
Week 1: Voicing, Texture in Schumann's Music

Welcome to Week 1 of the latest Two-Week Intensive!
https://www.youtube.com/watch?v=5RJ1WsNPulY
This week, you’ll choose one or two pieces and study the harmonic colours, voices, and texture. This should help you memorize the text and understand its shape.
Preparatory Step: Gather Information
A) Listen to the repertoire list and choose the piece(s) you'd like to focus on for this TWI. (from Kinderszenen 3-4 pieces may work). Recommended pianists: Virsaladze, Argerich, Cortot, Horowitz, Richter, João-Pires, Arrau, Ashkenazy, Lupu, Perahia, Gavrilov, Merzhanov, Uchida, Grimaud, Nikolayeva
B) Research your chosen piece on G. Henle Verlag website. Click on Preface and Comments under the cover picture.
C) Watch any of these videos about Schumann and his music:
Overview of Schumann: https://www.youtube.com/watch?v=SbF86ag4Rvk
Claudio Arrau on Schumann: https://www.youtube.com/watch?v=o4ty6yJjF8U
Simon Rattle on Schumann and Brahms: https://www.youtube.com/watch?v=yXTTlKdy5q4
Mitsuko Uchida on Schumann: https://youtu.be/u1vYu56xY9w?si=Ney0HGSqBkYZI8zs
- Anatomy of Poetry: Voices of Harmony
A. Write the main theme in SATB open score. Each layer/voice should have its own staff (see photo 1).
B. Label chords (symbols, Roman Numerals, etc).
C. Play from your open score and singing in solfege or open syllables, in the following order:
Alto
Tenor
Bass
Alto + Tenor
Tenor + Bass
Alto + Tenor + Bass
Memorize Alto+Tenor+Bass
*If your piece’s melody is in Alto, Tenor, or Bass, work on the other voices. Learn harmony first.
For TWI Forum:
Upload your open score to the chat for comments.
- Anatomy of Poetry: Texture
Study the texture and consider the following as you work.
—Count the total number of notes in each chord and write the total on the score. (see photo 2).
—Identify textures, ie. monophonic, biphonic/duet, polyphonic, homophonic, etc. Label changes in texture, ie. “Subito monophony” (abrupt or instant reduction of voices to a single voice, eg. Romances Op. 28 nr. 2, m. 17.)
—Describe topics, moods, emotions, instruments, or ideas indicated by textures. Descriptive phrases should metaphorize related elements and point to changing states, eg, “The harmony ambiguates as texture thins: it sounds like the experience of losing one’s train of thought.”
—Determine where sustain and/or sostenuto pedal will be necessary and the quantity needed: full-/half-/quarter-sustain, fluttering, no pedal, etc. Record the harmony using a variety of approaches to pedal.
For TWI Forum:
Upload a performance of the harmonic voices
Upload a performance of the different pedal changes (say aloud "change" or "quarter pedal" or "flutter" so it's clear where you're doing these)
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Hi Jarred,
Vogel als Prophet will be my choice and I have questions about...the opening few measures:
1. The 32nds notes ARE triplets, aren't they?
2. Instead of tying the dotted notes to the 32nds, how about inserting the smallest, tiniest of spaces for clarity. It's like the moment a bird takes off to fly to the next branch.
3. Would you be SHOCKED if I redistributed? It works soooo much better and sounds so much more bird-like.
Thanks, Jarred.
Monika
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Hi Jarred! I'm excited to delve into Schumann for this TWI. The assignment looks slightly scary to me--I've never split up anything into SATB. I will give it a go nonetheless!
I plan to do the 2nd piece from Waldszenen, Jäger auf der Lauer. I didn't like it at first, but then I listened to Richter play it and I was sold. I wonder how it will translate into SATB.
I'm tempted to do Abscheid also but not sure I'll have the time. Actually it would be cool if I could play all of them eventually, haha.
Edition question: last week I started learning the piece with the Harold Bauer edition, since I like him (his book, called His Book, is really funny). Now that I'm familiar with it and I look at Clara Schumann's edition, I'm noticing some dynamic indications are different. What edition would be best?
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Hello everyone! I'll be working on Kinderszenen no. 1.
I just have a question. I separated the triplets into two voices (tenor and alto) is that ok or are they just a single voice?
I separated them because the stem on the third note is pointing downwards. That was my reasoning. I'd also like to know if that is correct.
Thank you very much.