Schumann, Thematic Dispersion, and Contrary Motion
Schumann, Thematic Dispersion, and Contrary Motion
Chapter 4 focuses on Schumann, his Symphony no. 2, and the finale of the Ouverture, Scherzo and Finale, op. 52. He drafted his C-major Symphony quickly in the last two weeks of 1845, having met with Wagner several times during the preceding months. He also attended two performances of Tannhäuser. This symphony has attracted considerable attention for Schumann’s use of thematic transformations to build up gradually to the arrival of the main theme—his allusion to Beethoven’s song-cycle An die ferne Geliebte—in the finale. His application of contrary motion suggests he was well aware of what had motivated Wagner’s conflict narrative in his program for the Ninth. The chapter closes with a review of his interactions with Wagner during 1845–1846.
Keywords: Beethoven’s Ninth Symphony, Richard Wagner, Schumann’s Symphony no. 2, counterpoint, thematic dispersion
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