{"id":7864,"date":"2023-03-23T21:37:20","date_gmt":"2023-03-23T21:37:20","guid":{"rendered":"https:\/\/theory.esm.rochester.edu\/integral\/?page_id=7864"},"modified":"2023-05-31T00:39:56","modified_gmt":"2023-05-31T00:39:56","slug":"keep","status":"publish","type":"page","link":"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/","title":{"rendered":"The Voice of Enigma: Intertextuality in \u201cIm wundersch\u00f6nen Monat Mai\u201d"},"content":{"rendered":"\n\n\n\n\n<script type=\"text\/x-mathjax-config\">\nMathJax.Hub.Config({\nmessageStyle: \"none\"\n});\n<\/script>\n\n\n\n<p><strong>David Keep<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Abstract<\/strong><\/h3>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>The allusion in Robert Schumann\u2019s \u201cIm wundersch\u00f6nen Monat Mai\u201d to Clara Schumann\u2019s Piano Concerto, op. 7 has been little discussed. Given Robert\u2019s familiarity with the concerto, the allusion may be understood as a hermeneutic key for the song. The slow movement features a duet between solo piano and cello in its reprise of the main theme, but the song only recalls a tonally distant fragment from the digression. The allusion draws upon music of anticipation rather than fulfillment. Furthermore, it stands as a contradictory symbol of presence and absence, substituting for recollections of the past found in the Prologue of Heine\u2019s <em>Lyrisches Intermezzo<\/em>. The song\u2019s intertextual dimensions function in tandem with tonal pairing to engender a sense of motion characteristic of the Romantic fragment. In one of his most quintessential works, Robert\u2019s poetic speaker is dominated by thoughts of Clara\u2019s music, not \u201coriginal\u201d music of his own.&nbsp;<\/p><p><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/36-keep\/\" data-type=\"page\" data-id=\"8842\">View PDF<\/a><br><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/\" data-type=\"page\" data-id=\"7648\">Return to Volume 36<\/a><\/p><\/blockquote>\n\n\n\n<p><strong>Keywords and phrases:<\/strong> Intertextuality, Robert Schumann, Clara Schumann, Heinrich Heine, Gender, Genre, Fragment, Interiority&nbsp;&nbsp;<\/p>\n\n\n<div class=\"su-note\"  style=\"border-color:#cacaca;border-radius:4px;-moz-border-radius:4px;-webkit-border-radius:4px;\"><div class=\"su-note-inner su-u-clearfix su-u-trim\" style=\"background-color:#e4e4e4;border-color:#ffffff;color:#333333;border-radius:4px;-moz-border-radius:4px;-webkit-border-radius:4px;\"><strong>Acknowledgments:<\/strong> A version of this analysis was presented at the festival \u2018Performing Clara Schumann: Keyboard Legacies and Feminine Identities in the Long Romantic Tradition\u2019, held at Cornell University in 2019. I thank Theodora Serbanescu-Martin for encouraging further work on the project. Thanks are due also to Beate Julia Perrey, R. Larry Todd, Jonathan Dunsby, and Zachary Bernstein. I am especially grateful to the two anonymous reviewers, whose feedback helped improve this article greatly. Thanks also to the Int\u00e9gral editors and staff.<\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Introduction<\/strong><\/h2>\n\n\n\n<p class=\"has-drop-cap\">The voluminous literature on Schumann\u2019s <em>Dichterliebe <\/em>has neglected the interpretive potential of a remarkably little-discussed intertextual allusion in the cycle\u2019s opening song.<span id='easy-footnote-1-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-1-7864' title='The vast analytical literature on &lt;em&gt;Dichterliebe &lt;\/em&gt;features a multitude of readings that result from contrasting methodological frames; only a cross-section is referenced here. A tradition of voice-leading analysis originating in Schenker (1935) extends through Komar (1971) and Neumeyer (1982), which are critiqued by Ferris (2000, 26-58). Rosen (1995), Ferris (2000), and Perrey (2002) shift away from concerns with organicism toward perspectives centered upon the Romantic fragment. In response, Hoeckner (2006) offers another view considering both the whole and the fragment. Cohn (2011) considers the song through the viewpoint of a Neo-Riemannian &lt;em&gt;Tonnetz &lt;\/em&gt;while Kopp (2011) focuses on how it might shed light on the concept of key. Other analysts have recently focused on text and music relationships, such as Randel (2014)\u2019s focus on sound in poetry and music, and the concept of narrative as it applies to &lt;em&gt;Dichterliebe&lt;\/em&gt;, particularly in Weaver (2017) and Schmalfeldt (2020). Most often, these studies do not view Robert\u2019s cycle in relation to Clara\u2019s compositions.'><sup>1<\/sup><\/a><\/span>  As shown in Example 1, the piano solo that occurs three times in Robert\u2019s song closely resembles a passage from the second movement of Clara Schumann\u2019s Piano Concerto in A minor, op. 7.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-1a\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1a.jpg\" alt=\"\" class=\"wp-image-8219\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1a.jpg 1950w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1a-300x83.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1a-1024x284.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1a-768x213.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1a-1536x425.jpg 1536w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption>a) Clara Wieck, Piano Concerto in A Minor, Op. 7 (1835): II. Romanze, digression (mm. 31\u201334).<\/figcaption><\/figure><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-1b\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1b.jpg\" alt=\"\" class=\"wp-image-8220\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1b.jpg 1982w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1b-300x101.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1b-1024x346.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1b-768x260.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-1b-1536x519.jpg 1536w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption>b) Robert Schumann, \u201cIm wunderschonen Monat Mai,\u201d Dichterliebe, Op. 48 (1840): mm. 1\u20136.<br><br><em>Example 1: Robert\u2019s Allusion to Clara\u2019s Concerto<\/em><\/figcaption><\/figure><\/div>\n\n\n\n<p>Both excerpts approach the dominant of F$$\\sharp$$ minor twice via the bass line D-C$$\\sharp$$, with similar rising left-hand arpeggios that outline predominant and dominant harmonies (note especially the comparable resolutions of nonharmonic tones, such as A$$\\sharp$$-B). The melodic treble is progressively embellished in Clara\u2019s passage, growing in dynamics and thickening in texture. Robert pares down the counterpoint, statically preserving the outer voices. In what appears to be the only published discussion of this allusion, R. Larry Todd (2002) observes that \u201cRobert seems to have found a passage that later provided inspiration for his song cycle <em>Dichterliebe<\/em>,\u201d concluding that the excerpt from the concerto \u201clooks ahead with remarkable exactitude to \u2018Im wundersch\u00f6nen Monat Mai\u2019\u201d (773). Though Todd ends the comparison with this statement, much more can be said about this striking resonance. To begin, this article briefly considers aspects of historical context that support this allusion\u2019s viability. Taking the allusion to Clara\u2019s concerto as a hermeneutic key for Robert\u2019s song, the following analysis will build on Todd\u2019s observation by comparing both works in detail. An analytical vignette of the Romanze slow movement precedes an interpretation of \u201cIm wundersch\u00f6nen Monat Mai,\u201d which focuses on the ways the song both preserves and negates various elements of its allusive source. Notably, the ternary-form Romanze\u2019s first two sections showcase the piano soloist playing without orchestra, only to be joined by a solo cello in the reprise\u2019s rapturous duet. I interpret the song as a response to this trajectory via the allusion, as it denies the climactic duet moments of the Romanze and repeatedly emphasizes the speaker\u2019s isolation. Through this comparative analysis, the allusion takes on meaning as a contradictory symbol of presence and absence and as a substitute for aspects of the omitted Prologue from Heine\u2019s <em>Lyrisches Intermezzo<\/em>, with its visions and recollections of the past. Furthermore, by relating the allusion to other references in the song to works of Beethoven and Mendelssohn observed by Christopher Reynolds (2003), I argue that the song\u2019s intertextual dimensions function in tandem with its distinctive tonal pairing to engender a sense of motion characteristic of the Romantic fragment. Through the song\u2019s gestures away from itself, Clara\u2019s voice resounds in this enigmatic work.<\/p>\n\n\n<p>Viewing the song through the lens of the concerto is not a strategy that will supplant the contributions of the substantial literature on <em>Dichterliebe<\/em>, but it will instead supplement by bringing two works linked via allusion into closer relation with one another, opening further hermeneutic potential. Michael L. Klein (2005) emphasizes that \u201ctexts release meaning when surrounded by other texts\u201d (50), especially when we consider how \u201cintertextuality participates in a gendered discourse\u201d (49). Robert\u2019s allusion to Clara\u2019s concerto provocatively demonstrates both observations.