Ein leiser Ton gezogen
Phantasie Op. 17 by Robert Schumann
Many analyses of Schumann’s Op. 17 tend to focus a disproportionate amount of attention on the Beethovenian aspects of the work: its one-time packaging as a “Sonata for Beethoven” and its purported quotations of Beethoven’s An Die Ferne Geliebte. However, by viewing the Beethoven influences as more cursory to the inspiration behind it, one comes to a much richer reading of its content. I believe the greater influence on the work is Clara Wieck, and not only in the first movement, which letters between Robert and Clara verify, but also in the second and the third.
Composition of the Phantasie began in 1836 and was completed, and published, in 1839. Many influences contributed to the development of the work, though none perhaps as great as Clara Wieck. Robert had been taking piano lessons with Friedrich Wieck, and fell in love with Friedrich’s daughter, Clara. Friedrich objected to the match and made efforts to keep the two apart. It was during this time that the Phantasie took shape.
The piece is written in three movements. In a letter to Clara, Robert wrote that “the first movement is a deep lament about you.” I think it is not only a deep lament about Clara, but also an expression of the frustrations that Robert was feeling with Friedrich, who was making their relationship very difficult. For example, portions of the piece seem to evoke voices in argument, as if representative of the angry exchanges that Robert and Friedrich were known to have. The movement even begins with a seething accompaniment, percolating with a tension that is more evocative of Robert’s feelings toward Friedrich than towards Clara. Yet there are softer moments that surely must be about Clara alone, in which the “ein leiser ton,” as it is inscribed in the manuscript, is given special prominence. And so, I dub the first movement of the Phantasie: “Clara, how I love you (but darn that dad of yours).”
The second movement is typically referred to as the Triumphant March, because of the use of a dotted, march-like rhythm, and because of its grand nature. However, in this example the dotted figure begins with a weak upbeat (short-long, short-long, short-long) as opposed to a strong downbeat (long-short, long-short, long). As a result, the dotted rhythm reads more as a series of skips as opposed to a series of marches, as if Robert were skipping for joy, for the love of his life. And he skips non-stop: skipping to transforming themes, stretching and repackaging the short-long rhythmic figure. Thus it would seem that the movement does not express the steeling of one who is marching into battle, but rather the overflowing of ecstasy of one who is in love. And so, I dub the second movement of the Phantasie: “Robert skipping for joy, for Clara.”
The third movement is a very tender and affectionate movement; I like to think of it as Robert’s love song for Clara. Robert wrote many actual love songs for Clara, but this is the piano love song. It is written in a Rondo form, in the pattern of ABCABA, with introductory and closing sections. Here is a more detailed description of the form (click to enlarge):
The opening arpeggiations set the tone for the movement, which is very heartfelt and adoring. And so, I dub the third movement of the Phantasie: “Robert’s love song for Clara.”
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In 1839, Robert would approach Friedrich for Clara’s hand in marriage; Clara was not yet of age and their union would require Friedrich’s consent. Friedrich refused, and an epic legal dispute ensued.
In 1840, Robert and Clara finally secured a marriage license, just prior to Clara’s 21st birthday. Thus, it appears that the two could have avoided a difficult and extended court battle had they simply waited until Clara had turned 21 before pursuing marriage, since it took them nearly as long to make it official anyway. But, had they waited, we may not have been gifted with such a beautifully ardent piece of music.
Op. 118, No. 2: Intermezzo by Johannes Brahms
Thirteen years later, the Schumanns would meet a young Johannes Brahms, who, at the time, was just twenty years old. The couple was very impressed with Johannes and took it upon themselves to help him in his career. At the time, Robert was better known as a writer and editor for a music journal — so he wrote a glowing article on Brahms, hailing him as the next big thing, and introduced Brahms to all the important people in town. Clara was actually more well-known than her husband — she was an internationally renowned concert pianist — and she programmed Brahms’ work in her concert tours. It is in this way that the Schumanns helped to make Brahms the man we know today.
Unfortunately, within a year of meeting Brahms, Robert’s mental health deteriorated. Robert was known to have complained of a ringing in his ears, and perhaps had developed tinnitus to such an aggravating degree that it was driving him mad. He would commit himself to a mental health asylum where he would spend the remainder of his days until passing. The Schumanns and Brahms had become such fast friends that the young Johannes, at just twenty years of age, practically took it upon himself to act as head of household from then on.
It is rumored that at this time Clara Schumann and Johannes Brahms may have developed a romantic relationship. These rumors are probably fueled by the fact that the two wrote many letters to each other, which they later decided to burn. We do not know what was in those letters, nor why they decided to burn them, and so the rumors go a-flyin’!
Later in life, Brahms would write his Op. 118 set of pieces. They carry a dedication to Clara, and I suspect the second of the set reveals what written documents have not been able to prove. Op. 118, No. 2 is a particularly loving piece. I think it is Brahms’ love song to Clara.. and the hint of tragedy in the piece indicates that perhaps it was to be an unrequited love.
