Agawu - Structural Highpoints in Schumann's Diechterliebe

Structural 'Highpoints' in Schumann's 'Dichterliebe'
Author(s): V. Kofi Agawu

Source: Music Analysis, Vol. 3, No. 2 (Jul., 1984), pp. 159-180
Published by: Wiley
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V. KOFI AGAWU
STRUCTURAL 'HIGHPOINTS' IN SCHUMANN'S

DICHTERLIEBE
INTRODUCTION
The phenomenonofclimaxis centralto our musicalexperience.*In no other
repertoireis thismoreevidentthanthatof thenineteenth century.When we
hear a symphonyby Bruckneror Mahler,a tone poem by Liszt or Richard
Strauss,or even a song by Schumannor Wolf, our experienceis shaped
primarilyby those focal pointsinto whichthe variousstrandsof the piece
seemto coalesceand therebymakea strongemotionalimpact.Thus we speak
of 'devastatingclimaxes', 'moving climaxes', 'terrible climaxes', 'anti-
climaxes', and so on. Yet, among the large numberof music-theoretical
studies that have emerged in recent years, there are few attemptsto
incorporate thisexperienceintotheformulation ofan analyticalmodel.'
This omissionbecomes especiallyapparentin analyticalstudiesof those
pieces whoseinternaldynamicis shaped fundamentally by such focalpoints
or highpoints.Consider,forexample,WilliamMitchell'swell-knownstudy
of the TristanPrelude (1967). Mitchell makes only brief and passing
referencesto the varioushighpointsthatshape the piece, indeed shape our
experienceoftheverylinearprocessesthathe is primarily concernedwith.In
the end, he missesthe mostapparentand immediateoverallgestureof the
piece, namelythe riseto a tensionalhigh-point(b.83) followedby a graceful
decline.
Considertoo PeterBergquist'sextensiveSchenkeriananalysisof the first
movementof Mahler's Tenth Symphony(1980). For the averagelistener,
the salientfeatureof the piece is the pair of shatteringclimaxesthatoccurs
about two-thirds of the way through(Figs 26 and 27+5). These moments
standout not onlybecause theyreachhighdynamiclevelsbut because they
have been prepared consistentlyfromthe beginningof the movement.2
Bergquist,however,has littleuse fortheseimportantrhetoricalsignals.In
bothhis and Mitchell'sanalyticalschemes,thesehighpointsare 'foreground
events'.
Further survey of the literatureshows that writers who concern
*I would like to thankProfessorArndBohm of BrynMawr Collegeforsharingwithme his insightsinto
Heine's poetry.This essayis dedicatedtomyfriendand mentorRonaldWoodham.
MUSIC ANALYSIS 3:2, 1984 159

V. KOFI AGAWU
themselves withnotionsof climaxare not the 'serious'theorists - say,

Schenkerians, and
set-theoreticians semioticians - but rather those who are
a
addressingnon-specialist audience in such documents as programme notes,
bookson musicappreciation or operaguides.Butsurelyit is ironicthatour
mostordinary and substantive experience functions onlyminimally in at-
tempts to unravel the structure of of
music,suggestways hearing,and,
through these,deepenouremotional experience oftheworksweanalyse.
In thisessay,I shallsuggestthetermsin whichan empirically-derived
theoretical modelbasedon thenotionof climaxmightbe couched.I have
chosenforthispurposeSchumann's well-known cycle,Dichterliebe (1840),
from whichselected are
songs analysed. Why Schumann? BecauseI believe-
alongside otherssuchas Grout(1980:563)andLongyear (1973: 118)- that
Schumann is thequintessential Romantic composer. Since thephenomenon
ofclimaxis mostclearly associatedwithnineteenth-century music,Schumann
may serve as a model for other
studying composers. A more pertinent purpose
is to illuminate certainaspectsof Schumann'sstyleas a songcomposer,
aspectsthat have receivedsurprisingly littleattention in the extensive
literatureonthesongs.3I willtherefore be treading a finelinebetween theory
andanalysis.
My studyis in twomainparts.First,I discussa recurring principle in
Heine's earlypoetry,the principleof 'reversal',whichprovidesa useful
metaphor forcertain kindsofmusicalclimax.Then,I analyseSongs7, 13and
4 of Dichterliebe, withpassingreference to Songs1 and 11. Each analysis
focuseson the moment(s)of reversalwhich,I argue,are the crucial
determinants ofthestructureofSchumann's songs.
A briefwordaboutterminology: I use 'highpoint' in placeof 'climax'to
avoidambiguity. In Greek,'Klimax'meansladderorstaircase. In thissense,
it denotesan arrangement of figuresin ascendingorderof intensity.
Nowadays, however, climaxreferstothehighest pointonlyofa givenprocess.
Thus, whereas the former meaning includes theprocessofarrangement, the
latterrefers only to the pointof culmination. My term 'highpoint' is used in
thislattersensetodenotewhatis frequently themostdecisiveturning pointin
thepiece.4
I
A recurring featureof Heine's earlypoetryis 'reversal',whichoccurs

at
typically theend ofa poem.Thisdevice,alsoknownas Stimmungsbrechung,
has been discussedby severalscholars,includingPrawer(1960: 40-6),
Preisendanz(1973: 15-6),Lehmann(1976:90-6) andHallmark(1979:3-7).
Praweranalysesthemoment ofreversalin termsofa playofwitand irony,
citingHeine's Die Heimkehr 25 as an example.He describesthecontextually
absurdlast line in termsof 'a douche of cold water','a stingin the tail', 'a
moralslap in theface',and so forth(1960: 42), notingthatthisoftenentailsa
progressionfromseriousnessto triviality. Prawerfindsno precedentforthe
160 MUSIC ANALYSIS 3:2, 1984

'HIGHPOINTS' IN SCHUMANN'S Dichterliebe
use ofthisdevicein Germanpoetry,and concludesthatit mustoriginatewith

Heine.
A momentof reversalimplies that thereis a logical progressionin the
narrative,whichis thendisrupted,and thatthisdisruptionis an eventofgreat
dramaticsignificance.Preisendanz(1973: 15-16) describesthismomentusing
suchwordsas 'rupture','contrast','break',and 'ambivalence'.Takinghiscue
fromcertainstatements byHeine regarding thepoet'splacein theworld- the
poet's heart,Heine's inflatedimageryhas it, is the middleof the world-
Preisendanzshowsthatreversalis inevitableand can be thoughtofin termsofa
splitof'unitaryexpression'.
Schumann,ofcourse,was sensitiveto manyaspectsofHeine's poetry,and
althoughreversalas a poetictechniqueundergoessometransformation when
appliedtomusic,Schumannalwaysmarkedthosemomentsforattention.Some
commentson the Heine poem used in Song 4 ofDichterliebe willhelp in the
understanding ofreversal:
WennichindeineAugenseh',
So schwindetall'meinLeidundWeh;
DochwennichkiissedeinenMund,
4 So werd'ichganzundgargesund.
Wennichmichlehn'andeineBrust,
Kommt's iibermichwieHimmelslust;
Dochwenndu sprichst:Ichliebedich,
8 So mussichweinenbitterlich.*
The poem is typicallyshort- two four-linestanzas- withan end-rhyme
scheme.The narrative proceedsincouplets(Hallmark1979:49), andthe'sting'
occursin the last couplet(lines 7-8). In otherwords,Heine's descriptionof
variouslevelsof intimacy- froma merelook (line 1), througha kisson the
mouth(line 3), to lyingon thebeloved'sbreast(line 5) - proceeds'linearly'
towardsa highpoint.Butthelastlineeruptswitha changeinthedirectionofthe
narrative:to his beloved's'Ich liebedich', theprotagonist
mustweep bitterly.
The ironicnatureofthispoemhas beendiscussedbyseveralcommentators (for
exampleSams 1975: 111, Komar 1971: 10 and Hallmark1979: 44-50). The
mainpointis thesurpriseending,thechangefromincreasing levelsofintimacy
to thesheddingofbittertears.
SeveralofthepoemsofDichterliebe use thisdevice.Song 11is anothercase in
point:
liebteinMiidchen,
EinJiungling
Die hateinenandern erwaihlt,
DerAnd'reliebteineAnd're,
4 Undhatsichmitdieservermiihlt.
*See Appendixfortranslations

V. KOFI AGAWU
Das Midchennimmt ausArger

Den ersten,
bestenMann,
DerihrindenWeggelaufen,
8 DerJunglingistObeldran.
Es isteinealteGeschichte,
Dochbleibtsieimmer neu,
Undwemsiejustpassiret,
12 Dembricht dasHerzentzwei.
Here is a familiarlove-triangle,in whicha seriesofcomplicatedrelationships
culminatesin rupture:the initiator'sheart is brokenin two. This poetic
structure,however,differsfromthatof Song 4 because, insteadof reversal,
thereis a terminalhighpointwhichexplodesthe preparatory processes(line
12). Again,in thefinalsongofthecycle,Song 16,Heine developsan elaborate
scenarioin thefirstfivestanzasbeforeprovidingthemomentofreversalin the
sixthand last stanza,whichtellsus who inhabitsthe coffindiscussedin the
previousfivestanzas.The structural highpointof the songoccursin thislast
stanza.
The momentof reversal,then,is a point of rhetoricalsignificance.The
composermaychooseto representthisas a highpointwhichcould takemany
differentforms. It may be a simple melodic peak, a point of textural
culmination, orthepointofgreatestharmonictension.We mightrepresent the
compositionaldynamic of each song in termsof a generalizedshape thathas
been called, variously,a 'dynamiccurve' (Ratner1966: 314) and a 'narrative
curve'(Childs 1977: 195):
The curvedescribesan ascentto a highpointand a descenttherefrom.The

specificmusicalprocessesthatarticulate
this shape depend on a numberof
contexturalfactors.For now, we should bear in mind its 'background'
roleand thevarietyofwaysin whichitmaybe realized.
structuring
II
Song7 willservetointroducethefundamental elementsofSchumann'ssong

style.Discussionofthis justlyfamouscomposition has touchedon Schumann's
distortionofHeine's originalverseform(Cone 1957),theunusualsuccessionof
seventhchords(Schoenberg1978)and theouterform- is itbinaryorternary?
- as revealedbyvoice-leading analysis(Horton1979andRothgeb1979).None
oftheseanalyses,however,developsfroma consideration ofthemoststriking
and memorableeventin thepiece,thatis, theascentto a melodichighpointon
the word 'Herzens' (b. 27) and the subsequent resolution/descent. This

momentofreversalis all themorestriking becausetheparticularhighpointis

thehighestpitchthatthevoicesingsin theentirecycle.This a2, whichforms
partof an ossia in bs 27-9, was apparentlyadded by Schumannonlyin the
publishedscore(Hallmark1979: 69). Hallmarksaysit 'shouldbe sung',and
indeed most performers preferthe higherversionbecause of its dramatic
impact,which is particularlyappropriateina songthatmarksa decisiveturning
pointin the cycle as a whole. The break or 'expandedrupture'betweenthe
protagonistand his beloved is herecompleted(Desmond 1972:24).
It may be arguedthatthe highpointon 'Herzens' is merelya foreground
event not worthyof much analyticalattention;but thatwould amountto
underplayingthe most salient featureof the song. On the other hand,
Schumann'spremisesat thebeginningofthesongsuggestthatthehighpoint is
the resultof a carefulstrategy;it is in this sense structural,everybit as
structural
as the3-2-1 descentwhichsecuresclosurein bs 29-30.
Ex. 1: bs 1-4ofDichterliebe,
Song7
Nicht zu schnell
ImfL
Ichgrol-tenicht undwenndas Herz auch brichf.
imf
A considerationof the firstfourbars of this song (Ex. 1) will show how

Schumannpreparesforthehighpoint in b. 27. The protagonist announcesthat
he no longerbearshis beloveda grudgeeventhoughhisheartmaybreak.The
imageof the brokenheart,developedextensively throughout thecycle,here
underlinesthe most importantrhetoricaleventin Ex. 1, the highpointon
'Herz' on the downbeatof b. 3. I referto this as a highpointbecause of a
combinationof factorsaffectingmelody, rhythm/duration, harmonyand
texture.Melodically,theAb on 'Herz' is thehighestpitchin theopeningline.
It is also thepitchwiththegreatestdurationalvalue. Harmonically, thechord
on thedownbeatofb. 3 represents thepointofgreatesttensioninthephrase.In
termsof harmonicdistance,thischordis furthest fromthecentre,C, and is
used to enhance the cadentialdominantin the second half of that bar.
Texturally, themomentrepresents a physicalturning point,as can be observed
MUSIC ANALYSIS 3:2,1984 163

V. KOFI AGAWU
inthemovement oftheoutervoices.In otherwords,thebassreachesa physical

lowpoint on D' in b. 3, then changes directionby ascending by leap
throughG to c. The downbeatof b. 3 therefore spans the largestregistral
area (D'-ab') of the sonorities in the opening phrase. Thus
Schumannpresentsa paradigmaticfour-measure phrase: its internalshape
mirrors,in microcosm,the shape of the song a whole. By focusingon
as
theword'Herz' he preparesus for thefactthatthisis to functionas a sortof
poetic refrain. The word occurs fivetimesin varyingcontextsthroughout
the song (bs 3, 16, 21, 25 and 27). First,it is the protagonist's heartthatis
broken: 'Ich grollenichtund wenn das Herz auch bricht'.Then, through
severalintermediary occurrences,thepoemconcludeswiththestrangest image
of all: the protagonistdreamsthathis beloved'sheartis beingeaten by the
serpent:'Und sah die Schlang',die dir am Herzen frisst. .. .' To invokea
musicalanalogyforthe poeticprocess:the word 'Herz' is prolongedby the
accretionofvariouscontextualmeaningsand associations.
Ex. 2 comparesthosephrasesin the songwhichcontainthe word 'Herz'.
Most of the dimensionsfunctioncomplementarily to createthe highpointin
thekeyword'Herz'inDichterliebe
Ex. 2: Phrasescontaining No. 7
UndwenndasHerz-auch brict-r
Nacht
in dei-nes Herz-ens
Undwenndas Herz auch bricht
n de i-nesHerz-ensRau-me
die diram Herz-ensfrisst
reduction
A-rhythmic showing andregistral
intervallic inapproachtto
expansion highpoint:
minor3rd perfect4th 5th

perfect perfect5th
164 MUSIC ANALYSIS 3:2,1984

b. 27. Note firstthat the five occurrencesof 'Herz' are separated by

progressively smallerdistances:13, 5, 4 and 3 bars. Second,thelocalapproach
to each occurrencerevealsa cumulativeintervallic expansion:minorthird(bs
2-3), perfect fourth (bs 15-6), minor third(bs 20-1), perfectfifth
(b. 25) and
perfect fifth(b. 27). This processis furtherunderlined a
by gradualregistral
expansionfromab' (b. 3) to a2 (b. 27) as well as by an increasein dynamics.
It may even be arguedthatA in b. 27 is a diatonicversionof Ab in b. 3, a
transformation thatlends a furtherdimensionto Heine's poeticmetaphors.
Thus theclosinggestureofthelastthreebars(G-A-G-E, piano) replacesthe
chromaticversionin b. 3 (A1-G-E, voice). Note further howtheaftermath of
thehighpoint confirms thegesture:themelodiccontourisreversed,descending
consistentlybutquicklyto a lowpoint,C', in bs 32-3 (see Ex. 3) overcadential
harmony.My argument, then,is thatthedynamicstructure ofthissongis best
conceivedas flexiblebackgroundshape, the narrativecurve which is not
restrictedtoanyone dimension,butis capableofabsorbingprocessesinvarious
dimensions.To the extentthatthe articulation of thiscurveoccursoverthe
spanofthepiece and mirrors the'compositional dynamic',theprocessmaybe
describedas structural.
Ex. 3: Melodicdescent
from inSong7 (bs27ff.)
highpoint
die dir am Her - zen ich sah,mein Lieb,wiesehrdu e - nd

,frisst,
I
S
Ii
f
II Ii
I
h I
bist. Ich grol-len
I I
I I
An objectionmay be levelledagainstthe analysisof a nineteenth-century

piece ifit givesequal emphasisto register,
dynamics,harmonyand intervallic
succession.But thisis preciselythepointI wishto emphasize.A hierarchy of
dimensionsderivedfromlateeighteenth-century practice- with,forexample,
melody,harmonyand rhythm as primary, and texture,dynamicsand register

V. KOFI AGAWU
as secondary- is no longertenablehere. This issue has been discussed

perceptively byMeyer(1980). Distinguishing betweenso-called'primary'and
'secondary''parameters', he notes the increasinglyimportantrole playedby
secondaryparameters in the shaping of musicalprocessand formin musicof
thenineteenth century(: 194).5
It is important in thisanalysisto recognisetheadvantagesofa background
'shape' over a specificsuccessionof pitches as found, for example, in a
SchenkerianFundamentalStructure.For reasonsindicatedabove, I do not
considersuch a proto-structure to be relevantas an analyticalpremisein this
kindofstudyofSchumann'ssongs.Further,notallthesongsofDichterliebe use
the same dimensionsto generatetheirrespectivenarrativecurves.However,
just as Schenker'sFundamentalStructuresare flexibleenough to be the
commonfactorsforactualizations withina widehistoricalera,so thenarrative
as an
curve,functioning archetype, is capableofsustainingdiverserealizations.
III
In Songs 11 and 1 thebasicmodelis somewhatmodified.Song 11, as noted

earlier,describesa seriesof complicatedrelationshipswhichculminatein a
tragicevent: the heart
initiator's is brokenin two. This momentof reversal
occurs,typically,at theveryend ofthe poem,producing a versionof
truncated
thenarrativecurve:
Following this poetic structureclosely, Schumannadds an extendedin-

strumentalpostludeaftertheterminalvocal highpoint.The overallgestureof
(see 'entzwei'in b. 32)
thepiecethusconsistsofan ascenttoa melodichighpoint
followedbyan extendedprolongation ofthathighpoint:
The methodsof preparingthishighpointembracebothtonaland melodic

dimensions.Of the threequatrains,the firsttwoare tonallystraightforward,
tonicsand dominantsin thehomekey,Eb (bs 1-12), and
thefirstalternating
thesecondusingthesamebasic syntaxin thedominantkey,Bb (bs 13-24). In
the thirdquatrain(bs 24-32), the voice leadingis, by contrast,intensified
166 Music ANALYSIS 3:2, 1984

tounderlinetheascenttothehighpoint
chromatically (Ex. 4). This is especially
obviousfromthecumulativemelodicascentto theprimary note,Eb, in b. 32.
Ex. 4: Chromatic
intensification
inapproach
tohighpoint
inDichterliebe
No. 11,bs25-32
chromatic
ascent
I w
chromaticascent
I
Thereis one important difference

betweenthishighpoint and thatofSong7.
The highpointhereis nota tensionalone in need ofresolution,butis rathera
pointoflocalmelodic-harmonic resolution.In otherwords,thetensioncreated
by melodicand harmonicintensification (beginningin b. 25) is releasedat the
highpoint. This is an example of a stable, terminalhighpoint.Indeed the
postludeconfirmsthisresolutionin a seriesof operaticgestureshammering
hometonic,subdominant and dominantchords.6
The structure ofSong 11contrasts effectivelywiththatofthemuch-analysed
Song 1 (see for exampleNeumeyer 1982: 92-105, Komar 1971: 66-70 and
Benary1967:21-9). Each ofthetwoquatrainsconcludeswitha melodicascent
to a highpointon the words 'aufgegangen'and 'Verlangen'(bs 12 and 23
respectively).For reasonsI shalldiscuss,theterminalF#'sin thesebarsmay
be regarded as the structuralhighpoints,as distinctfrom the physical
highpointsG (b. 12, voice) and G#(b. 12, piano) - two neighbouring notes
whicharein conflict, correspondingto the uncertaintyofthe poet's world.The
structure ofSong 1, then,exemplifies a terminal highpoint structure, although
the chordalsupportforthe highpoints,D major,functionsin a subsidiary
capacitywithinthetonalstructure ofthesongas a whole.
The methodsof organizingthishighpointstructureare more subtlethan
thoseof the songsdiscussedpreviously.In Heine's poem thereis a reversal
occurring attheendofthesecondquatrainwiththeintroduction ofa disturbing
and highlyimplicativesentiment in thetwowords'Sehnen' and 'Verlangen'.
We nowknowthatall is notwellinthis'lovelymonthofMay'. The budsmaybe
burstingforth,and thebirdsmaybe singing,butfortheprotagonist thereis a
growing sense of longing and desire. Clearly this sentimentdictated

V. KOFI AGAWU
Schumann'schoiceoftexture- whatDesmond calls 'questioningarpeggios'

(1972: 23) - of key and of melodic-harmonic design; and these are the
dimensionswhichultimately createthe dynamicstructure of the song. Most
analystshavedrawnattention to theambiguity ofkeyin Song 1. The pointhas
oftenbeen made thatthe songbeginsand ends on thedominantof FO minor
withoutonce statingthe tonic.This dominantprolongation is a 4-barphrase
that occurs three times (bs 1-4, 12-15, and 23-6). It acts as a point of
departureand arrival- a trueprolongationin the Schenkeriansense. The
prolongation createsa levelofstasiswhichis offsetin thevocal sectionsofthe
song (bs 4-12 and 15-23). In otherwords,once the voice enters,the piece
begins to 'move'. It gainstonalclarity,greaterharmonicmotionand a clearer
melodicprofile.This meansthattheessentialdynamicprocessbelongs,notto
the4-barrecurring phrase,buttotheintervening vocalsections.Tonal clarityis
thusprojectedbya fundamental ambiguity, notvice versa,as onemightexpect
in thisrepertory.7
Four simplegesturesarticulate thedynamicstructure ofthissongas follows:
Lines: 1 2 3 4
Function: Statement Restatement Forward Greater
motion forward
motion
Melodicshape: Closed Closed Open Open
Bars: 4-6 6-8 8-10 10-12
(Thisschemealsoappliestobs 15-23)
Line 1 makesan assertionwhichis confirmed byline 2. Line 3 questionsthis
assertion, and line 4 carries the questioning even further, inmusicalmetaphor,
bytransposing the substance of line 3 up a third.Successive gesturesthusgain
in rhetorical strength and, indeed, the music ofstanza is
1 repeatedliterally as
stanza 2. Line 4 is clearlythe point of culmination;withinit, the last two
syllablesof'aufgegangen' forma further highpoint.
The referenceto 'melodicshape' above is meantto draw attentionto the
successionofmelodiccontoursinthissong,a successionwhichapproximates to
anotherkindofreversalin structural procedure. Ex. 5 shows that lines 1 and 2
describean overalldescendingcontour,whereaslines3 and 4, theclosinglines,
describea cumulativeascentfromA (b. 8) to F#(b. 12). This meansthatthe
points of closure, which traditionally descend towardsmelodic 1, ascend
insteadtowards3 (D is 3 ofB minorin b. 10 whileF#is 3 ofD majorin b. 12).
The structural highpointsin bs 12 and 23 are thusproductsofthreekindsof
reversal.The firstis thepoeticreversalin thelastlineofquatrain2; thesecond
is thereversalin the sequenceof tonalgestures;and thethirdis a reversalof
melodiccontour.
One further pointabout the meaningof lines 3 and 4 (Ex. 6): the ascent
towardsthehighpoint is illusory.We knowfromsubsequenteventsinthecycle
thattheprotagonist neversatisfies hislongingand desire.Schumannplacesthe
thirdof the D majorchord(b. 12) in theuppermostvoice, thuscreatingthe

'HIGHPOINTS) IN SCHUMANN'S Dichterliebe
G
No. 1 (bs4-12)
ofvocalline,Dichterliebe,
Ex. 5: Contour
F#
F
E
D#
C#2
C
A#
B
G
F0
90ebt
No. 1
Ex. 6: Bars8-12ofDichterliebe,
sprangen da ist n me - nemHer - zen die Lie - be auf ge-gan-gen

ritard.
I edI w
. It c-I- f ,
I.-

V. KOFI AGAWU
so-called'poeticthird'effect,and also setsF#in an unstableenvironment (b.

12) byjuxtaposingbothdiatonicand chromatic neighbouring notes- G on the
downbeatofb. 12, and G#on thefourthquaverofthesamebar. This conflict
reinforcestheinstability(or temporary stability)ofF#and, byimplication,of
theobjectoftheprotagonist's desireor evenoftheprotagonist himself.
IV
The examplesdiscussedso farhaveshownthehighpoint as a singlemoment,
on of in
usually a singlesyllable text.But thereare songs whichSchumann
replacessuch a momentby an extendedregion,whichmaybe describedas a
'highregion'.This is a stretchofmusicofhighactivity,preparedin thesame
way as other but
highpoints, prolonged overa period.Song 13offers
significant
an example.The textis:
Ichhab'imTraumgeweinet
Mirtraumte,dulagestimGrab.
Ichwachteauf,unddieThrine
FlossnochvonderWangeherab.
Ichhab'imTraumgeweinet.
Mirtraumt', mich.
duverliessest
Ichwachteauf,undichweinte
Nochlangebitterlich.
Ichhab'imTraumgeweinet,
Mirtraumte,duwarstmirnochgut.
Ichwachteaufundnochimmer
Str6mtmeineThrinenfluth.
Heinepresentsa linear-dynamic modelwiththreeprogressive dreamstates:the

deathofthebeloved(quatrain1), herrejectionoftheprotagonist (quatrain2)
and herenduringlove forhim(quatrain3). Interpretations are numerousand
diverseon the various meaningsof this progressionin the poem, but its
existenceis themostimportant factorforouranalysis.Note thehighdegreeof
textualinvariance:line1 andthefirsthalfofline3 areidenticalineachquatrain.
This formsa constantor staticlayerwithinwhichthemoredynamicnarration
of each dreamand the protagonist's responseto it take place. Here, then,is
anothermanifestation ofthestatic-dynamic principlediscussedwithreference
to thetonalstructure ofSong 1.
AlthoughSchumann'sreadingofHeine's poemfailsto takeintoaccountthe
progressionin the narrativebetweenthe firsttwo quatrains,the composer
transforms the concludingquatrainin such a way as to compensateforthis
apparent omission. Quatrain3, in fact,containsthe'highregion'.
The musicofquatrains1 and2 features a dialoguebetweenvoiceandpianoin
whichthevoice,inquasi-recitative, narrates theeventsofeachdream,whilethe

piano commentssparinglywithlow-register chords,all thisin the keyof Eb

minoroftenassociatedwithdeath in Schumann'sworks(Sams 1975: 120).
Quatrain3 begins,notwiththeunaccompanied voiceas before,butwitha piano
introduction whichpresentsa moresustainedharmonization of the firsttwo
barsofthepiece (see bs 23-4). This articulative
contrast, the hintoftrans-
first
formation of the earliermusic,reachesa peak whenDb is tonicizedin b. 28.
Bars 28-33 (Ex. 7) formthe'highregion'ofthepiece. This passageis marked
by threecomplementary processes.First,thereis an intensification of voice
leadingby parallel chromaticism in the piano lines bs
(cf. Song 11, 25-32).
Second, a sustainedpitch,db2,places thechromaticmotionintosharprelief.
Third,thereis an increasein dynamicsfroma barelyaudiblepp in b. 25 to a
presumedf in b. 31. Here, as in Song 7, bothprimaryand secondarydimens-
ionsfunctionequallyand complementarily.
Ex. 7: Chromatic inascentstohighpoints

intensification
inDichterliebe,
No. 13,bs28-33
gut Ichwach-te auf und noch im mer meine Thr?- neu- flufh.
str6mf
' u lmlm:
..PE. .wPEI .
v"r'L~..f " -:
Inevitably,ofcourse,therewillalwaysbe a singlemomentin thehighregion

thatcarriesthepointofgreatesttension.In theory,iftheactivityin thehigh
regionremainsconstant,thelastchordpriorto theresolutionconstitutes the
highpoint.In thissong,however,theactivity is intensified
in thecourseofthe
highregion,culminating, notin a singlemoment,butratherin twosuccessive
highpointsbelongingtotwodifferent dimensions, melodyandharmony.First,
a melodicpeak is reachedon thefirsttwosyllablesof'Thrinenfluth' (b. 31), a
wordwhich,like 'Herz' in Song 7, embodiesthe basic imageryof thepoem.
Second, a harmonicpeak is reached in bs 32-3, where an emphaticlocal
dissonanceunderlinesthe bitterness of theprotagoniston awakingfromthis
thirddream.Melodicand harmonichighpoints arethusjuxtaposedin thehigh
region.
The juxtapositionof highpointsin different

dimensionsas exemplifiedin
Song 13 providesa clue to understanding
thedynamicstructure ofone ofthe
mosteffectiveand powerfulsongsin thecycle,Song 4 (Ex. 8). This song is
MUSICANALYSIS3:2, 1984 171

V. KOFI AGAWU
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Copyright
172 MUSICANALYSIS 3:2, 1984

special because of its paradigmaticuse of poetic reversal(as noted at the

beginningof thisessay). It provides,therefore, a usefulmodel forstudying
Schumann'sreadingofHeine's poetry.In whatfollows,I shalldiscusstheways
in whichSchumanndramatizesthedynamicflowimplicitin Heine's poemby
movingfromone dimensionalhighpoint toanother,therebyachievinga highly
and
integrated through-composed settingthatcutsacrossHeine's strophes.
Perhaps the most obviousfeature ofthesongis thediscrepancy betweenthe
structure ofthepoemand itssetting.Heine's poemis in theusualtwo-quatrain
form,whereasSchumann'ssettingis through-composed, not strophicas one
mightexpect. Hallmark's efforts
to heara background'strophicoutline'(1979:
50) seemmisplaced,sincethatis justthestructure thatSchumannapparently
wishedtoavoid.The songmakesa unifying gesture,withno obvious'breaks'or
momentsof hesitation.Schumannresponds,not to the poeticstructure, the
'outerform'ofthepoem,butratherto itssense,itsdynamicform.
I havealreadynotedthatthepoemconsistsofa simplerhetorical progression
in whichtheprotagonist describesdifferentlevelsofintimacywithhisbeloved
(all on the level of fantasy).This progressionsuggestsa through-composed
setting,not a strophicone. In otherwords, since the poem progressesin
couplets,thepairsoflinesmaybe groupedin twolargeparts.The firstthree
pairs(lines 1-2, 3-4 and 5-6) constituteone gesture,whilethelastpair(lines
7-8), which initiatesthe momentof reversaland subsequentresolution,
constitutesthe other gesture. This sense of the poem correspondsto a
normative narrative curve:
Lines: 1-6 7-8
The imageof thissongas a singlegesturehas been capturedeffectively by

Schenkerin a succinctmiddleground reduction(see Ex. 9, Schenker1979:Fig.
152,also quotedin Komar 1971: 109). Althoughthisgraphis notas detailedas
the well-knownanalysisof Song 2, it raisespertinent issues about thesong's
dynamicstructure and thelocationofhighpoints.
Schenker'saimin Ex. 9 is toillustrate'undividedform'(1979: 130)as partof
his 'new theoryof form'.The graphshowshow themiddleground processes
functionas primarydeterminants of form.Since Schenkeris not concerned
withforeground events,thereis no reference to therhetoricalor ornamental
factorsthat contributeto the articulationof the major pointsof structural
arrival.For example,in theapproachtothecadenceonC inb. 8 (see Ex. 8), the
melodicvoicesoarsto a highG, creatingthefirsthighpointon theword'ganz'
whileinitiatinga descentfromS in C. Althoughthisdescentis partof the
structuralclose on C, it does not appear in Schenker'sgraph.Nor does the

V. KOFI AGAWU
endpointof the descent(b. 8, downbeat),but ratherthe link to the next

structuralelement- the B majorchordin b. 9. However,a foreground is
implied by Schenker'smiddleground, which permits examination of the
functionofthehighpoint(see Ex. 10).
Ex. 9: Schenker's ofDichterliebe

analysis No. 4
OQ 0? ?
AA
3
@@@@? 1
Ex. 10:Expansion
ofbs 1-8ofSchenker's
graph(Ex 9)
t
A A A
3 5 1)
II I(to b.9) X X
i6 e a6-I
G: I -- of1Y
X = sequentialrise to highpoint
The inclusionof b. 13 as a passingsonorityin Schenker'sgraphreflects an

attemptto come to gripswith a dramatic
passage thatexists,strictly
speaking,
onlyon the foreground levelof structure.Schenkerincludesthisdiminished
seventhchordin the middlegroundbut omits,forexample,the intervening
chordsbetweenbs 1-4 whichprolongthemotionfromtonictodominant.This
pointstoan obviousdifficulty
inconsistency in therigidapplicationoftherules
formiddlegroundreduction,rules which may resultin the eliminationof
importantsurfacecharacteristics.The chordin b. 13 representsoneofthemost
momentsin thesong,and Schenkeris clearlyawareofthis.
striking

There are threemajor pointsof culminationin Song 4. The firstis the

melodichighpoint in b. 7 (mentionedabove). The secondis a melodic-textural
highpointsupportingb2 in b. 9 (and repeatedin b. 11). The thirdis the
diminishedseventhchordin b. 13.
The firsthighpoint,g2 in b. 7, formspart of a cadentialclose on the
subdominant, C, thusenhancingthemotiontowardsthefirstcontrasting tonal
centrein thesong.' Melodically,g2 represents theculmination ofa sequence,as
shownin Ex. 10. It is also probablythedynamicpeak ofbs 1-8, and is thepeak
in rangeforvoicein theentiresong.
The occurrenceofa highpointso earlyin thesong- roughlya thirdofthe
way through- is likelyto weaken the overalldynamicstructure.(Cone,
commentingon the nature of musical form,remarksabout Also sprach
Zarathustrathat'theframing introduction
. . arrivesata climaxso bigthatthe
rest of the tone-poemalmost sounds like an afterthought', 1968: 22-3.)
Schumannforestallsthis by makinga transitionto anotherdimensionand
creatinga second highpoint(b. 9) different in effectfromthe first.It is
structuralin thatitsupportsthereturnthroughoctavetransposition ofmelodic
3 fromthe firstbar of the song (see Ex. 9). More important,Schumann
establishesa directlinkbetweentheprevioushighpointand thisone bymeans
of a stepwiseascent,G-A-B (bs 8-9). This link is conveyedin Schenker's
graph.The secondhighpoint,then,thoughrelatedto thefirst,has a unique
texturaldisposition.
The thirdhighpoint underlinesthemomentofreversalin Heine's poem,and
Schumannagain switchesto anotherdimension,harmony(b. 13). This final
highpointenhancesthemorestructural supertonicchordin b. 14, just as the
firsthighpointformedpartofthecadentialclose on C in b. 8. But Schumann
includesa varietyofdistinguishing featurestofurtherdramatizethemomentof
reversal.First,theactualsonority, a diminishedseventhchord,is used forthe
firsttime in the song. Second, its disposition- a downwardarpeggiation
spanninga wholebar- is also newin thesong.Third,Schumannmarksin a
ritard.,whichcontributes to therhetorical
emphasisofthispassage.
Song 4, then, illustratesthe juxtapositionof highpointsdiscussed in
connectionwithSong 13. These pointsareeitherstructural in a tonal-harmonic
senseor serveto enhancesubsequentstructural points.Theyfurther providea
framework forhearingthedynamicstructure ofthesongas a whole.
VI
I have arguedthatthe backgroundstructureof each of the songsapprox-

imatesa dynamicor narrative curve,whichdescribesan ascentto a highpoint
followedby a descent. In Schumann'ssongs this correspondsto Heine's
techniqueof reversal,whichcharacterizesmanyofthepoemsin Dichterliebe.
Transformations ofthisbasic shapearepossible,includingthewithholdingof
thedescentportionofthenarrative curve,theprolongation ofthehighpoint,
or
thecreationofa seriesofminiaturecurvesleadingto one supremehighpoint.

V. KOFI AGAWU
Whatthisshaperepresents takesvariousformsdependingon thecontextof

thesong. The highpointcould be: thehighestpitchofa melodicline; thelast
stage of a sequence; a point of texturaltransformation; the last significant
dissonancebeforethe finalclose; and so on. The flexibility of dimensionis
important ifanalysisis to avoid thepitfallsofprescription. advantageof
The
this flexibilityis that it offersa model which providesunity,facilitating
comparisonbetweenpieces. The model describedhere is, of course, not
restrictedto theDichterliebe songs,norevento theworksofSchumann.Rosen
has writtenthat'. . . themusicof Schumann. . . comesin a seriesofwaves,
and the climaxis generallyreservedforthe momentjust beforeexhaustion'
(1971: 453). Yet the implicitarchetypalpatternmay be said to providethe
single,most consistentprincipleof formalstructurein nineteenth-century
music.
In an attemptto come to termswith the convenientbut misleading
dichotomybetweenstructural and ornamental factors,I have had to abandon
thedimensionalhierarchy stemming from Schenker and postulate,instead,a
biologicalor Darwinian model in the form of a shape or curve(Wintle1982
touchesbriefly on this in the context of a critiqueof Dahlhaus's theories).I
believethat attempts to unravel thestructure ofmid-to-late nineteenth-century
music which take as premise the hierarchyof dimensionsderived from
eighteenth-century music are misguided.Thus, as discussedearlierin this
study,Meyer's distinctionbetween'primary'and 'secondary'dimensions,
whileappropriate forMozart,Haydnand Beethoven,is lesseffective ifapplied
to Schumannor latercomposers.
Finally,I have soughtto includein myanalysesthose'dramatic','moving',
'disturbing'and 'striking'aspectsofthismusicwhichare oftennotmentioned
in the searchfor structuralprocess. The importanceof representing these
of music
elusiveaspects nineteenth-century analytically is notto be overlooked,
sincecomposersinthiserawereconcernedwiththeimmediacy ofcommunicat-
ion overtheuse ofnormative mouldsofformalexpression.
NOTES
1. Thereare some significant exceptions, however.Newman(1952) is, to my
knowledge,the first
studydevoted tothephenomenon
exclusively ofclimax.Muns
(1955)developsandamplifies Newman's framework.
ideasina historical Muns's
studyis veryusefulinproviding an overview ofvariousoccurrences ofclimaxin
musicfrom themedieval periodtotheearlytwentieth butitisnecessarily
century,
initsanalytical
limited rigour.Pierce(1978,1979and1983)isa three-part studyof
climaxfrom a performer'sviewpoint. Although itis notpresentedinanyspecific
Meyer(1980)isthemostrecent,
mould,itisfullofinsights.
theoretical and,formy
purposes,themost usefulstudyof the phenomenon, whichattemptstointegrate
thenotionofhighpoint withideasaboutRomanticism ingeneral.
2. For a differentanalyticalapproachto thefirstmovement of Mahler'sTenth
see
Symphony, Kaplan(1981), where theauthor a
providesconvincing explanation
forthestructural ofthecentral
origins climaxofthepiece.

3. There are few rigorousanalyticalstudies. The followingmay be considered

representative of the various approachesdeveloped so far: Desmond (1972),
Hallmark (1979), Komar (1971), Moore (1981), Neumeyer(1982) and Sams
(1975).
4. For further discussionoftheetymology of'climax',see theintroductory chapterof
Muns (1955).
5. The elevationofso-called'secondaryparameters'tothelevelofprimary onesgoes
back as faras Beethoven.In a stimulating paper on Beethoven's Symphonies,
Morgan(1980) has shownhowtimbre- whichwouldbe classifiedas a secondary
dimension- plays a primaryrole in certainpassages fromthe First, Third,
Fourth,Sixthand NinthSymphonies.
6. This point depends on one's initialdefinition of highpoint.In generalI have
favoureda definition in whichthe highpointis consideredtensional,requiring
resolution.It may be argued,in connectionwith Song 11, that the tensional
highpointoccurs just beforethe Eb in b. 32. This would avoid describinga
harmonicresolution- especiallyone thathas been precededby an extensive
chromaticintensification - as a highpoint.Nevertheless, as I havetriedto show,
thepostludeof thissongperforms a further 'resolutory' functionsincethesingle
Eb chordin b. 32 is notcapableofneutralising all thetensionaccumulatedin the
courseofthechromaticbuildup. Bar 32 is, in thatsense,a highpoint.
7. This has eluded mostanalystsof thesong; but it is an important point,notonly
becauseofwhatit showsabout Schumann'smusic,butalso becauseit shedslight
on compositionalprocedurein other nineteenth-century music. Liszt offers
examples where so much durational is
prominence given to what we traditionally
describeas dissonancesthatthereseems to be a reversalof functionbetween
consonanceand dissonance.
8. Heine's poetic structurehere is an exampleof what Smithcalls a 'paratactic
structure'.On theformaland thematicaspectsofthisstructure, see Smith(1968:
98-108).
9. Thereare disagreements amongcriticsaboutwhethertheoptionalmelodiclinein
b. 7 ofSong4 shouldbe performed ornot.Hallmarksaysthatthealternative notes,
firstaddedinthepublishedversion,shouldnotbe sung(1979: 50). His mainreason
is theneedtopreservea melodiccorrespondence betweenbs 6-7 and 14-5. Moore,
on theotherhand,prefers thehighernotes,butwarnsthesingeragainstplacingtoo
much emphasison this preliminary highpoint,since '. . . infinitelybiggerand
moredramaticclimaxescomelaterin thecycle'(1981: 5). Moore's commentsare
pertinentbecausetheyshowan awarenessofa highpoint schemeand ofan implicit
hierarchy in thedistributionofhighpoints.
10. The nextstagein theanalysiswouldbe tohierarchize thesuccessionofhighpoints,
a procedure that would require the establishmentof adequate criteriafor
determining therelativeweightsofthevarioushighpoints.
REFERENCES
Benary,Peter, 1967: 'Die Technikder musikalischenAnalysedargestellt
am ersten
Lied aus RobertSchumann's"Dichterliebe"', in Benary,ed., Versuche musikal-
ischer
Analysen(Berlin:Merseburger),pp. 21-9.
Bergquist,Peter, 1980: 'The First Movementof Mahler's Tenth Symphony:An
Analysisandan ExaminationoftheSketches',TheMusicForum,Vol. 5, pp. 335-94.