<span id='easy-footnote-2-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-2-7864' title='Power dynamics are considered in the intertextuality of Robert and Clara by Kallberg (1992) and Reiman-Weinstein (2017). Both comment on the allusion in Robert\u2019s eighth Novellette, op. 21, to Clara\u2019s Notturno, op. 6, no. 2. Kallberg discusses the \u201cgeneralized feminine spirit\u201d (122) of the Nocturne as a genre, marked in contrast to others such as the concerto. Reiman-Weinstein calls the Novellette\u2019s allusion an \u201carrogation\u201d (25).'><sup>2<\/sup><\/a><\/span> However, rather than arguing that a male composer asserts power over a female composer through the allusion, I will argue the opposite: in one of his most quintessential works, Robert\u2019s poetic speaker is dominated by thoughts of Clara\u2019s music, not \u201coriginal\u201d music of his own.<\/p>\n\n\n<h2 class=\"wp-block-heading\"><strong>1. Context<\/strong><\/h2>\n\n\n<p>What is the likelihood that this allusion was indeed a purposeful gesture by Robert to Clara\u2019s music? After all, though references to Clara\u2019s music abound in Robert\u2019s works, this particular allusion has not been widely discussed. The concerto was completed in 1835, when Clara was in her teens; the song cycle was completed in 1840, the year of the couple\u2019s marriage. Robert assisted with the concerto\u2019s orchestration and wrote a review of Clara\u2019s performances of the work, demonstrating deep familiarity with the composition.<span id='easy-footnote-3-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-3-7864' title='On the concerto\u2019s origins, see Reich (1985, 239-40), Klassen (1990), and MacDonald (1993).'><sup>3<\/sup><\/a><\/span> <sup>&nbsp;<\/sup>The review was published in the \u201cSchw\u00e4rmbriefe\u201d of the <em>Neue Zeitschrift f\u00fcr Musik <\/em>(1835, translated by MacDonald, 1993, 27). The two following paragraphs are representative of the content, tone, and style of Robert\u2019s article:<\/p>\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>The first strains that we heard flew before us like a young phoenix fluttering upwards. Passionate white roses and pearl lily cups leaned down, orange blossoms and myrtle nodded above, and between them, alders and weeping willows threw their melancholy shadows. In their midst, however, a girl\u2019s radiant face bobbed and searched for flowers to make a wreath.<\/p><\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Often I saw skiffs floating boldly over the waves, and only a master hand at the tiller \u2013 a tautened sail was lacking that they might cut across the waves as quickly and victoriously as they did safely. Thus I heard here ideas that often had not chosen the proper interpreter [<em>Dolmetscher<\/em>] so as to shine in their complete splendor, but the fiery spirit that drove them on, and the longing that directed them, finally carried them securely towards their goal.<\/p><\/blockquote>\n\n\n<p>Avian and floral imagery accentuate descriptions of the performance, while the metaphor of directing a vessel across the ocean likely brings together aspects of performance and composition.<span id='easy-footnote-4-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-4-7864' title='On the aesthetics associated with flowers in Robert\u2019s criticism and music, as well as in Heine\u2019s poetry, see Watkins (2012).'><sup>4<\/sup><\/a><\/span> The second paragraph mixes criticism and praise. One might interpret the complaints about the lack of \u201ctautened sails\u201d or \u201cideas that often had not chosen the proper interpreter\u201d to primarily address the efficiency of Clara\u2019s compositional style. Even so, Robert heard the work to be successfully directed by a \u201cfiery spirit\u201d characterized by \u201clonging\u201d. Beyond this review, any surviving discussions of the concerto between the couple between 1835\u201340 were limited and did not address intertextuality.<span id='easy-footnote-5-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-5-7864' title='In correspondence from November 1837, Robert reiterated that the concerto\u2019s ideas were at times \u201cstellar\u201d but that the work \u201cdid not make a complete impression\u201d ([1837] 1984, 53 translated by MacDonald 1993, 27). Wieck responded in defense of the work\u2019s continued performance while on tour, as it certainly pleased audiences, but she agreed that the work had its faults. Her final thought on the concerto\u2019s imperfections is intriguing: \u201cI know [them] precisely, but the audience does not, and furthermore does not need to know\u201d ([1837] 1984, 53, translated by MacDonald, 27).'><sup>5<\/sup><\/a><\/span> Even if it did not inspire his greatest praise, Clara\u2019s concerto clearly made a deep impression on Robert.<span id='easy-footnote-6-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-6-7864' title='Robert\u2019s own Piano Concerto, completed in 1845, bears similar traits. For example, its first movement in A minor also features a lengthy tonicization of A-flat major. Though Clara\u2019s composition was criticized for this distant modulation (see MacDonald, 31), Robert\u2019s concerto was seen as novel. Stefaniak (2016, 182) discusses further Robert\u2019s mid-career shift of style and aesthetic, with its approach to Clara\u2019s works reflecting a \u201ccomplex mix of emulation, reinterpretation, and critique\u201d (176), building on observations made by Hoeckner (1997, 130).'><sup>6<\/sup><\/a><\/span>\n<p>In a letter written to Clara during the <em>Liederjahr <\/em>of 1840, Robert ([1840] 1942, 340) expressed about his Eichendorff cycle that \u201cthere is much of you in it\u201d (translated by Hallmark, 1979, 21). Such effusive language is common in Robert\u2019s communications with Clara. Though not explicitly stated about <em>Dichterliebe<\/em>, this romantic sentiment takes concrete form via musical intertextuality, at least in the case of \u201cIm wundersch\u00f6nen Monat Mai\u201d and its strong resemblance to the passage from Clara\u2019s concerto. In addition to the personal communicative dimension of Robert\u2019s allusion, there is always the possibility that other listeners in the Schumann circle might have noticed this instance of intertextuality, as Clara performed the work widely. For the purposes of the following analysis, I will presuppose a listening perspective in which the concerto is a familiar work.<\/p>\n\n\n<h2 class=\"wp-block-heading\"><strong>2. Piano Concerto in A minor, Op. 7: II. Romanze<\/strong><\/h2>\n\n\n<p>This analytical vignette briefly details the multi-movement structure of the concerto and the genre of Clara\u2019s Romanze, its ternary layout and shaping of phrase structure around a pervasive motive which is gradually liquidated in the digression, the local significance of the source of Robert\u2019s allusion, and the duet with cello that concludes the slow movement. The isolated solo piano\u2019s motivic fixation eventually leads to a moment of great anticipation\u2014the passage that Robert alludes to in the song\u2014before the melodic union between cello and piano.<\/p>\n<p>Clara\u2019s concerto consists of three movements which proceed without pause, similar to Mendelssohn\u2019s concerti.<span id='easy-footnote-7-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-7-7864' title='Other precedents include Schubert\u2019s &lt;em&gt;Wanderer &lt;\/em&gt;Fantasy, D. 760 (1822), and Moscheles, Piano Concerto No. 6, \u201cConcert Fantastique\u201d, op. 90 (1834, published in 1836).'><sup>7<\/sup><\/a><\/span> This continuous multi-movement organization would have prominently showcased the young virtuosa\u2019s pianistic skill and improvisatory spontaneity in performance. The slow movement is performed by the piano soloist alone, only to be joined by the cello toward its conclusion. The silent orchestra accentuates the deeply personal expressive dimensions of the Romanze. The concerto\u2019s overarching cyclical thematicism casts an outer frame that surrounds the middle movement and imbues it with a tender inwardness. Janet Schmalfeldt (2011) interprets this organizational strategy in the works of Schubert (and identifies its influence on Robert) as the substantiation of interiority via formal process, creating an expressive \u201ccenter of gravity\u201d within a work (136).<span id='easy-footnote-8-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-8-7864' title='For another study addressing romantic cyclical form and its relationship to temporality, see Taylor (2011, 2015). Stefaniak (2017) locates interiority in Clara\u2019s performances not as the \u201ctender quality one might describe as \u2018innig\u2019\u201d but instead in conceptions of where virtuosic displays were \u201cissued from, how they resonated with the listener, and how they related to other elements in a composition\u201d (701). This vantage point involves the intersubjective merging of performer and composer central to nineteenth-century musical aesthetics.'><sup>8<\/sup><\/a><\/span> The ternary form of the Romanze movement, with its simple melodic emphasis, <em>bel canto <\/em>operatic style, and Chopinesque pianism, emulates the genre\u2019s vocal origins.