Spring 2010 MUL5414: Romantic Lit- Gainsford Class: Symphonic Etude, op. 13

Symphonic Etudes, op. 13
Schumann began to compose this piece in the year of 1834. During this time, he was engaged to 16-year-old Ernestine von Fricken, the Estrella of his Carnaval, Op. 9. Recognizing Schumann may become his soon-to-be son-in-law, Ernestine’s father, an amateur flautist, sought opinions by sending Schumann a set of variations that he had just completed for the flute. Schumann not only responded back with criticism but also wrote variations of his own on the Baron’s theme (Chissell 23):
No doubt the subject ought always to be kept well in view, but it ought to be shown through different coloured glasses, just as there are windows of various colours which make the country look rosy like the setting sun, or as golden as a summer morning… [the revealing point followed.] I am now really arguing against myself, as I have actually been writing variations on your theme, and am going to call them ‘pathetic’. Still if there is anything pathetic about them, I have endeavoured to portray it in different colours.

Wow! That is some strong comment made by Schumann! It is almost implying that these variations are too alike in character, and that makes the whole piece look pathetic. Could this be the reason that ignites him to write the variations on his own?

Schumann seems to change his mind often even with regard to the title. He had considered Zwolf Davidsbundler Etuden and Etuden im Orchester Character, von Florestan und Eusebius but eventually decided to name it Etudes symphoniques in 1837. There is a total of three editions published in 1837, 1852, and 1862, respectively. The early version consists of eighteen variations but only twelve were published by him because the long length and the difficulty may be too demanding for the performer. In the second edition, he deleted the third and ninth numbers, and in addition to revising the finale, the title was changed to Etudes en forme de variations. The last edition, published by Clara Schumann and Brahms, includes the five variations of the six that had been left out of the first edition. The editions most commonly used now are the first edition and posthumous variations.

As I understand it, Schumann described these etudes as symphonic for obvious reasons; therefore, the goal is evoke orchestral timbre. In order to accomplish that, constructing different textures are a must. Most importantly, each etude has its own character. The first etude is a dirge-like march. It immediately sets up an atmosphere of tragedy. The second etude is in rolling nocturne style with several triplet accompanimental patterns against a canto in duple time. The third etude is marked by its staccato-like texture. The next etude uses a canon in octaves that uses the theme at the beginning and soon digresses. Following the fourth etude, a key change is made to the key of E major. This etude is built on dotted rhythms and is also imitative. The sixth etude is a study in syncopation. Next comes a dazzling display of virtuosic seventh etude. Both hands move close together in parallel motion, but the right hand gradually gains a separate identity. This etude also shifts into E major like the fifth etude. The next etude is filled with intricate ornamentation that somewhat resembles the opening of a Baroque overture. The ninth etude is probably one of the most challenging of the set partially due to its tempo marking Presto possible. In the tenth etude, the left hand is constantly playing sixteenth notes while the right hand is playing its persistent dotted rhythm. The eleventh is only one cast in a key other than C# minor. It is in the key of G# minor. Like the previous etude, the sixteenth notes in the left hand are persistent; however, the right hand now draws out more expressive melody rather than rhythmic melody. Finally, the last etude is cast in the key of Db major. The theme was taken from the Romance Du stolzes England freue dich (Proud England, rejoice!) from Heinrich Marschner’s opera Der Templer und die Judin, which was based on Sir Walter Scott’s Ivanhoe.
After briefly giving some general information and a rough idea on the characteristics of each etude, I now would like to point out few things to examine while learning through this piece since I’ve played this piece.

Etude no. 12: