Keplin

Rachael Keplin
Dr. Sherr
Form & Analysis: Musical Analysis Project
12 November 2011

Mrchenbilder, Op. 113: for viola and piano

Robert Schumanns Mrchenbilder, Op. 113 (Images of Fairy Tales) is assuredly
one of the violists favorite set of pieces originally created for the viola. The four pieces
(or movements) are poetic miniatures exploring the different combinations of colors and
characters through subtle interplay between the viola and piano (Cheung).
Before Schumann conceived his ideas for the Marchenbilder, he would move out
of Dresden and accept a new post as Director of Music for the Dusseldorf Orchestra.
Dusseldorf, an attractive city on the east bank of the Rhine north of Cologne, was a
harbor for artists since the 17th century. The previous director for Dusseldorf, Ferdinand
Hiller, suggested Schumann as his replacement. Hiller had lived and traveled much of
Europe and knew many of the major musicians of his time. He was very fond of
Schumann and in the past had greatly assisted the Schumanns in establishing themselves
in Dresden. There was no doubt that Hiller was aware of Schumanns limitations as a
conductor as well as familiar with his variety of character traits- both of which could be a
disadvantage to running an orchestra of a larger community. However, Hiller must have
been impressed with Schumanns work with the Dresden Choral Society to recommend
him for the city of Dusseldorf (Ostwald).

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After quite a few months of Schumann waiting on alternate job opportunities and
anticipating an unstable mental state from another move, on the 31 of March 1850 he sent
his acceptance letter for the post as Music Director to Dusseldorf. Schumann had been
engaged as music director solely on recommendation and was expected to maintain or
even improve the standards set by previous directors. This position would have been
challenging for even the best conductor considering the small size and amateur nature of
the orchestra. Schumann did not only have to consider how to showcase and improve the
orchestra, but also how to continue his growth as a composer.
The strain on Schumann having to be a conductor, while also trying to preserve
his integrity as a composer, was soon evident. Only a few rehearsals had passed in his
first season with Dusseldorf before Clara [Schumanns wife] had noted his highly
nervous, irritable, excited mood (Ostwald). Schumann had been plagued with mental
instabilities causing him to flux between manic happiness and grave depression.
However, no matter how much he may have been affected by his surrounding
environment and ever-changing mood, the last years of Schumanns career proved
intensely productive. Between his employment in Dusseldorf in 1850 and his removal to
Enderich in 1854, he completed no fewer than 50 works, all representing a vast variety of
genres. It was within these last few years that Schumann would compose the
Marchenbilder.

***

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The music of Schumann is sometimes like riding an emotional rollercoaster, with its
sudden justapositions of highs and lows, and Marchenbilder is certainly no exception
(Buttall).
The Marchenbilder was composed in the March of 1851, only three years before
Schumanns mental collapse. The work is dedicated to Wilhelm Joeseph von
Wasielewski, concert master for the Dusseldorf Orchestra and later would become one of
the first biographers of Schumann (Cheung). After its first performance by Clara
Schumann and Wasielewski, he writes a vivid description in his biography:
After Schumann had written his Mrchenbilder,
which to my great pleasure, he dedicated to me, he
had his wife play them through while I took the
viola accompaniment. He then said with a smile:
Childish pranks! Theres not much to them, By
this he merely meant to imply that the pieces
belong to the genre of Kleinkunst [literally, small
art]. He made no objection when I called them
delightful (Cheung).
As implied by the domestic and casual nature of this first performance, Marchenbilder
belongs to the genre of Hausmusik (house music). This genre is a type of chamber music,
usually modest in technical demand, and intended for the performance of amateurs in
bourgeois homes rather than concert halls. However, Marchenbilder is not the ideal
Hausmusik for the 19th century amateur. Both the viola and piano part are demanding
technically and musically.
As mentioned previously, the Marchenbilder are poetic miniatures with the music
set to evoke an atmosphere that might accompany a fairy tale the music does not tell a
fairy tale itself. Also, as many of Schumanns other compositions, the Marchenbilder has
unexpected contrasts of dynamic, texture, and other musical qualities. Each of the four

