Symphonic Etudes
Encyclopedia
The Symphonic Studies Op. 13, is a set of étude
s for solo piano
by Robert Schumann
. It began in 1834 as a theme
and sixteen variations
on a theme by Baron von Fricken, plus a further variation on an entirely different theme by Heinrich Marschner
.
Op. 9. The baron, an amateur musician, had used the melody in a Theme with Variations for flute. Schumann had been engaged to Ernestine in 1834, only to break abruptly with her the year after. An autobiographical element is thus interwoven in the genesis of the Études symphoniques (as in that of many other masterpieces of Schumann's).
Of the sixteen variations Schumann composed on Fricken's theme, only eleven were published by him. (An early version, completed between 1834 and January 1835, contained twelve movements). The final, twelfth, published étude was a variation on the theme from the Romance Du stolzes England freue dich (Proud England, rejoice!), from Heinrich Marschner
's opera Der Templer und die Jüdin
, which was based on Sir Walter Scott
's Ivanhoe
(as a tribute to Schumann's English friend, William Sterndale Bennett
). The earlier Fricken theme occasionally appears briefly during this étude. The work was first published in 1837 as XII Études Symphoniques. Only nine of the twelve études were specifically designated as variations. The sequence was as follows:
Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius. In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world. 'Florestan and Eusebius' then signed the Davidsbündlertänze
, Op. 6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan). In the 1837 version Florestan prevails.
Fifteen years later, in a second edition (Leipzig 1852), the 1837 title Études symphoniques became Études en forme de variations, two studies (Nos. 3 and 9) that did not correspond to the new title (not being exactly variations) were eliminated, and some revisions were made in the piano writing.
The entire work was dedicated to Schumann's English friend, the pianist and composer William Sterndale Bennett
. Bennett played the piece frequently in England to great acclaim, but Schumann thought it was unsuitable for public performance and advised his wife Clara
not to play it.
's Op. 10, that is to say, concert pieces in which the investigation of possibilities of technique and timbre in writing for the piano is carried out; they are 'symphonic études' through the wealth and complexity of the colours evoked - the keyboard becomes an "orchestra" capable of blending, contrasting or superimposing different timbres.
If studies Nos. 3 and 9 are excluded, where the connection with the theme is tenuous, the studies are in variation form. It was not the first time that Schumann had tackled variation form. But here the variation principle is used more as free transformation, no longer of an actual theme, but of a musical 'cell' or cells (as for example in the same composer's Carnaval). The Études symphoniques learn the lesson of Beethoven
's Diabelli Variations
: the theme that acts as a unifying element is amplified and transformed, and becomes the basis from which blossoms inventions of divergent expressive character. The work also shows the influence of the Goldberg Variations
, most obviously in the use of a pseudo-French overture
variation, and in the use of various canonic
effects.
The highly virtuosic demands of the piano writing are frequently aimed not merely at effect but at clarification of the polyphonic
complexity and at delving more deeply into keyboard experimentation. The Etudes are considered to be one of the most difficult works for piano by Schumann (together with his Fantasy in C and Toccata) and in piano literature as a whole.
published a third edition under the editorial pseudonym "DAS" (an acronym for Der alte Schulmeister). This edition attempted to reconcile the differences between the earlier two, and bore both the previous titles XII Études Symphoniques and Études en forme de variations.
On republishing the set in 1890, Johannes Brahms
restored the five variations that had been cut by Schumann. These are now often played, but in positions within the cycle that vary somewhat with each performance; there are now twelve variations and these five so-called "posthumous" variations which exist as a supplement.
The five posthumously published sections (all based on Fricken's theme) are:
, and have been recorded.
Étude
An étude , is an instrumental musical composition, most commonly of considerable difficulty, usually designed to provide practice material for perfecting a particular technical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano...
s for solo piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
by Robert Schumann
Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era....
. It began in 1834 as a theme
Theme (music)
In music, a theme is the material, usually a recognizable melody, upon which part or all of a composition is based.-Characteristics:A theme may be perceivable as a complete musical expression in itself, separate from the work in which it is found . In contrast to an idea or motif, a theme is...
and sixteen variations
Variation (music)
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve harmony, melody, counterpoint, rhythm, timbre, orchestration or any combination of these.-Variation form:...
on a theme by Baron von Fricken, plus a further variation on an entirely different theme by Heinrich Marschner
Heinrich Marschner
Heinrich August Marschner , was the most important composer of German Romantic opera between Carl Maria von Weber and Richard Wagner, and is remembered principally for his operas Hans Heiling , Der Vampyr , and Der Templer und die Jüdin...