<span id='easy-footnote-9-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-9-7864' title='Marston (1993, 227-41) recounts and translates the definition of \u201cRomanze\u201d from Koch (1802, col. 1271): the vocal Romanze\u2019s poetic content centered on \u201ctragic\u201d or \u201camorous\u201d topics in a \u201clyric verse form.\u201d Fashioned into simple melodic utterances, initially these expressions shaped a musical form that had no intrinsic design of its own, mirroring the unique unfolding of the accompanying text. Eventually, the Romanze\u2019s text-driven musical structures most often took the shape of ternary forms. Koch also identifies an instrumental variant characterized by similar expressive content, a slow tempo, and rondo form. Marston argues that Koch\u2019s \u201cinstrumental variant\u201d definition matches the \u201cRomanza\/Im Legendton\u201d interpolation in the first movement of Robert\u2019s Fantasy, op. 17. Hoeckner (1997, 121-123) suggests that this movement is modeled on Clara\u2019s &lt;em&gt;Romance varie\u00e9&lt;\/em&gt;, op. 3. The genre of the Romance would be revisited by Clara a total of fourteen times in her output.'><sup>9<\/sup><\/a><\/span> The lyrics of such settings traditionally included both \u201ctragic\u201d and \u201camorous\u201d poetic content, but the concerto\u2019s Romanze seems to have more in common with the latter expressive context. The movement\u2019s eventual duet is a carefully staged moment of climactic plenitude. The opening theme reappears, played in unison by the cello and piano. A striking focus upon the inhabitation and sharing of the same melodic line by both instruments marks the remainder of the movement.<span id='easy-footnote-10-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-10-7864' title=' Taylor (2021) examines duets \u2013 and their portrayals of \u201cself, other, and hermaphroditic union\u201d \u2013 in music by Robert and Clara.'><sup>10<\/sup><\/a><\/span>\n<p>Along with the genre\u2019s associations of romantic content, framing the slow movement\u2019s phrase structure in similar terms can explain its focus on a recurring motive, which is labeled \u201cX\u201d in Examples 2 and 3. The Romanze centers single-mindedly on this ascending 4-note scalar segment, although it is handled flexibly, with occasional inversion and chromaticization. Despite the contrasts of an ABA\u2019 ternary form with a transitional coda, the X motive is present in some form almost throughout. It is an emblem of romantic infatuation, almost obsessively present at all times, consuming the mind without tolerance for distraction. The opening of the movement, shown in Example 2, links the four-note scalar motives together to create a longer theme.<\/p>\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-2\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-2.jpg\" alt=\"\" class=\"wp-image-8222\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-2.jpg 1940w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-2-300x97.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-2-1024x333.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-2-768x249.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-2-1536x499.jpg 1536w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption><em>Example 2: Clara Schumann, Piano Concerto in A Minor, Op. 7, II. Romanze, mm. 1-10<\/em><\/figcaption><\/figure><\/div>\n\n\n\n<p>Moving as upbeat eighth notes across the bar to half notes, these form a 4 + 4 period with a lightly embellished consequent. The combination of two ascending forms of X followed by one descending X fashion the rise and fall of the melodic arc. The character of the resulting melody is exuberant: the ambitus stretches a step higher in the consequent before gracefully descending at the cadence. The digression implements sentence phrase structure in order to accelerate momentum toward the return of the opening theme. The onset of the digression, shown in Example 3, momentarily isolates the descending form of X (mm. 22\u201327) and uses it to initiate the beginning of a new phrase unit.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-3-page1\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1.jpg\" alt=\"\" class=\"wp-image-8223\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1.jpg 2512w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1-300x222.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1-1024x757.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1-768x567.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1-1536x1135.jpg 1536w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page1-2048x1513.jpg 2048w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><\/figure><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-3-page2\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2.jpg\" alt=\"\" class=\"wp-image-8225\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2.jpg 2528w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2-300x208.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2-1024x711.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2-768x533.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2-1536x1067.jpg 1536w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-3-Page2-2048x1423.jpg 2048w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption><em>Example 3: Wieck, II. Romanze, Op. 7, B section and beginning of A\u2019, mm. 22-41<\/em><\/figcaption><\/figure><\/div>\n\n\n\n<p>The descending and ascending forms of X are harmonized with an imperfect cadence in A major in mm. 28\u201330. The ascending form of X is restored as a new phrase beginning in mm. 30\u201331, though in its established melodic and rhythmic identity the motive is liquidated as the passage continues. The digression hastens toward the dominant of A-flat major, preceded in mm. 34\u201335 by a predominant chromatic wedge, where the stepwise outer voices are motivically linked to X but do not readily draw attention to the motive because of the augmented durations. The momentum generated by the digression propels into the thematic and tonal reprise at m. 38, where the cello and piano duet begins. The \u201ccadence\u201d at m. 38 closes the digression, but weakly so, as it sets the new formal section in motion. This elision momentarily displaces melodic closure until the end of the duet\u2019s first phrase at m. 45, facilitating continuity across the formal boundary, as highlighted in Example 4.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-4\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-4.jpg\" alt=\"\" class=\"wp-image-8227\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-4.jpg 1960w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-4-300x250.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-4-1024x853.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-4-768x639.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-4-1536x1279.jpg 1536w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption><em>Example 4: Wieck, II. Romanze, mm. 42-49 (continuation of duet)<\/em><\/figcaption><\/figure><\/div>\n\n\n<p>Within the Romanze as a whole, the local function of the source of Robert\u2019s allusion (mm. 30\u201334) signals anticipation by initiating two events: it begins the sentence\u2019s continuation that will liquidate the X motive and vacates the register that the cello will begin playing in. The passage emerges with a new sound, characterized by a distinctive blend of confidence and reflection. The passage\u2019s recovery of X as a new beginning, the distant tonicization of F$$\\sharp$$ minor, and the initially soft <em>p <\/em>and <em>pp <\/em>dynamics combine to express a moment of serene contemplation. The digressive sentence within the Romanze opens another dimension within an inner space: if this movement itself is an interior \u201ccenter of gravity,\u201d the beginning of the sentence\u2019s continuation brings us to the midpoint. The piano sheds its solitary obsession with the X motive in its journey through this territory, churning toward the reprise. In the process, a wider registral spread is opened between the hands (mm. 31\u201334), vacating the prior mid-range melodic ambitus of mm. 23\u201330. Leaving the middle range unoccupied for the continuation anticipates the cello voice so that it can emerge naturally in the following duet. Another trait that heightens the anticipation of the duet is the dynamic crescendo and acceleration of rhythmic diminutions. Coming out of the relative stillness of the A major cadence in m. 30, the crescendo builds in tandem with a new continuous eighth-note texture\u2019s rhythmic acceleration into triplet eighths. As we will see in the analysis of \u201cIm wundersch\u00f6nen Monat Mai,\u201d it is striking that Robert\u2019s song does not allude to a passage from the duet\u2019s music of fulfillment. Instead, he alludes to the movement\u2019s nadir, a tonally transient inward glance. Robert recollects a passage of inner contemplation, one that anticipates and yearns for melodic union but has not yet experienced it.<span id='easy-footnote-11-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-11-7864' title='Interpretations of Robert\u2019s song frequently dwell on the sense of anticipation fostered especially by its tonal pairing of F$$\\sharp$$ minor and A major. For example, Perrey observes: \u201canticipation is the general gesture by which Song 1 is characterized\u201d (171).'