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movements could easily show this contrast by their title tempo markings: Nicht Schnell
(not fast) Lebhaft (lively) Rasch (quick) Langsam, mit melancholischen Ausdruck
(Slowly, with melancholy expression). It is dually important though, to note that the
qualities that make Schumann a truly great representative of the Romantic Spirit are
equally evident within each of the movements themselves (Buttall).
By focusing on the opening movement (marked Nicht Schnell) of Schumanns
Marchenbilder, several unique qualities can be identified: fantasy-like formal structure,
constant dialogue between voices, intentionally demarcated sections and an ambiguous
tempo marking. These unique features are certainly profound in what makes this opening
movement so lyrically engaging for the audience and technically challenging for the
performer, but important to note they are not the only factors that exist.
Before dissecting the smaller features of this movement, it is crucial to realize the
structure in which the music is put together. Schumann does not use a basic formula, like
ternary, sonata or binary, to organize the first movement but rather uses a type of free
form: fantasy. An overview of the definition of a fantasy would state that it consists of a
series of sections, each different from the others with the exception of the last section,
which returns the material of the first. Not only are the sections quite unlike each other in
mood and theme, but several of them do not really come to a convincing ending. There
arises an analytical problem from the fact that when one becomes very well acquainted
with the work, a feeling of unity and structural organization appears that hinders a
fragmented effect that is produced on first hearing (Tyndall). Within the text of the
music, Schumann includes 3 double bars. The first appears at the end of measure 8, the
next at the end of measure 29 and the last at the end of measure 37. If the double bars are

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analyzed as section markers, then the movement, in sections of measures within each of
the double bars, comes together looking something similar to this:
Section
Measures
Section Length

A
mm.1-8
8mms

B
mm.9-29
21mms

C
mm.30-37
8mms

D
mm.38-72
35mms

Noting the length of each section according to the number of measures included reveals
that section A and C are identical in length while B and D have no relation in length. This
asymmetry, easily spotted from looking at the movement in a larger picture is the theme
that dominates any level of analysis on this movement. Most importantly, the lack of
consistency and clarity between the demarcated sections is what makes this movement
appropriate for the fantasy-like formal structure.
To shift from the more unique features of this movement, the tonality shows much
more of a normative nature and can be organized to view this form in a simpler picture.
Tonally, each movement of the Marchenbilder is either relating to and/or centering on the
pitch D; this fact is also what unifies the work in its entirety. The opening movement is in
the key of D minor and is firmly established by both the piano and viola arppeggiating a
D minor triad within the first full bar. Not long after the marked double bar at the end of
measure 8, the tonality makes a small two bar transition to the key of F major. Both the
viola and piano weave in and out of ambiguity until a strong cadence in measure 29
firmly establishes F major again. However, at the end of measure 29 another double bar is
marked and the tonality is willed to once again shift. From here, there are very strong
hints of a short lived A minor key, but interrupted by a familiar (double bar) demarcation
at the end of measure 37. The pitches accenting the A major chord grow stronger over 4
bars before finally resolving to the tonic D minor in bar 46. The last section carries on

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through the end of the movement in D minor. The section areas, measures and key areas
can be organized by the following:
Section
Measures
Key Area

A
mm.1-8
D minor (tonic)

B
mm.9-29
F major
(relative)

C
mm.30-37
Transitional
(distant)

D
mm.38-72
D minor (tonic)

After analyzing the larger formal contributors to the opening movement of the
Marchenbilder, it is now crucial to breakdown into the smaller unique qualities. The first
movement contains two main thematic/melodic materials; the first, and most notable, is
an intensely lyrical opening theme. Introduced by the viola, this melody appears at very
few moments throughout the movement. This theme appears first in measure 1 and
carries through to measure 8. The melody begins with soft dynamics giving way to
crescendo an arppeggiated 2nd inversion D minor triad, which then leaps an interval of a
minor 6th to Bb and ascends to an octave D from the first bar. This pitch (D) is the first of
the three outlining pitches in the melody. Schumann makes this known by his dynamic
markings: a small crescendo towards the D and a decrescendo to depart into the melodys
next framing pitch. The melody continues to create an arch-like shape by ascending
towards this outlining pitch: F natural. Schumann does not write any dynamic markings
to assist with the emphasis on this pitch, but rather lets the shaping qualities of the
melodic line be a guide for the performer. From here, the melodys pitches slowly curve
downwards, hitting the melodys same pitched D from earlier and leading eventually to
the last pitch to outline the melody: Bb. Again we see that Schumann has made dynamic
markings to assist the performer in emphasizing this note.

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This melody appears in exact form twice in the movement with the same pitches
and almost identical rhythm. It makes its last appearance at the final moments of the
piece. The viola crescendos a 16th note run climax towards an accented dominant chord
and without warning, drastically changes dynamics to the very familiar soft spoken
melody heard at the opening of the movement. At first, the returning melody is off of the
downbeat but then catches rhythm once the first outlining pitch D is reached.
The opening melody makes its alternate appearances in section C and in the
opening bars of section D. These appearances are harder to recognize aurally, but in text
are recognizable by rhythm and interval relation to the original melody. All four
occurrences of the melody share what is most recognizable within the material, a set of
five notes beginning with a leap of a minor sixth interval to the top pitch, falling down to
the leading tone and then resolving to the tonic:

The pitches in the text above show the original melodys pitches, all in the key of D
minor. Later in the movement, at measure 35, we see the same rhythmic material but with
a variation on the pitches:

Note that both versions of this 5-note melodic material include the same series and order
of intervals. There is another small allusion to the original melody in measure 39, but it

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does not include the 5-note pattern only the ascending pattern of a second inversion
triad in the implied tonic area [in this case A minor]. Other than this 5-note pattern, the
original and altered melodies do not share much more similar material. However, the
pattern is recognizable enough to show an obvious relation. A comparison of the different
occurrences is organized below to simplify the similarities and contrasts:

Melody (original)
Ascending 2 inversion triad

Melody (variation)
Ascending 2nd inversion triad, but revisits
first pitch of triad (in this case E)

Dminor key area

5 eighth note pattern of intervals resolving
to quarter note tonic

Aminor key area

5 eighth note pattern of intervals resolving
to quarter note tonic

nd

Simultaneous to the opening melody of the movement, the second shaping thematic
material, a 7-note motive, is first introduced by the piano in measure 9:

This motive then reappears for a number of times actually, 35 more times in the 72
measure movement! The unique feature that this motive offers is not only unity
throughout the movement (that is constantly weaving in and out of stability) but also
extensive development in the character. Though the motive appears a significant number
of times, the aural recognition of the motive is far from exasperating. Each time the
motive appears, its demeanor is shifted slightly. This is accomplished through variations
in the pitches that start and comprise the motive, what is voice presenting the motive and
what accompaniment, or lack thereof, there is to the motive. Since there are so many

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presentations of this motive, it is best to compare and contrast the core elements that
define each occurrence to have a full comprehension of the motives significance to the
movement.
Measure of
Appearance
m.9-10
m.11-12

m.17-18

m.22
m. 28
m.30-31
m.32-33
m.38-39

m.40
m.46-47

m.48-49

m.54-55

Accompaniment
Viola: sustained low
D
Piano: offbeat
eighth notes/slurred
half and quarter
notes
Piano: offbeat
eighth notes/ half
note and
disconnected quarter
note
Viola: slurred
quarters
Viola and Piano
together in rhythm
Piano: disjunctive
rhythms
Unaccompanied
m.38:
unaccompanied
m.39: viola with
variation of opening
melody
Piano: complex,
moving rhythms
Viola: similar to
held low D, but now
for only two beats
per measure
Piano: offbeat
eighth notes/ half
note and
disconnected quarter
Viola: slurred
quarters/ 16th note
answer in beat 3

Voice with Motive

Piano

Starting Pitch
(of each
motive/measure)
A4, F4

Viola

D4, Bb3

Viola

C4, A3

Piano

A4

Viola & Piano

Viola: F3 Piano: F4

Viola

E4, C4

Piano
Piano

A4, F4
E4, C4

Viola

D4

Piano

A4, F4

Viola

D4, Bb3

Piano

F4, D4

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m.58-59
m.65-68

m.69

Viola: return of
opening theme
Piano: trilled Ab for
2 bars/ trill
throughout
oscillating notes of
D and Ab
Viola: sustained A

Piano

A4, F4

Viola

A3(x2), A2(x2)

Piano

A4

*This graph includes all of the appearances that have direct rhythmic relation to the original motive, but no
variations of the motive the count of 35 appearances includes slight variations on the motive. These
variations are equal contributors to the developing character in the movement, but do not benefit the
exercise of simplifying the factors separating all guises of the motive.