.
Composition
The first edition in 1837 carried an annotation that the tune was "the composition of an amateur": this referred to the origin of the theme, which had been sent to Schumann by Baron von Fricken, guardian of Ernestine von Fricken, the Estrella of his CarnavalCarnaval (Schumann)
Carnaval, Op. 9, is a work by Robert Schumann for piano solo, written in 1834-1835, and subtitled Scènes mignonnes sur quatre notes . It consists of a collection of short pieces representing masked revelers at Carnival, a festival before Lent...
Op. 9. The baron, an amateur musician, had used the melody in a Theme with Variations for flute. Schumann had been engaged to Ernestine in 1834, only to break abruptly with her the year after. An autobiographical element is thus interwoven in the genesis of the Études symphoniques (as in that of many other masterpieces of Schumann's).
Of the sixteen variations Schumann composed on Fricken's theme, only eleven were published by him. (An early version, completed between 1834 and January 1835, contained twelve movements). The final, twelfth, published étude was a variation on the theme from the Romance Du stolzes England freue dich (Proud England, rejoice!), from Heinrich Marschner
Heinrich Marschner
Heinrich August Marschner , was the most important composer of German Romantic opera between Carl Maria von Weber and Richard Wagner, and is remembered principally for his operas Hans Heiling , Der Vampyr , and Der Templer und die Jüdin...
's opera Der Templer und die Jüdin
Der Templer und die Jüdin
Der Templer und die Jüdin is an opera in three acts by Heinrich Marschner...
, which was based on Sir Walter Scott
Walter Scott
Sir Walter Scott, 1st Baronet was a Scottish historical novelist, playwright, and poet, popular throughout much of the world during his time....
's Ivanhoe
Ivanhoe
Ivanhoe is a historical fiction novel by Sir Walter Scott in 1819, and set in 12th-century England. Ivanhoe is sometimes credited for increasing interest in Romanticism and Medievalism; John Henry Newman claimed Scott "had first turned men's minds in the direction of the middle ages," while...
(as a tribute to Schumann's English friend, William Sterndale Bennett
William Sterndale Bennett
Sir William Sterndale Bennett was an English composer. He ranks as the most distinguished English composer of the Romantic school-Biography:...
). The earlier Fricken theme occasionally appears briefly during this étude. The work was first published in 1837 as XII Études Symphoniques. Only nine of the twelve études were specifically designated as variations. The sequence was as follows:
- Theme - Andante
- Etude I (Variation 1) - Un poco più vivo
- Etude II (Variation 2) - Andante
- Etude III - Vivace
- Etude IV (Variation 3) - Allegro marcato
- Etude V (Variation 4) - Scherzando
- Etude VI (Variation 5) - Agitato
- Etude VII (Variation 6) - Allegro molto
- Etude VIII (Variation 7) - Sempre marcatissimo
- Etude IX - Presto possible
- Etude X (Variation 8) - Allegro con energia
- Etude XI (Variation 9) - Andante espressivo
- Etude XII (Finale) - Allegro brillante (based on Marschner's theme).
Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius. In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world. 'Florestan and Eusebius' then signed the Davidsbündlertänze
Davidsbündlertänze
Davidsbündlertänze , Op. 6, is a group of eighteen pieces for solo piano composed by Robert Schumann in 1837. Schumann named them after the imaginary Davidsbündler. The pieces are not true dances, but are characteristic pieces, musical dialogues about contemporary music between Schumann's...
, Op. 6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan). In the 1837 version Florestan prevails.
Fifteen years later, in a second edition (Leipzig 1852), the 1837 title Études symphoniques became Études en forme de variations, two studies (Nos. 3 and 9) that did not correspond to the new title (not being exactly variations) were eliminated, and some revisions were made in the piano writing.