><sup>11<\/sup><\/a><\/span>\n<p>The reprise duet is a passage of melodic intimacy, especially since it occurs within a genre of public display such as the concerto.<span id='easy-footnote-12-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-12-7864' title='For this reason, the Romanze can be seen to take on a distinctly operatic character, as if two characters are sharing a melody in an aria. Ronyak (2018, 148-171) cites an unusual instrumental duet in Romberg\u2019s setting of Schiller\u2019s \u201cSehnsucht\u201d as an expression of intimacy in a public genre, as this particular hybrid \u201cGesangst\u00fcck\u201d mixes elements of Lied, aria, and cantata. A moment of instrumental prominence is characterized as a \u201cLied within a Lied\u201d (158). Also, see Ferris (2003) on public and private dimensions of Clara\u2019s music-making.'><sup>12<\/sup><\/a><\/span> The instruments double at pitch for the first eight measures of the reprise (mm. 38\u201345), with only a brief moment where the piano fills in the anacrusis alone as the cello momentarily drops out (m. 41). The second half recomposes mm. 7\u201310: the duet replaces the earlier passage\u2019s graceful melodic descent with an emphatic melodic doubling of the bass in parallel octaves, underscoring the tonic PAC (see Example 4). The melodic embrace is broken following the cadence, as the cello takes up the primary melodic voice on its own and the piano fills out harmony (from m. 45 onward). The piano part here carefully avoids competing with the cello by presenting any secondary melodic lines. Call and response techniques are avoided, heightening the focus on two instruments abiding together in one melodic idea. The cello\u2019s effusive contribution in mm. 50\u201362 extends beyond material found in the analogous portion of the A section, building additively toward the final cadence. As shown in Example 5, the movement\u2019s newly achieved plenitude is exuberantly accentuated in the Romanze\u2019s final melodic gesture: the cello\u2019s scalar ascent that begins in m. 56 is displaced to different octaves (mm. 58 and 61) as well as transferred between instruments (m. 60) in order to prolong the continuity of a unified rising gesture, culminating in the authentic cadence of m. 62.<\/p>\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-5-pg-1\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1.jpg\" alt=\"\" class=\"wp-image-8230\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1.jpg 2552w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1-300x197.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1-1024x671.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1-768x503.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1-1536x1006.jpg 1536w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-1-2048x1342.jpg 2048w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><\/figure><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-5-pg-2\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2.jpg\" alt=\"\" class=\"wp-image-8231\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2.jpg 2552w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2-300x188.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2-1024x640.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2-768x480.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2-1536x961.jpg 1536w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-5-pg.-2-2048x1281.jpg 2048w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption><em>Example 5: Wieck, II. Romanze, conclusion, mm. 50-66, and beginning of finale, mm. 1-8<\/em><\/figcaption><\/figure><\/div>\n\n\n\n<p>The cello\u2019s scale begins and ends with the same pitches that comprise the X motive, intimating a symbol of open-ended longing (see the boxed portions of m. 56\u201357 and 61\u201362). At the end of the Romanze, Clara\u2019s coda reflects on the ascending X as a concluding idea in a final reverie before transforming the motive into the finale\u2019s Polonaise-style theme. The appearance of $$\\flat$$VI harmonies (F$$\\flat$$ major, but spelled enharmonically as E major) in the coda also prepares the ear for their usage as the dominant in the finale\u2019s A minor, reflecting an impulse to continually maximize the expressive potential of reinterpretation.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>3. \u201cIm wundersch\u00f6nen Monat Mai\u201d<\/strong><\/h2>\n\n\n<p>The following analysis compares \u201cIm wundersch\u00f6nen Monat Mai\u201d with Clara\u2019s Romanze. First, what does Robert\u2019s allusion in the piano solo preserve from the concert\u2019s original passage, and what does it omit or alter? Second, the larger contexts of the Romanze and the song are juxtaposed: which features of the Romanze resonate in the song, and which are negated? Third, in order to evaluate the expressive sum of these features, I interpret the allusion itself as a contradictory symbol that represents either the presence of the \u201csecond heart\u201d in the poem or its absence, and as a musical substitution for aspects of the omitted Prologue of the <em>Lyrisches Intermezzo<\/em>, such as the temporal focus on the past, especially affects and moods that dwell on wistful memory. In culmination, I argue along with many previous interpreters that the song\u2019s ultimate expression is one of irony and contradiction, as the beloved does not reciprocate the speaker\u2019s declaration of love. However, the song\u2019s status as a fragment is achieved not only through the setting\u2019s distinctive use of tonal pairing, but also through the motion generated by oscillating between intertextual allusions.<\/p>\n<p>The song\u2019s allusion preserves several specific features of mm. 31\u201334 from the Romanze, including the piano instrumentation, two-bar phrase units, essential counterpoint between the hands, and similar dynamic and expressive markings to the first two-bar unit (mm. 31\u201332, see Example 1). The piano instrumentation is easy to pass over as a significant feature.<span id='easy-footnote-13-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-13-7864' title='It is also important to acknowledge that, although Robert is recalling a passage from a piano concerto\u2014a public genre\u2014he is drawing upon an extraordinarily intimate movement.'><sup>13<\/sup><\/a><\/span> However, throughout <em>Dichterliebe<\/em>, the piano routinely steps out of its accompanimental function into a more overtly soloistic role. Robert\u2019s borrowing of concerto material for the solos of the first song is significant in drawing on the substance of soloistic idioms for the piano, even if they are subdued in this particular instance. In each of the three piano solos, paired appearances of the harmonized D-C$$\\sharp$$ bass motion anchor the two-bar phrase units. The essential counterpoint of mm. 31\u201334 in the Romanze combines the D-C$$\\sharp$$ motion of the bass on downbeats with the G$$\\sharp$$-F$$\\sharp$$-E$$\\sharp$$ motion in the treble. The song\u2019s opening right-hand C$$\\sharp$$-B dissonance comes from the concerto passage\u2019s second two-measure group: m. 32\u2019s insistent repeated C$$\\sharp$$ anticipations lead into the downbeat of m. 33. The rising arpeggios in the left hand preserve the A$$\\sharp$$-B lower chromatic neighbors. Regarding dynamics, each of the piano solos\u2014all within the song\u2019s <em>langsam <\/em>and <em>zart <\/em>directions\u2014distill the hushed expressive world of the first two-measure group (mm. 31\u201332), which is marked with soft dynamics and a <em>con grazia <\/em>direction, stopping short of the following crescendo and subsequent lead-in to the duet with cello.<\/p>\n<p>The song\u2019s allusion alters or removes many specific features of the concerto passage, including voicings, embellishments, dissonances, rhythmic notations, dynamic contrasts, and registral spacings. The octave doublings in both hands are mostly reduced to a single voice, closing the registral spread substantially. No virtuosic embellishments are preserved, such as those found in m. 32 of the Romanze. Though the C$$\\sharp$$-B downbeat dissonance in the right hand is preserved, the F$$\\sharp$$-E$$\\sharp$$ dissonances of mm. 32 and 34 are not retained. The flowing eighth-note values that eventually push into the <em>stretto <\/em>of m. 34 and lead to triplets are renotated as steady sixteenth notes in the song. The dynamic contrast between the paired two-bar units, with the first marked <em>piano<\/em>, <em>pianissimo<\/em>, <em>con grazia<\/em>, and the second more densely textured along with <em>forte<\/em>, <em>dynamic <\/em>and <em>stretto <\/em>markings, as the C$$\\sharp$$-B dissonance triggers momentum toward the cello solo. None of this contrast occurs in the song. The overaching <em>langsam<\/em>, <em>zart <\/em>tempo of the song slows the flow that had rushed forward in the concerto. Though each piano solo fixates intently upon the features in common with the concerto noted above, there are subtle variations in timing that contribute to the slowing of momentum, in contrast to the <em>stretto<\/em>. In the first solo, a dotted rhythm on the D leading into the C$$\\sharp$$ anticipation (m. 2) occurs for the only time in the whole piece, momentarily stretching the melodic voice as it emerges out of the rising arpeggio texture. Ritardandi stretch for the entirety of the second solo (mm. 12\u201315) and for the last three measures of the third solo (mm. 24\u201326). Finally, while the right and left hands in the piano open the registral spread in the concerto and maintain independence, the proximity of both hands in the song\u2019s piano solos merge more readily in sound, blurring the separation of inner voices while also covering over the register of the solo cello\u2019s ensuing entrance that the concerto purposefully leaves vacant.