By viewing the motive by each individual appearance, it becomes easier to analyze what
factors make each display of the motive unique. Initially, the piano is seen introducing
this motive without much distraction from the viola which sustains a low pitched D for
the duration of this introduction. This combination of colors from the viola and piano
create a rather reserved sounding character. It is effective in the fact that it continues the
dark atmosphere and shy character from the opening bars of the movement. Though the
motive may seem to be the main cause of continuation on this particular color, the
accompaniment is actually carrying more of the responsibility. As mentioned previously,
each time the motive enters it is painted with a slightly different color this first instance
showing a dark and mysterious color. Consequently, this color contributes to the character
of the movement.
It is only necessary to continue into the bars immediately following the
introduction of the motive to find the same motive with different mood. After the piano
states the 7-note motive, once per bar over two bars (m.9-10), the viola shortly follows
with a response to the motive in measures 11&12 (also once per bar over two bars). Here,
the viola starts on different pitches than the originally stated motive, a D and a Bb, and is

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also accompanied with offbeat eighth notes by the piano. The aural effect of this change
in accompaniment drastically shifts the mood to a character that is significantly less shy.
Each appearance of the motive can be analyzed in this way. If this process is
continued, the contributions of the motive to the character become significant. Through
the development of different deviations made on the motives pitches and
accompaniment, the character starts to show clear points of extroverted and in contrast,
introverted qualities. By combining all of the contrasting features and events, a unique
musical character appears. This character is far from having any stability.
Out of all the appearances of this motive, the viola and piano only play it together
once. This occurs in measure 28. Because there is such an overwhelming feeling of
instability throughout the majority of the movement, the unity of two voices (viola and
piano) in rhythm is now seen as an oddity. This moment is especially important because it
is crucial to the formal structure of the movement. This measure not only acts as an aural
point of stability, but also a point of deception in the movement. After a strong cadence in
F major, the music falls right back into the same unstable motive, passing back and forth
between viola and piano and now in an even more distant key.
After the opening melody and 7-note motive are established and developed,
Schumann then brings the mysterious character to a new height. In measure 58, the
opening melody and the motive are fused together. The piano revives the original pitches
of the first stated motive with some added ornaments at the beginning of the measure 58.
The viola begins this measure by reaching a high-pitched A at a forte dynamic then
dropping suddenly two octaves below to start the opening melody. The effect of these two
thematic materials combining is the core of Schumanns genius for composing intensely

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lyrical melodies. The end result of reviving and combining such colors is a musical
fantasy lacking any clear structure, but possessing a reflective, dreamy quality that is at
once charming and hypnotizing (Cheung).
One last crucial contributor to the character of this movement is its tempo
marking: nicht schnell (not fast). This tempo marking is extremely ambiguous to the
performers. Schumann has clearly marked that the movement is not meant to be quick but
on the other hand, he has not marked that the movement be performed slowly. This
unique communication of tempo only heightens the goals of the movement for the
performer this because the only performer has to make the decision of tempo. The lack
of clarity is very similar to the lack of stability found in the movements other formal
features.
The musical character developed throughout the movement shows striking
resemblance to another familiar character previously discussed: Robert Schumann. There
is more than enough evidence in the text of the music to prove Schumann might have
invested some personal qualities within the Marchenbilder. Whether Schumann intended
such strong resemblance is debatable. Nonetheless, the spontaneity apparent in the work
has transformed these playful poetic miniatures into Marchen obne Worte (fairy tales
without words) (Cheung).

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Basch, Victor, and Catherine Alison Phillips. Schumann, a Life of Suffering. Freeport,
NY: for Libraries, 1970. Print.
Bedford, Herbert. Robert Schumann, His Life and Work. Westport, CT: Greenwood, 1971.
Print.
Buttall, Phillip R. "Plymouth Chamber Music: Rebecca Jones (viola) Abigail Richards
(piano)."Marchenbilder, Op. 113 (2005). Www.plyclassical.co.uk. Making Music:
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<http://www.plymouth.ac.uk/files/extranet/docs/PR/PCMT%20Prog
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Schumann, and Hindemith. Tech. Home Page of Vincent C.K. Cheung. 30 May 2006.
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<http://www.classicalconnect.com/Viola_Music/Schumann/Marchenbilder_for_viola/138
1>.
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UP, 1985. Print.
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Tyndall, Robert E. "Free Form." Musical Form. Boston: Allyn & Bacon, 1964. 198-209.
Print.

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