MUSIC ANALYSIS KASSEY PAPPA MUSIC 1010 FERRIN MUSIC

MUSIC ANALYSIS KASSEY PAPPA MUSIC 1010 FERRIN

MUSIC BEING REVIEWED • Fantasiestucke, Op. 12: No. 1. Des Abends (5: 09), Robert Schumann, Carol Rosenberger • Kinderszenen, Op. 15: VII. Traumerei, Robert Schumann, Claudio Arrau • Carnaval, Op. 9: XI. Chiarina, Robert Schumann, Freddy Kempf • Symphony No. 3 in E-Flat Major, Op. 97 “Rhenish”. III. Nicht Schnell, Robert Schumann, SWR Symphony Orchestra and Michael Glelen

ROBERT SCHUMANN - Birth - Death - Early Life - Production Output - Career - Influences

FANTASIESTUCKE, OP. 12 NO. 1. DES ABENDS 5: 09 Part 1 Robert Schumann and Carol Rosenberger

FANTASIESTUCKE, OP. 12 NO. 1. DES ABENDS 5: 09 light Starts by playing quarter notes, occasionally using eighth notes as the music speeds up. There is a lot of speeding and slowing to add dimension to the song. The song is played softly and in piano and mezzo piano. 0: 30 The music is louder here in mezzo forte and the notes are played high and more formed compared to the beginning of the song. 0: 50 The song is deep and trills begin to be incorporated. 1: 20 Dynamics get louder and the notes are getting lower. The dynamics slowly get louder. 1: 33 Trill is played and repeats slowly as the music progresses. The texture is smooth and flowing throughout the whole song and repeats often. 2: 20 Goes up the scale and at 2: 54 we reach the highest notes in the song. The melody repeats again and does throughout the whole song in different octaves, speeds and dynamics. 2: 50 Notes begin to get higher and hold more inside of them as if they were tight and seems to hold more meaning as we progress through the song. 3: 20 Trills are played again and the melody is again repeated. Quarter notes are repeated and the feeling is very expressive and open. Part 2 0: 01

3: 50 Tempo slows down and notes are low which adds a whole new feeling to the song and really allows you to see the idea that Schumann had for this song which is the dusk. You can see how the music portrays this by the dynamics and timbre of the song. 4: 10 The music feels tense and the notes are getting closer together as the song comes to an end. The lowest notes have been played at this point and give a whole new feeling to the song. 4: 40 The final notes are beginning to be played and the mood has become lower and dreary. 4: 50 The final notes is played and held out to add to the mood and finalize the song smooth just as the beginning was. Part 3 FANTASIESTUCKE, OP. 12 NO. 1. DES ABENDS

KINDERSZENEN, OP. 15 VII. TRAUMEREI 2: 45 Part 1 Robert Schumann and Claudio Arrau

0: 00 The mood is immediately different from the last song and as we start we can feel. The music slowly goes up the scale and pauses at the top to add a unique texture and timbre. 0: 30 The music is forte and deep feeling. The notes are low and played rough adding dimension to the song. 1: 00 A pause is added and starts off again with high notes which are played quick and deep. Notes are held out and have more emotion that of the last song. 1: 30 The song is quickly coming to the end again the mood is very different than the last song. The dynamics are quickly rising. The music feels dark and depressing which is surprising because this song is to depict a childhood. 1: 45 Notes are pressed hard and the dynamics are quickly lowering to piano as the last keys are pressed. Part 2 KINDERSZENEN, OP. 15 VII. TRAUMEREI 2: 45

CARNAVAL, OP. 9 XI CHIARINA 1: 24 Part 1 Robert Schumann and Freddy Kempf

CARNAVAL, OP. 9 XI CHIARINA 1: 24 0: 00 This song is the fastest we have heard yet and is full of eighth and sixteenth notes. While the tempo is fast they seem to flow well. Occasional notes are staccato and add emotion to the song, deep anger seem to be portrayed. 0: 30 A lot of chords are being played and quickly at that. The tempo is changed to piano whereas the rest of the song has been forte possibly fortissimo. The tempo quickly speeds up and leads us to another drop in the dynamics. 1: 00 The tempo again slows down with a lot of moderation in tempo and dynamics in the song it feels stressed and intense. The length also adds to this effect and as we come to the end the music again speeds up for the last time and end abruptly with a low chord. Part 2 0: 45 The mood of the song is definitely set at this point and Schumann has made sure of that with the dynamics throughout the whole song.

SYMPHONY NO. 3 IN E-FLAT MAJOR, OP. 97 “RHENISH” III. NICHT SCHNELL 4: 50 Part 1 Robert Schumann, SWR Symphony Orchestra and Michael Glelen

0: 00 This song is so far the only one that had not been composed for the piano and adds a new idea to what Schumann was as a composer. The beginning of this song is started out with the brass section playing long notes. The notes are long and flowing most likely half notes or whole notes. 0: 21 Strings are added and are playing staccato notes that are high and meaningful to the song. You can still hear the brass in the background quietly playing as the strings take over. 1: 00 The dynamics get loud and the tempo has sped up quite a bit to this point the structure is loose and includes so many instruments 1: 30 Up to this point all instruments have been able to play 1: 50 The Strings play their notes in fortissimo and are played abruptly and them flowing towards the end into mezzo forte. Part 2 SYMPHONY NO. 3 IN E-FLAT MAJOR, OP. 97 “RHENISH” III. 4: 50 NICHT SCHNELL

2: 00 The song is staying close to A-flat and has not yet, to this point, strayed much. The notes are played staccato and the violins are playing long flowing notes which define the timbre. 2: 30 We can hear that on most of the fourth beats there are four ascending sixteenth notes played and this is repeated throughout the whole song. 3: 00 The dynamics have lowered and as the trumpets play the melody you can hear the timpani play in the back. 3: 30 The mood of the song is high right now and are being played in turns. There are several odd notes played in staccato adding to the expression of the song. 4: 00 The dynamics have lowered and the tempo has as well. There are still occasional breaks in the main idea of the song where the dynamics will burst into forte but mostly mezzo forte. We are in the last minute of the song and things are coming to an end. 4: 30 The last notes are played by the flutes. Both of them play the final note together and the notes is played high and long most likely as a while note. Part 3 SYMPHONY NO. 3 IN E-FLAT MAJOR, OP. 97 “RHENISH” III. NICHT SCHNELL

SOURCES http: //www. classical. net/music/comp. lst/schumann. php http: //www. allmusic. com/composition/kinderszenen-no-7 -träumerei-for-pianoop-15 -7 -mc 0002503089 https: //en. wikipedia. org/wiki/Fantasiestücke#cite_note-Ewen-2 https: //en. wikipedia. org/wiki/Symphony_No. _4_(Bruckner) https: //musopen. org/sheetmusic/2397/robert-schumann/symphony-no-3 -in-eflat-major-rhenish-op-97/