<span id='easy-footnote-14-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-14-7864' title='On related issues of register in piano music and the expression of inner-voice melodies in works of Brahms, see Cubero (2017).'><sup>14<\/sup><\/a><\/span>\n<p>The song as a whole recalls several general features of the Romanze, including the sentence structure of the digression, the outer voice chromatic wedge that leads into the reprise, the rising scale passed between two voices leading to the slow movement\u2019s final cadence, and the F$$\\sharp$$ minor and A major tonicizations from the digression. The sentence structure of the digression, with its initial two-bar units, continuation, and concluding cadence, is mirrored by the song\u2019s repetition of two-bar units. The piano solos match the paired two-bar units of mm. 31\u201334 while the sung stanzas form 2+2+4 sentences, echoing the momentum near the end of the slow movement\u2019s B section.<span id='easy-footnote-15-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-15-7864' title='Martin (2010) designates the song\u2019s use of sentence phrase structure as a special combination of continuation and cadential function in the piano solos. The author traces how Schumann blends traits of Classical phrase structure in order to create a song that coheres as a self-standing fragment.'><sup>15<\/sup><\/a><\/span> The splitting outer voices of the Romanze\u2019s digression (mm. 34\u201336)\u2014originating from the augmented values and chromaticization of the X motive\u2014resonate in the song\u2019s outer voice counterpoint in mm. 9\u201310 and 11\u201312 (as well as mm. 20\u201321 and 22\u201323), funneling further momentum from the concerto passage into the expectation that the voice\u2019s phrase might lead to a compelling cadence. The Romanze\u2019s rising scale, which passes the X motive back and forth between cello and piano in mm. 59\u201362 of its ecstatic conclusion, resonates in the song\u2019s antiphonal call and response between voice and piano in mm. 8\u201312 and 19\u201323. In contrast to the concerto, this recollection does not lead to a satisfying tonic resolution in A$$\\flat$$ major. The weaker cadence in D major proves to be a dead end, as the recurring piano solos quickly wash away the sense of achievement from both vocal cadences. The fleeting F$$\\sharp$$ minor and A major tonicizations of the Romanze\u2019s digression are thematized to create the song\u2019s tonal pairing.<span id='easy-footnote-16-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-16-7864' title='Certainly this is not the only potential intertextual influence that contextualizes the tonal pairing. Rosen (1988, 380) observes another \u201canomalous\u201d tonal pairing between F# minor and A major in the finale of Schumann\u2019s Piano Sonata in F# minor, Op. 11, and Neumeyer (98-102) considers the archaic pastness invoked by the Baroque Phrygian half cadence. Also see Marston (1991) for the cycle\u2019s debt to Beethoven. On the other hand, distinguished analysts have opined that &lt;em&gt;Dichterliebe &lt;\/em&gt;is largely devoid of intertextuality, interpreting the cycle as excluding \u201c\u2018Clara\u2019 themes or Beethoven quotations\u201d (Dunsby 2007, 107).'><sup>16<\/sup><\/a><\/span> Robert is careful not to alter the concerto fragment by composing new continuations, attentively preserving the recollection of its image with each appearance. The clarity of memory comes at a tonal cost: the fragment ends each time on the dominant of F$$\\sharp$$ minor. As in the Romanze, the song does not prioritize F$$\\sharp$$ minor as a key area through cadential articulation.<\/p>\n<p>Through omissions and negations of general features of the Romanze, the song pointedly contradicts the slow movement\u2019s expressive trajectory. The most significant omissions stem from the lack of a duet and the generic transfer from the concerto\u2019s formal and tonal contexts to a strophic lied. The absence of a piano-voice duet setting the music of Clara\u2019s fragment underlines the speaker\u2019s isolation. The voice\u2019s first entrance attempts a duet with the fragment but quickly changes course, failing to unify in musical terms; instead, the melody is inverted, not unlike the motivic inversion of X found throughout the Romanze. As shown in Example 6, though the piano does support the voice in a duet-like texture for a majority of the shared passages, the D major cadences in mm. 12 and 24 feature poignant dissonances as the high G$$\\sharp$$ cancels the preceding G$$\\natural$$, painfully pulling back to the distant, past memory of the concerto fragment.<\/p>\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-6\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-6.jpg\" alt=\"\" class=\"wp-image-8232\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-6.jpg 1956w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-6-300x234.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-6-1024x800.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-6-768x600.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-6-1536x1200.jpg 1536w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption><em>Example 6: Schumann\u2019s Failed Duet in \u201cIm wundersch\u00f6nen Monat Mai\u201d, mm. 1-15<\/em><\/figcaption><\/figure><\/div>\n\n\n<p>The separation is heightened by the chromatic recall of the motive, which echoes antiphonally between piano and voice rather than as a forthright, diatonic duet. The original formal context of Clara\u2019s fragment marked a turning point in the Romanze\u2019s digression, as the X motive\u2019s subsequent liquidation and the acceleration of momentum toward the retransition eagerly anticipated the cello\u2019s entry in the duet. Robert\u2019s song distills the moment of yearning and negates its progress toward a duet. The avoidance of writing a new continuation for Clara\u2019s fragment maintains a trancelike focus on her music, sacrificing the tonal closure of the song itself: the speaker\u2019s mind is not in the present, but elsewhere, with the memory of the beloved.<span id='easy-footnote-17-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-17-7864' title='Another of Robert\u2019s allusions to Clara\u2019s music repeat also repeats a fragment three times, although the narrative of union in the end is supported by evolving tonal contexts. In the Novelette, op. 21, no. 8, the \u201cvoice from afar\u201d which alludes to a passage from Clara\u2019s \u201cNotturno,\u201d op. 6, no. 2, sounds twice in D major, and in its third appearance, the F major tonality of its original context is restored. The transposition is often viewed as a means of relational engagement (by Rosen (1995, 660), Hoeckner (1997, 126\u201331), and Todd (1994, 102)), suggesting that Clara is brought into contact in musical terms. This is starkly different from the opening of &lt;em&gt;Dichterliebe&lt;\/em&gt;, which makes a point of fixing the recurring fragment\u2019s musical structure, resulting in the song\u2019s memorable open ending.'><sup>17<\/sup><\/a><\/span> The global context of the slow movement within the concerto and its substantiation of Schmalfeldt\u2019s romantic interiority via formal process is also unsurprisingly absent in the short song. However, as the passage alluded to is an evanescent reflection within an interior space, its <em>Innigkeit <\/em>resonates with special expressive importance in a song of psychological depth. The interior realms of the Romanze are referenced, but not present. The ultimately absent A$$\\flat$$ major tonality of the slow movement brings the song\u2019s tonal flux into richer context: while the duet cadences in A$$\\flat$$ major and sustains a powerful melodic union between both instruments in this key, its negation in the song cancels any appearance at all. The momentary releases achieved in the vocal stanzas that cadence in D major in mm. 12 and 23 lead a tritone away\u2014as far as possible from A$$\\flat$$ major. Interpreting the sum of these similarities and differences, I offer two readings of the allusion as specific responses to Heine\u2019s poem, followed by a cumulative view of the role of intertextuality in the song\u2019s fragmentary structure.