The entire work was dedicated to Schumann's English friend, the pianist and composer William Sterndale Bennett
William Sterndale Bennett
Sir William Sterndale Bennett was an English composer. He ranks as the most distinguished English composer of the Romantic school-Biography:...
. Bennett played the piece frequently in England to great acclaim, but Schumann thought it was unsuitable for public performance and advised his wife Clara
Clara Schumann
Clara Schumann was a German musician and composer, considered one of the most distinguished pianists of the Romantic era...
not to play it.
Character
Leaving aside the allusions to Florestan and Eusebius, all of Schumann's proposed titles show some of the essential character of Op. 13's conception. This was of 'studies' in the sense that the term had assumed in Frédéric ChopinFrédéric Chopin
Frédéric François Chopin was a Polish composer and virtuoso pianist. He is considered one of the great masters of Romantic music and has been called "the poet of the piano"....
's Op. 10, that is to say, concert pieces in which the investigation of possibilities of technique and timbre in writing for the piano is carried out; they are 'symphonic études' through the wealth and complexity of the colours evoked - the keyboard becomes an "orchestra" capable of blending, contrasting or superimposing different timbres.
If studies Nos. 3 and 9 are excluded, where the connection with the theme is tenuous, the studies are in variation form. It was not the first time that Schumann had tackled variation form. But here the variation principle is used more as free transformation, no longer of an actual theme, but of a musical 'cell' or cells (as for example in the same composer's Carnaval). The Études symphoniques learn the lesson of Beethoven
Ludwig van Beethoven
Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time.Born in Bonn, then the capital of the Electorate of Cologne and part of...
's Diabelli Variations
Diabelli Variations
The 33 Variations on a waltz by Anton Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven on a waltz composed by Anton Diabelli...
: the theme that acts as a unifying element is amplified and transformed, and becomes the basis from which blossoms inventions of divergent expressive character. The work also shows the influence of the Goldberg Variations
Goldberg Variations
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form...
, most obviously in the use of a pseudo-French overture
French overture
The French overture is a musical form widely used in the Baroque period. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs. They are complementary in styles , and the first ends with a half-cadence that requires an answering structure with a...
variation, and in the use of various canonic
Canon (music)
In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration . The initial melody is called the leader , while the imitative melody, which is played in a different voice, is called the follower...
effects.
The highly virtuosic demands of the piano writing are frequently aimed not merely at effect but at clarification of the polyphonic
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
complexity and at delving more deeply into keyboard experimentation. The Etudes are considered to be one of the most difficult works for piano by Schumann (together with his Fantasy in C and Toccata) and in piano literature as a whole.
Later publication history
In 1861, five years after Schumann's death, his father-in-law Friedrich WieckFriedrich Wieck
Johann Gottlob Friedrich Wieck was a noted German piano teacher, voice teacher, owner of a piano store, and music reviewer. He is remembered as the teacher of his daughter, Clara, a child prodigy who was doing international concert tours by age eleven and who later married Robert Schumann...
published a third edition under the editorial pseudonym "DAS" (an acronym for Der alte Schulmeister). This edition attempted to reconcile the differences between the earlier two, and bore both the previous titles XII Études Symphoniques and Études en forme de variations.
On republishing the set in 1890, Johannes Brahms
Johannes Brahms
Johannes Brahms was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene...
restored the five variations that had been cut by Schumann. These are now often played, but in positions within the cycle that vary somewhat with each performance; there are now twelve variations and these five so-called "posthumous" variations which exist as a supplement.
The five posthumously published sections (all based on Fricken's theme) are:
- Variation I - Andante, Tempo del tema
- Variation II - Meno mosso
- Variation III - Allegro
- Variation IV - Allegretto
- Variation V - Moderato.
Orchestrations
Two sections, including the Allegro brillante, were orchestrated by TchaikovskyPyotr Ilyich Tchaikovsky
Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky (Russian: Пётр Ильи́ч Чайко́вский ; often "Peter Ilich Tchaikovsky" in English. His names are also transliterated "Piotr" or "Petr"; "Ilitsch", "Il'ich" or "Illyich"; and "Tschaikowski", "Tschaikowsky", "Chajkovskij"...
, and have been recorded.
External links
- Robert Schumann's Symphonic Etudes Analysis and description of Robert Schumann's Symphonic Etudes