In der fremde schumann pdf

Opus 39, is regarded as one of the great song cycles of the 19th century. The evidence that “In in der fremde schumann pdf Fremde” is through-composed is found in both the melody and the harmony.

With each modulation, the melody changes. The modulations are not directly congruent with the stanza changes, which points to a through-composed piece. The text of this poem is simple in meaning. The speaker can be interpreted as either going to a forest or as already being in the forest, a place that is beautiful for its solitude. This poem is composed primarily of symbols that can be interpreted both literally and figuratively, the point this analysis will be pursuing.

The red flashes of lightning are clearly aligned to show that his home life is no longer something that he feels safe calling his own. Since the lightning is red, a phenomenon that occurs rarely, if ever, in nature, one can imagine that the storm is not a literal one but rather something that is only occurring in his mind. This in mind, the death of the narrator’s parents can serve as a metaphor. Instead of them actually being dead, the narrator is addressing them from a point of young narcissism. The narrator claims for the parents to not know their child anymore, but this is an interpretation of the parent’s view of the child and how it is different from the child’s self-perception. The forest serves as a place of peace for the narrator, giving them a refuge from a tumultuous home life.

In a more literal interpretation, the narrator seeks the solace of death, wishing to escape a life with nothing left to offer him. No longer are his “long dead” Mother and Father there for him, and nor is there anybody at home for him. His descriptions of home include images of “lightning” and “louds” that are “com”. The second stanza shifts from describing the narrator’s view of his home to his feelings about himself.

While in the first stanza the narrator depicts loneliness and the act of leaving behind any sense of home, the second stanza welcomes the “quiet time” with “rest” that he desires. The narrator expresses how he is resigned to his solitude and mortality. The loneliness of death is essentially an extension of the loneliness that the narrator already feels. The second stanza, while depicting the calm “rustle” of the forest, is more peaceful than the first, reflecting the relief that death would bring. These broken chords impart a feeling of perpetual motion, reflecting the stormy scene set up by the narrator. In the conjunct vocal line we feel the loneliness the narrator feels as he remembers his parents and reflects on his struggle. At the beginning of the second stanza, Schumann modulates to A major to reflect the narrators hopeful longing for the “quiet time to come.

The style of accompaniment in the A major section also changes, with a light and hopeful counter-melody in the right hand that stands in contrast to the metronomic urgency of the 16th notes. As the angst bleeds through from the pain of the realization that the narrator is alone, with no parents, the music lingers around the dominant in the uneasy A major. The applied chords in the beginning of this section help by tonicizing the dominant. B minor, giving a dark and unexpected ending that transitions back into the home key. 22 and 24, we as listeners feel the tension and unease that the narrator feels as he returns to his dark, lonely thoughts and continues towards death.

Since Schumann composed this piece during the Romantic Period, the dynamics are extreme. The only dynamic markings in the entire piece are in measures 1 and 5, indicating a piano or pianissimo dynamic. Schumann’s choice of such minimal dynamics reflect the narrator’s quiet resignation and longing for death. Later, specifically in the A major section, there are some crescendos and diminuendos marked in the piano part. The piece also has a relatively smooth texture, since the piano is playing legato arpeggios and the voice is singing a flowing, conjunct melody. Almost exclusively, these applied chords do not resolve to the expected chord. Instead, they resolve to different chords with the same harmonic functions.

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