<\/p>\n<p>The allusion can be interpreted as a contradictory symbol for presence and absence. The theme of psychological isolation in the poem stems from the lack of the beloved\u2019s response after the speaker\u2019s confession. The speaker\u2019s heart receives love passively, though the source of this love is unspecified. The only mention of the beloved is found when the speaker confesses the depths of \u201cSehnen und Verlangen\u201d directly to them. The internal focus of perspective is heightened, negating a sense of reciprocation. Especially as the first poem that follows Heine\u2019s Prologue to the <em>Lyrisches Intermezzo\u2014<\/em>where mind-games and the perceived presence or lack of the beloved are prevalent\u2014the absence of the beloved\u2019s words or actions suggests the possibility that \u201cIm wundersch\u00f6nen Monat Mai\u201d dwells on an imagined conversation (see Example 7 excerpts).<span id='easy-footnote-18-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-18-7864' title='Turchin (1981, 288\u201390) suggests the entire song cycle could be a memory of past events.'><sup>18<\/sup><\/a><\/span>\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td>Original German<br><br>(First stanza)<br><br>Er war mal ein Ritter tr\u00fcbselig und stumm,<br>Mit hohlen, schneewei\u00dfen Wangen;<br>Er schwankte und schlenderte scholtternd herum,<br>In dumpfen Tr\u00e4umen befangen.<br>Er war so h\u00f6lzern, so t\u00e4ppisch, so links,<br>Die Bl\u00fcmlein und M\u00e4gdlein die kicherten rings,<br>Wenn er stolpernd vorbeigegangen.<br><br>(Last two stanzas)<br><br>In einen kristallenen Wasserpalast<br>Ist pl\u00f6tzlich gezaubert der Ritter.<br>Er staunt, und die Augen erblinden ihm fast<br>Vor alle dem Glanz und Geflitter.<br>Doch h\u00e4lt ihn die Nixe umarmung gar traut,<br>Der Ritter ist Br\u00e4utgam, die Nixe ist Braut;<br>Ihre Jungfraun spielen die Zither.<br><br>Sie spielen und singen, und singen so sch\u00f6n,<br>Und heben zum Tanze die F\u00fc\u00dfe;<br>Dem Ritter dem wollen die Sinne vergehen,<br>Und fester umschlie\u00dft er die S\u00fc\u00dfe &#8211;<br>Da l\u00f6schen auf einmal die Lichter aus,<br>Der Ritter sitzt wieder ganz einsam zu Haus,<br>In dem d\u00fcstern Poetenst\u00fcbchen<br><\/td><td>English Translation (Draper, 1984)<br><br><br><br>There once was a knight so afflicted with care,<br>So silent, with cheeks white and haggard,<br>He stumbled and bumbled he didn\u2019t know where,<br>In a gloomy trance he staggered.<br>He was so wooden, so clumsy, so daft,<br>The flowers and maidens giggled and laughed<br>As they passed the blundering laggard.<br><br><br><br>Then away to a palace of glass undersea &#8211;<br>The magic spell carries him thither.<br>Near blind with the brightness and brilliancy<br>He stares in bewilderment with her.<br>The nixie embraces him loving-eyed,T<br>he knight is the bridegroom, nixie is the bride,<br>Her maidens play on the zither.<br><br>They play and they sing &#8211; so sweetly they sing! &#8211;<br>They dance, and the air\u2019s aromatic.<br>The knight feels his sense shattering,<br>And closer he clasps her, ecstatic &#8211;&nbsp;<br>Then all of a sudden the scene goes black:<br>Once more alone, the knight finds himself back<br>In his gloomy poet\u2019s attic.&nbsp;<\/td><\/tr><\/tbody><\/table><figcaption>Example 7: Heine\u2019s Prologue to Lyrisches Intermezzo (excerpts)<\/figcaption><\/figure>\n\n\n<p>From what the poem explicitly mentions, the speaker\u2019s heart is described, but the second heart, that of the beloved, is not. Experiencing the depths of infatuation in isolation is pivotal to the poem\u2019s essence, rather than portraying the unification of two hearts, which is at best still far off. In response, Robert\u2019s musical allusion invokes Clara\u2019s music, potentially standing in for the poem\u2019s missing \u201csecond heart,\u201d one from a distant and past musical space. It also gestures to the interior of Clara\u2019s concerto. The threefold moments of longing for this passage underscore a lack of intimacy. Whereas Heine\u2019s poem leaves the beloved\u2019s presence vague and allows the possibility of their absence, Robert attempts to substitute a passage of substantial <em>Innigkeit <\/em>from Clara\u2019s concerto in order to tangibly fill this void\u2014though its denial of a duet or tonal closure results in absence.<\/p>\n<p>The allusion also intensifies the song\u2019s fixation on the past. Robert\u2019s crafting of <em>Dichterliebe<\/em>\u2019s distinct narrative and poetic personae resulted in part from how much of Heine\u2019s <em>Lyrisches Intermezzo <\/em>was omitted.<span id='easy-footnote-19-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-19-7864' title='Ferris (2000) cautions against viewing Robert\u2019s selections as support for an interpretation of narrative. Hoeckner (2006) and Weaver (2017) suggest that both interpretations of fragment and narrative can be sustained simultaneously in the cycle.'><sup>19<\/sup><\/a><\/span> Though \u201cIm wundersch\u00f6nen Monat Mai\u201d is the first short poem of the collection, the lengthy free-verse Prologue opens the collection and sets the tone. Robert\u2019s omission of this introduction is sensible from a musical perspective, but its content gives significant context for the first poem. The Prologue itself begins in the past tense, describing a knight alone in his dwelling (Example 7). He has a vision of his beloved, and after dreams of romantic unification\u2014amplified in a state of musical ecstasy\u2014is led to a crystal palace in the sea where the beloved appears as a nymph; here the episode ends, leaving the knight alone. The euphoric unification echoes the duet that Clara\u2019s fragment points toward but does not find in the poem\u2019s setting. The vision of the Prologue occurs in the present tense, whereas the collection\u2019s first short poem, which follows directly after, restores the past tense narrative.<span id='easy-footnote-20-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-20-7864' title='Hallmark (1979, 36) relates the past tense of the first song of &lt;em&gt;Dichterliebe &lt;\/em&gt;and its nostalgia to Heine\u2019s Prologue. Daverio (2002, 61) describes more generally how pastness is evoked via allusion in Robert\u2019s music, especially by \u201c&lt;em&gt;m\u00e9moire involuntaire&lt;\/em&gt;\u201d, as he alludes to compositions by Clara. This is also discussed by Hoeckner (1997).'><sup>20<\/sup><\/a><\/span> The sense of pastness so frequently attributed to Robert\u2019s setting results from the substitution of Clara\u2019s fragment for the missing memories of the Prologue.<span id='easy-footnote-21-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-21-7864' title='The song\u2019s temporal orientation has been described as directing toward the past by other analysts: Rosen (51) claims \u201cthe opening song of &lt;em&gt;Dichterliebe &lt;\/em&gt;is a closed, circular form in which beginning and ending are unstable\u2014implying a past before the song begins and a future after its final chord,\u201d and Perrey (177) states \u201cthe very existence of Song 1 presupposes an artistic matrix prior to its own existence, and out of which it has arisen.\u201d'><sup>21<\/sup><\/a><\/span> Rather than providing a complete backstory, only hints of the past remain.<\/p>\n<p>Another aspect of Heine\u2019s poetry that surely attracted Robert\u2019s attention is its own multivalent intertextuality.<span id='easy-footnote-22-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-22-7864' title='Perrey interprets Heine\u2019s poem as an allusion to Solomon\u2019s &lt;em&gt;Hohelied &lt;\/em&gt;in the Lutheran Bible (96) and Reynolds interprets it as an allusion to Ra\u00dfmann\u2019s 1821 poem which shares its opening line (70).'><sup>22<\/sup><\/a><\/span> Reynolds (2003, 70) has argued that this aspect of the poem initially inspired Robert to compose a setting that was itself musically intertextual, although the clarity of its first allusion was obscured as \u201cSchumann the critic evidently overrode Schumann the composer.\u201d<span id='easy-footnote-23-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-23-7864' title='Reynolds consults early sketches of the song and their clearer melodic resemblances to the Beethoven passage.'><sup>23<\/sup><\/a><\/span> The allusions to Beethoven and Mendelssohn cited by Reynolds (see Example 8) are perhaps less clear than the allusion to Clara\u2019s concerto, but their inclusion makes for richer interpretive possibilities regarding the poetic speaker\u2019s capacity for memory and expression of coherent thoughts.<\/p>\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-8-pg-1\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-scaled.jpg\" alt=\"\" class=\"wp-image-8233\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-scaled.jpg 2560w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-300x225.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-1024x766.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-768x575.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-1536x1150.jpg 1536w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-1-2048x1533.jpg 2048w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><\/figure><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large is-resized\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/keep36-example-8-pg-2\/\"><img decoding=\"async\" src=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-2-1024x665.jpg\" alt=\"\" class=\"wp-image-8234\" width=\"512\" srcset=\"https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-2-1024x665.jpg 1024w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-2-300x195.jpg 300w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-2-768x499.jpg 768w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-2-1536x997.jpg 1536w, https:\/\/theory.esm.rochester.edu\/integral\/wp-content\/uploads\/2023\/04\/keep36-Example-8-pg.