU earl ie i , in connect ion w i t h /l/./uny's wollt'tell.

I I we d e m a n d lhal Example 9.1(e) project either a complete Phrygian piece, or an

Incomplete tonal p i e c e , b u l not some l e r i i u u , q u i d , ihen I (eel we arc not domo,

justice lo the sensations w i l h w h i c h we are left al I he end n f z l » / emei Ring.

W h i l e o n the subject o l m o l i v i i expansion, we should note the minis ie aspect

ot the f inal cadence in die bass l ine, w i n c h is part icular ly si l o n g al the end o l

die second sl ropbe. slat t ing al the Λ in measure 35, die bass then proceeds to I ),

ihen l o h Ihen lo I I lie melodic hgi i rç A - l ) - F - 1 , beg inn ing w i th die h l lb - leap

d o w n I r om Λ lo I), sounds lo my cat as a pert inent ly transposed rhythmical ly

a u g m e n t e d — a n d otherwise rhythmica l ly n a n s l o r m e d — p e r m u t a t i o n ol the fyt'/i/-

ιι/ιιίit- l i- l-.- l ; - ( , . 1 he "t l m i n o r " l ransposi l ion. i l level, A - D - E - F, lsgeslural ly pci -

11 no m lo the p r e p a r a t i o n I u r a Phivgian cai lcute.

F.arliei ( m note 10) I protnised lo discuss w i n u is problematic In assir i a

ΚιψΙηηι lo , .mv V l i e i i k e r i a n a-ni inot Urvitz w i i l i n , .\u/ einer Hing i lsell. N'oie 11,

along w u h p e i l i n e n l discussion o l l x a m p l e 9 I ( a l a n d (b), po inted out why il yyonkl

Ι κ · d i l l , c u l l to assert d ie .singer's high C o l " measure I I as such a ΚιψΙΐιιιι. W u h u . the

s l i o p h e Usell, no o t l l u coudidalc u i m t s l ino eonsk lc ia i io i i . Ihen- lei i ia ius die

,1 i i n i i o i malet ml yy η b i n the piano inter lude. One m i g h t , l o i example, Irv to assei I

die pianos t ol measure 21 as such a Kiiplnui.m even ι he piano's hinh I ol m east, κ s

IK-19, yy-likh y i i u k l ihen conceivably be p i i k e d LI ρ by the singe.'s high 1- at the

o p e n i n g o l In .lei I i e i l / ι ή . Λ ΐ Ι diese candidates have solid a- m i n o i local ιοοι support.

I l e l o i e all else, I s h o u l d say lha l any a l l e m p l l o locale a lunel io l ia l a m , n o r

Kt<l'lton w i t h i n the p i a n o inter lude o l ,-tt// emei Hurg slips by my Phrygian I'mit-

as u n n o t i c e d as die b r i d e slips past ihe slalue. I asserted mv ( 'rsi i i-as an I 'rsi i f ; for

t l ie strophe, not lor d i e song as a whole ( i n c l u d i n g die p iano inter lude).

That said, t s h o u l d voice some cl iscomlort at the dramat ic idea o f an Ursiilz that

begins d u r i n g die u n i q u e 4 measures, ballway i h r o u g h Ihe sony, where ihe singer

is nol s i n g l y — a l l d ie m o r e so because (hose 4 measures l o n n ·\ι\ in led ink 1 be­

iween i w o musically parallel slrophes. M y d i s c o m l o , I is l ike Schachtel's at the I-

n a u i i a l in my Phrygian I'rhllh; o n l y m u c h m o r e s o . "

A n d lha l said, I s h o u l d add lha l there d o t s seen, a definite poetic value in the

I h o t i g b l lhat ihe piano, when lel l lo its o w n devices w i t h i n Auf emei Hmg, is eagei

11 I he s- luu t 'rttiU piopnsed lis I ' js t i l l . lo i Siluilterl's Ihr iliiti is open to souielhiny like die same

i|lifsiioiini)', I '. IM,Il l 's I - 1-2-1,ueu rs d u r u i n I lie plan» epilogue l l icie, l iul dial epilogue i s " l l u last

ivord" ut .i mt inhei u l d iMi iu ina l ly i i-ntral yvjvi.asyve sjyy h is nut al all l ite same as die earlier in

le i lude w n h i n lhal syulg, in w h u h the epilogue nukes sharp enrilrasls in mode, texluie, and dy

•Mints* Fin thetntore. Pasi die's Κιψιι,ιιι is vei y i n i k h Ihe properly ut the y o n e , j n d liiere is exielleni

d i a u t a l i i support tor the-idea lha l the vt i iee'sui iwi lhl iynessloduse-1-1-2-1 i n die mimir mode en­

acts a d r a m a l i . refusal l o a i c e p l I he J ieah ly ' 'o ld he persona's situat ion, a reahly ivhk h i h c p i a i l n em·

phast/es in i tsepi ln^ne

( Ί Ι Α Ι ' Ί Ι It 9 Anleinei Burg - 177

lo i n i e i p r e l Ihe m u s i i in Ι υ ι κ ι ι ο η , ι Ι a minor. So cage,, in L u i , lhal i l c u m u l wail

lor the voice to cadenie n ie lodnal ly o n t i ( , in measure 17, before m a k i n g ils own

would-be aulhcul ic cadenie in a m m o l . " I he enactment here. 1 believe, is some­

th ing l ike this: so far, the narrat ing persona (say " E i c h i n d o r f f " ) has i d c n l i l i c l

h imself w i l l , the statue—austere, remote, disinvolved, regarding Ihe scene sub

specie aelernil. i l is. Hut as the persona slops narrat ing, Ihe piano enacts his sudden

awareness ol h imself as csisluie, in the present, a present in yvhieh music is func­

t ional ly louai, m which—as Hindei i lang puis il —"the eat easily recognizes the

unmistakable . . . sound ol . . . ihe I rue ja m i n o r l dominant ." 1 ' ' l imai hearing wan I s

to s u m m o n the statue's Γ t r iad to a c t o n , m a k i n g i l relevant to the present, where

il should "resolve." I l i t l so far as the statue h imsel f is concerned, Ihe cadential F