-2-2048x1329.jpg 2048w\" sizes=\"(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><figcaption><em>Example 8: \u201cIm wundersch\u00f6nen Monat Mai\u201d,<\/em> Dichterliebe<em>, op. 48, with allusions in vocal melody observed by Reynolds (2003, 70-72<\/em>)<br><\/figcaption><\/figure><\/div>\n\n\n<p>The clarity of each potential allusion suggests varying proximities of memory: Clara\u2019s is clearest, the Mendelssohn is moderately clear, and the Beethoven is most concealed. Oscillating back and forth between them generates motion, directed by the threefold appearances of Clara\u2019s fragment. The centrality of this particular allusion is emphasized as it fills all of the speaker\u2019s silences, preceding, interrupting, and concluding the poetic utterances. Her music occupies the mind fully, directing the thoughts of a speechlessly enraptured individual. When the speaker articulates each stanza, they cycle through an assemblage of musical memories from works that feature content related to various aspects of Heine\u2019s poem, such as romantic separation and rituals of spring.<span id='easy-footnote-24-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-24-7864' title='The cited passage from &lt;em&gt;Fidelio &lt;\/em&gt;features dramatic irony: while Leonore is disguised as Fidelio and is accompanied by Rocco to visit Florestan during his imprisonment, they sing together in \u201cEuch werde Lohn in bessern Welten\u201d, unbeknownst to Florestan. This pivotal moment plays on absence and presence. The passage from &lt;em&gt;Die erste Walpurgisnacht &lt;\/em&gt;centers on pagan rituals of spring.'><sup>24<\/sup><\/a><\/span> Ultimately, these vocal allusions turn back to the impending repetitions of the concerto fragment, always leading to the same place.<\/p>\n<p>Understanding the song as a constellation of intertextual allusions, the following description of the fragment by Beate Julia Perrey (2002) takes on new specificity: \u201cAll fragments as they appear in \u2018striking combinations\u2019 and \u2018surprising turns and configurations\u2019 do also, as an ensemble, \u2018reach out ever further beyond themselves\u2019 so as to at least indicate the Absolute. Hence, the fragment is a medium for reflection, a segment of an ensemble whose centre lies outside itself\u201d (31).<span id='easy-footnote-25-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-25-7864' title='Perrey\u2019s internal citation is to Schlegel (1958). The original German is included here: \u201cMerkw\u00fcrdige Kombinationen\u2026 \u00fcberraschende Wendungen und Konfigurationen\u2026 die stets \u00fcber sich selbst hinausweisen\u201d (51).'><sup>25<\/sup><\/a><\/span> This elevates intertextuality beyond homage and confers structural significance: the allusions gesture away from the song itself, generating directional motion.<span id='easy-footnote-26-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-26-7864' title='See Klein\u2019s chapter on \u201cThe Appeal to Structure\u201d, which concisely states: \u201cA musical structure is a relational event among texts. A musical structure is an intertextuality\u201d (31).'><sup>26<\/sup><\/a><\/span> In Perrey\u2019s formulation, the structure of a fragment is like a mobile, a \u201cdecorative kinetic structure made of pieces of solid matter which\u2026 is set into motion. As we contemplate a mobile, its pieces are suspended within the space it describes through movement, and yet it is we who are setting it in motion, and who decide from which perspective to look\u201d (xi). To revisit a point made many times about this song: the tonal pairing of the song generates substantial \u201cmotion\u201d through its ambiguity. Taken in context of Robert\u2019s compositional habits, especially in shorter movements within a cycle, the close on the dominant of F$$\\sharp$$ minor is not particularly unusual.<span id='easy-footnote-27-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-27-7864' title='Robert employs numerous strategies to end \u201coff-tonic\u201d. A few representative examples from the Lieder include \u201cAuf einer Burg\u201d, op. 39, no. 7, \u201cAnfangs woll ich fast verzagen\u201d, op. 24, no. 8, and \u201cStirb, Lieb und Freud!\u201d op. 35, no. 2, which all can be read as ending on the dominant. \u201cNun hast du mir den ersten Schmerz getan\u201d op. 42, no. 8 concludes &lt;em&gt;Frauenliebe und -leben&lt;\/em&gt;, and while it returns to the cycle\u2019s opening B$$\\flat$$ major, it contradicts the song\u2019s opening in D minor. In the piano works, &lt;em&gt;Kinderszenen&lt;\/em&gt;, op. 15 sets up the sense of improvisatory freedom at the start of \u201cDer Dichter spricht\u201d by concluding \u201cKind im Einschlummern\u201d on the subdominant. Space prohibits a full account of Robert\u2019s open endings, which are found in a variety of generic contexts. In Clara\u2019s works, \u201cDie stille Lotosblume\u201d, op. 13, no. 6, opens and closes on the dominant.'><sup>27<\/sup><\/a><\/span> However, a song constructed almost entirely of intertextual allusions is rather rare, even for a composer that made intertextuality a central feature of his language.<span id='easy-footnote-28-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-28-7864' title=' Perhaps Robert has, with this constellation of fragmentary allusions by numerous different authors, drawn a musical response to Schlegel\u2019s early collections of literary fragments. As Feurzeig (2021) recounts: \u201cSchlegel pioneered a genre he called the fragment. He wrote many of these pithy comments, and also recruited his friends as contributors, publishing fragments in sets without revealing who had written which ones (though later editors have worked out attributions). This mix of materials, ideas, and authors was meant to symbolise the interconnectedness of the universe\u2026 [Schlegel] also made a point of grouping fragments, creating a clear sense of relationship amongst them\u201d (279\u2013280). Robert\u2019s song similarly draws together numerous authors to form a musical fragment.'><sup>28<\/sup><\/a><\/span> It is also worth considering that the song\u2019s tonal pairing may have resulted precisely from its prioritization of intertextual juxtapositions.<\/p>\n<p>I do not seek to downplay the significance of the work\u2019s tonal structure, but to link its significance to the intertextual parameter in order to deepen the understanding of the song\u2019s fragmentary status.<span id='easy-footnote-29-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-29-7864' title='For Vande Moortele (2021), the song\u2019s formal status as a fragment motivates the view that its \u201copenness more obviously serves to connect the individual song to the cycle as a whole\u201d (269). If the song itself constitutes a fragment within the cycle, its intertextual allusions splinter off further into local fragments within itself.'><sup>29<\/sup><\/a><\/span> The strength of motion generated by the song\u2019s intertextual gestures resonates with what Perrey describes as the \u201cexperience of desire itself\u201d. Fragments open the possibility for a composition to be \u201cno longer about the idea of movement alone\u201d but to be \u201cmovement itself\u2014it shapes time\u201d (xiv). Rather than focusing on the theoretical implications of whether such a reading denies the influence of late-nineteenth-century organicism or upholds earlier aesthetics of the fragment, it is possible to consider how both views\u2014contradictory though they may be\u2014can exist together in the song.<span id='easy-footnote-30-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-30-7864' title='As stated above, this is a conceptual point of resonance with Hoeckner (2006) and Weaver (2017).'><sup>30<\/sup><\/a><\/span> For such a richly multi-layered lied, views of its structure should be correspondingly multi-layered. The song\u2019s distinctive features should be understood to gesture both away from (via allusion) and toward itself (via lack of tonal closure), which may be one reason it has eluded simple analytical explanations. Given the focus on motion generated as a result of intertextual and tonal flux, future interpretations may benefit from considering how the intersection of structure and motion as laid out here could have implications for performance.<span id='easy-footnote-31-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-31-7864' title='A provocative take on performance issues in &lt;em&gt;Dichterliebe &lt;\/em&gt;may be found in Lucia D\u2019Errico\u2019s work conducted at the Orpheus Institute (Ghent, Belgium): \u201cOne Less Performance of &lt;em&gt;Dichterliebe&lt;\/em&gt;\u201d, &lt;a href=&quot;https:\/\/orpheusinstituut.be\/en\/projects\/one-less-performance-of-dichterliebe&quot;&gt;https:\/\/orpheusinstituut.be\/en\/projects\/one-less-performance-of-dichterliebe&lt;\/a&gt;, accessed August 18, 2022.'><sup>31<\/sup><\/a><\/span>\n<p>How does the song\u2019s fragmentary structure reflect upon our understanding of what Robert\u2019s allusion to Clara\u2019s concerto might mean? Many possible readings exist. Chief among them, the allusion invokes the biographical dimension. By recalling the most ambitious composition of Clara\u2019s youth and pre-marriage years, Robert gestures to an important stage of the couple\u2019s shared musical history. The allusion evokes femininity more generally, in its citation of a work composed and performed by a woman.<span id='easy-footnote-32-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-32-7864' title='2Along with Klein, significant studies on gender in music includes Burnham (1996), Kramer (1998), McClary (2000, 2002), and Vande Moortele (2017). Of special interest to the present study, Kramer and McClary especially draw together the concepts of gender and interiority.'><sup>32<\/sup><\/a><\/span> It draws also upon the concerto itself in order to locate a passage of deeply interiorized reflection within the song\u2019s orbit, blending the contexts of genre in the process. Much more than a one-dimensional romantic gesture, the reference in <em>Dichterliebe <\/em>demonstrates that in the context of their romantic relationship and temporary physical separation before their marriage, Robert engaged creatively with Clara\u2019s compositional voice. Via allusion, we are drawn toward her concerto. <em>Dichterliebe <\/em>begins not with Robert\u2019s voice, but with Clara\u2019s.<\/p>\n\n\n<h2 class=\"wp-block-heading\"><strong>Conclusion<\/strong><\/h2>\n\n\n<p>\u201cIm wundersch\u00f6nen Monat Mai\u201d stands as a case study for how much more is at play when we carefully investigate the source of an allusion, and in this case, when we allow Clara\u2019s music space to influence our reading of the song. To return to the issue of gender in intertextuality, Klein (49) outlines two stereotypical characterizations of gender dynamics, articulating power relations in sexual terms: either \u201cthe poet who borrows is passive,\u201d and \u201che feminizes himself by allowing another voice to enter him,\u201d or the \u201cfeminizing threat is sometimes veiled by a more virile, masculine metaphor: the models of the apprentice writer are territories to be conquered.\u201d The two views are often combined to explain how a composer maintains individuality while drawing upon the works of others, resulting in \u201canalyses\u2026intent on presenting unified, single structures\u201d which \u201ccollaborate with meta-narratives that marginalize the feminine characteristics of composing music.\u201d How can we avoid these types of characterizations when we interpret the relationship between Clara\u2019s concerto and Robert\u2019s song? When considering how Clara\u2019s music is referenced by Robert via intertextual allusion, we have not yet made enough room for the idea that her music may exert influence upon a work\u2019s structure beyond the capacity of a one-dimensional romantic gesture. By situating references to her music within broader narratives of autonomy, her voice is marginalized, and the \u201cvirile, masculine\u201d characterization of the alluding composer is perpetuated. Such interpretations strive to show how \u201canalysis normalizes strangeness, marginalizes anomaly, and resolves aporia.\u201d Intertextuality offers the analyst another path: by embracing a work \u201citself\u201d in addition to the others that it references, we start to see how \u201ctexts release meaning when surrounded by other texts\u201d (50). Otherwise, critical insight regarding structure and context can be sacrificed. Additionally, the allusion to Clara\u2019s concerto demonstrates how much can be learned from analyzing her music, which is only beginning to be understood on its own terms.<span id='easy-footnote-33-7864' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/#easy-footnote-bottom-33-7864' title='Following the groundbreaking work of Reich (1985) and Klassen (1990), recent studies such as Pedneault-Deslauriers (2016), Stefaniak (2017), Weinstein-Reiman (2017), Stefaniak (2018), Borchard (2019), Klassen (2020), and Wozonig (2020) have laid a foundation for future analytical interpretations of Clara Schumann\u2019s works. Clara\u2019s influence on Robert, whether through music or correspondence, is addressed by Hoeckner (1997), Binder (2013), Krebs (2016), and Taylor (2021).'><sup>33<\/sup><\/a><\/span>\n<p>In 1838, Robert (Schumann 1994, 94) wrote to Clara: \u201cSometimes it feels as if a great many alleys were running pell-mell through my heart and as if my thoughts and feelings were bustling about in there\u2026just as people do, and they were asking one another, \u2018Where does this one lead?\u2019\u2014to Clara\u2014\u2018and this one?\u2019\u2014to Clara\u2014everything leads to you.\u201d Daverio\u2019s (2002, 139) discussion of this letter ties the impulse of memory and romantic attraction to the ideas of Walter Benjamin: \u201cFor Schumann, Clara occupied the \u2018enigmatic center\u2019 of a labyrinth that, as Benjamin (1999, 615) observed, arises from the attempt to recall a past life in memory; as the fan of memory unfolds, it greets us with \u2018passageways that always, in the most diverse periods of life, guide us to the friend, the betrayer, [and] the beloved\u201d. Perhaps no other song of Robert\u2019s is as well known for its status as an \u201cenigma\u201d as \u201cIm Wundersch\u00f6nen Monat Mai\u201d. The etymological roots of this word, after the Greek <em>ainissesthai<\/em>, \u201cto speak allusively\u201d, take on special significance when we pursue the extent to which Clara\u2019s voice resounds in such compositions (Oxford English Dictionary 2000). Robert\u2019s song is an \u201cenigma\u201d\u2014but it is precisely because it \u201cspeaks allusively\u201d that we can characterize Clara\u2019s intertextual involvement as the means for an occupation with its \u201cenigmatic center\u201d. Here, Clara\u2019s is the voice of enigma.<\/p>\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>References<\/strong><\/h2>\n\n\n<p>Benjamin, Walter. 1999. \u201cA Berlin Chronicle.\u201d In <em>Walter Benjamin: Selected Writings, vol. 2: 1927\u201334<\/em>, translated by Rodney Livingstone and others, edited by Michael W. Jennings, Howard Eiland, and Gary Smith. Cambridge, MA: Belknap Press of Harvard University Press.<\/p>\n<p>Binder, Benjamin. 2013. \u201cRobert, Clara, and the Transformation of Poetic Irony in Schumann\u2019s Lieder: The Case of \u2018Dein Angesicht\u2019\u201d. <em>Nineteenth-Century Music Review <\/em>10, no. 1: 1\u201328.<\/p>\n<p>Borchard, Beatrix. 2019. <em>Clara Schumann. Musik als Lebensform<\/em>. Hildesheim: Ulms.<\/p>\n<p>Burnham, Scott. 1996. \u201cA. B. Marx and the Gendering of Sonata Form.\u201d In <em>Music Theory in the Age of Romanticism<\/em>, edited by Ian Bent, 163\u201386. 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A Hoffmann to Arnold Schoenberg<\/em>. Cambridge: Cambridge University Press.<\/p>\n<p>\u2014\u2014\u2014. 2012. \u201cThe Floral Poetics of Schumann\u2019s Blumenst\u00fcck, Op. 19.\u201d <em>19<sup>th<\/sup>-Century Music <\/em>36, no. 1: 24\u201345.<\/p>\n<p>Weaver, Andrew H. 2017. \u201cMemories Spoken and Unspoken: Hearing the Narrative Voice in <em>Dichterliebe<\/em>.\u201d <em>Journal of the Royal Musical Association <\/em>142, no. 1: 31\u201367.<\/p>\n<p>Weinstein-Reiman, Michael. 2017. \u201c\u2018Inside\u2019 Voices and Coupling Dynamics: An Analysis of Clara Wieck-Schumann\u2019s Notturno from <em>Soir\u00e9es Musicales<\/em>, Op. 6 No. 2.\u201d <em>Theory and Practice <\/em>42: 1\u201328.<\/p>\n<p>Wozonig, Thomas. 2020. \u201cGender, Schaffensprozess und musikalische Analyse: Clara Schumanns Drei gemischte Ch\u00f6re (1848).\u201d <em>Zeitschrift der Gesellschaft f\u00fcr Musiktheorie <\/em>17, no. 1: 117\u2013145.<\/p>","protected":false},"excerpt":{"rendered":"<p>David Keep Abstract The allusion in Robert Schumann\u2019s \u201cIm wundersch\u00f6nen Monat Mai\u201d to Clara Schumann\u2019s Piano Concerto, op. 7 has been little discussed. Given Robert\u2019s familiarity with the concerto, the allusion may be understood as a hermeneutic key for the song. The slow movement features a duet between solo piano and cello in its reprise &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/theory.esm.rochester.edu\/integral\/36-2023\/keep\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The Voice of Enigma: Intertextuality in \u201cIm wundersch\u00f6nen Monat Mai\u201d&#8221;<\/span><\/a><\/p>\n","protected":false},"author":18,"featured_media":0,"parent":7648,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_oasis_is_in_workflow":0,"_oasis_original":0,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-7864","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/pages\/7864","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/comments?post=7864"}],"version-history":[{"count":25,"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/pages\/7864\/revisions"}],"predecessor-version":[{"id":9003,"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/pages\/7864\/revisions\/9003"}],"up":[{"embeddable":true,"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/pages\/7648"}],"wp:attachment":[{"href":"https:\/\/theory.esm.rochester.edu\/integral\/wp-json\/wp\/v2\/media?parent=7864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}