Ir iad is a p e r l e n ly s u n k tome, requi r ing no further ,ic l i o n whatsoever As ihe stallte

b e n s die p iano i n i e i h u l e — i f indeed he hears it al a l l — t h e a-minnr harmony is

merely an id iomat ic means o l p r o l o n g i n g a Phrygian I- l o n n . A n d the narrat ing

persona, to the estent he c o m m u e s i d e n t i l y u i g wi l l ) Ihe "observing" stalue, can

heat the a n i i i i n i inter lude in ihe same way. We o n l y k n o w lha l the persona has

trouble in d o i n g so, because die a m i , , o r harmony comes in loo soon, loo ans

mush-, m measure 17. A n d o u , impression is later i v i n k n x . n l bv ihe wav m which

die opening o l In ifc-ι It entile resumes ,ii\e\ develops ihe anxious niggl ing beiween

j - t o i u c and c - l o n n lhal we heard over measures l j t - J 5 o l Anl emei Hun;.

I h e role o f Ihe piano inter lude sheds considerable Ugh! o n ihe el lei I o f Schu­

mann's s l r o p h i i sel l ing. I he musical e l i c i t is espeiial lv s t r i k i n g because the poem

itsell is so urgently progu-ssive in tt.s second hal l , partk i i l . i r ly u l x i i it swings into

Us linat quatra in. II you were a l o m p n s e i sel l ing the p o e m , and kneyy no e.uliei

sellings, vnu w o u l d be unl ikely lo c o n n i v e vour music in t w o similar strophes lor

ihe i w o h d h e s o l the lest. Scl i i in i .uin. dial is, must |,j\e had a strong " idea" in mak­

ing his sel l ing s l r o p h n .

I t l tmk Ins idea was this- al'lei Ihe piano, d u r i n g Us in ier i i ide. has e n a n e d the

narrator's sudden awareness ol himself as exist ing in Ihe present, a present m

yvhieh music is lunct ional ly tonal, the reprise o f ihe possibly-Phrygian music lot

the second strophe makes us m o r e and more u n i o m l o r t . i h l c . I l spe i i fna l lv evaeles

the issue lhal the piano interlude has just brought so lurccful lv lo u n i a l i e m i o n .

Whi le the narrator is del iver ing the second half ol the text, the nuisis seems con­

tent in rool itself "back in (he past" again, retreating i n l o the narratoi 's pose sub

specie aclermiat is. refusing lo deal expl ic i t ly w i l h die "preseniness" ol j - m u i o i

hearing, I he Phrygian reading f o r l l l f s e i o n d strophe I hereby bui lds up e n o r m o u s

tension,.seemingly al odds w i l h t h e i o n t o m i t a n i "preseniness"ol us lex l , above all

t h e t e x i lhal concerns the w e d d i n g parly, lust I his tension wi l l be released by Inder

I remde.

I-I. f l ic luss Λ ofnu-asiires 17-1 It is the Lowes! nole nl ihe piece sola r ( Πιι- poem is soon ΐ ι Γ μ ο . Ι η ι ν η "

into the valley- N o nine sounds lowet ih.in lhat Λ unt i l the very lasl hass nulc o l the piece—

eonspiiuouslv uol A hnl a iHtssthlv-Phivpj i i o i i n i a - l

IS Ihe Hindi-nlai i f i ipiok- appears in unit- 1.

Piute 9.1 Κ. Schumann, Anfeiltet ßufg-

at iki ο! - .ι RU i-iHi

k + « · > ' " "

-J-= teSk- l f ^ = =

diu iVti TU h ' Ks. >-- ι ich,in - α und JL-I Weld rnuxcrn diircli das (ni

[j—-^-^r ! -Ii» ρ —

#£E?

IU

| j n ϊιι.- - . " sst'ii η ii uni Hua τ mill vw sie ι hcrl flnial »ltd KtaU i\. Ml-'l er vie le

Τ~Τ 3=L

r r

r - T \ 7 ^

Τ

>ui: Jen Iah κ ν ben , „ del m l l e Sim, *

TV" : =Ξ^—•&:'_. lierai,,,. _^ΓΤ^ J-, qp-irfe" " J 4 S ~ · ' -* f Γ | Γ * τ * τ ι i s — i — : - - t i 3

iW_^ T l ^ t o

Pirlle 9. ( rum.

yfê^r---V 4 =-S ^ S S S Ï Î É p . mil „),J Jpia lick a • te «til m* ICL, Ι γ ,

I

MP Ρ -1.5 ·: -> -

fer LJO J J. J ι -

SE I Ι Π ρ Ι , ^ Ρ ^ & Ι Ϊ fë^T ι-dot Ι ι ι : rv« I

E = Will lie F

I m -J η

feü IT Ί r [ =4 >'" in U y , i - . : c

ί • raJ-iTiE.^ I »- *

=1 "' P-jRP J -<i--J

i d k SIM RJiiiti mi Ja L-ll ten

•I I m: I tort /«MI I

to S Γ Γ

I î -Jr l γ ~ τ F • ; r

~^mm=. M3=bii^-ij| n S j ^ î J , ^ ^ ^ ^ i ? 0 i ^ î j ; ni ibe vhO ne nrauM Mu ti * - » - ten W*· t«i

ν il P i . Ja I r

r"7 Γ r î »-r

/ Eà 3 I

H ψ w .1 t-r τ ;

t