V. KOFI AGAWU
Childs,Barney,1977: 'Time: A Composer'sView',Perspectives ofNew Music,Vol. 15,

No. 2, pp. 194-219.
Cone,EdwardT., 1957:'WordsintoMusic: The Composer'sApproachtotheText',in
NorthropFrye, ed., Sound and Poetry,English InstituteEssays (New York:
ColumbiaUniversity), pp. 3-1.
- 1968:MusicalFormandMusicalPerformance (New York: Norton).
Desmond,Astra,1972:Schumann Songs(London: BBC).
Grout,Donald J., 1980:A History ofWesternMusic(New York: Norton),3rded.
Hallmark,Rufus,1979: The GenesisofSchumann's Dichterliebe:A SourceStudy(Ann
Arbor:UMI).
Horton,CharlesT., 1979: 'A StructuralFunctionof Dynamicsin Schumann's"Ich
grollenicht" ', In Theory
Only,Vol. 4, No. 8, pp. 30-46.
Kaplan, Richard, 1981: 'The Interactionof Diatonic Collectionsin the Adagio of
Mahler'sTenthSymphony', In TheoryOnly,Vol. 6, No. 7, pp. 29-39.
Komar,Arthur,1971,ed.: Schumann:Dichterliebe (New York: Norton).
Lehmann,Ursula,1976:Popularisierung undIronieimWerkHeinrich Heines(Frankfurt
am Main: PeterLang).
Longyear,Ray M., 1973: Nineteenth-Century Romanticism in Music (New Jersey:
Prentice-Hall),2nd ed.
Meyer,Leonard B., 1980: 'ExploitingLimits: Creation,Archetypesand Change',
Daedalus, Spring,pp. 177-205.
Mitchell,William,1967: 'The TristanPrelude:Techniquesand Structure',TheMusic
Forum,Vol. 1, pp. 162-203.
Moore, Gerald, 1981: Poet's Love: The Songsand Cyclesof Schumann(New York:
Taplinger).
Morgan,RobertP., 1980: 'TimbralCompositionin Beethoven'sSymphonies',paper
read at the46thannualmeetingof theAmericanMusicologicalSocietyjointlywith
theSocietyforMusic Theoryin Denver,Colorado.
Muns, GeorgeE., Jnr,1955: 'Climax in Music', Ph.D. diss., Universityof North
Carolina.
Neumeyer,David, 1982: 'Organic Structureand the Song Cycle: AnotherLook at
Schumann'sDichterliebe',MusicTheory Spectrum,Vol. 4, pp. 92-105.
Newman,WilliamS., 1952: 'The ClimaxofMusic', MusicReview,Vol. 13, pp. 283-
93.
Pierce,Alexandra,1978: 'Structure and Phrase(Part1)', In TheoryOnly,Vol. 4, No. 5,
pp. 22-35.
1979: 'Performance Phrase- Structure and Phrase(PartII)', In TheoryOnly,Vol.
5, No. 3, pp. 3-24.
1983: 'Climaxin Music- Structure and Phrase(PartIII)', In TheoryOnly,Vol. 7,
No. 1, pp. 3-30.
Prawer,S. S., 1960: Heine: Buch derLieder,Studiesin GermanLiterature,Vol. 1
(London: Arnold).
Preisendanz,Wolfgang,1973: HeinrichHeine: Werkstrukturen und Epochenbeziige
(Munich:WilhelmFink).
Ratner,Leonard, 1966:Music: TheListener's Art(New York: McGrawHill), 2nded.
Rosen,Charles,1971: TheClassicalStyle(London: Faber).
Rothgeb,John,1979: commenton Horton(1979) in In TheoryOnly,Vol. 5, No. 2,
pp. 15-17.
Sams,Eric, 1975: TheSongsofRobert Schumann(London: Eulenberg),2nd ed.

Schenker,Heinrich,1979: Free Composition, trans.ErnstOster(New York: Long-

man).
Schoenberg,Arnold, 1978: Theoryof Harmony,trans. Roy E. Carter (London:
Faber).
Smith,Barbara H., 1968: Poetic Closure:A Studyof How Poems End (Chicago:
ofChicago).
University
Wintle, Christopher,1982: 'Issues in Dahlhaus', Music Analysis,Vol. 1, No. 3,
pp. 341-55.
APPENDIX
TranslationsfromKomar(1971):
Dichterliebe
No. 4
WhenI look intoyoureyes
all mysorrowand pain disappear;
butwhenI kissyourmouth,
thenI becomewhollywell.
WhenI lie uponyourbreast

a heavenlyhappinesscomesoverme;
butwhenyousay: I loveyou!
thenI mustweepbitterly.
Dichterliebe
No. 11
A boylovesa girl
whohas chosenanother;
theotherlovesstillanother
and has marriedthisone.
The girltakesoutofspite
thefirst,mosteligibleman
whocomesherway;
theboyis miserableoverit.
It is an old story,
yetitremainsevernew;
and whoeverexperiencesit,
has hisheartbrokenin two.
Dichterliebe
No. 13
I criedin mydream:
I dreamedthatyoulayin yourgrave.
I wokeup, and thetears
werestillstreamingdownmycheeks.

V. KOFIAGAWU
I criedinmydream:
I dreamed thatyouhadforsaken
me.
I wokeup,andI cried
stilllongandbitterly.
I criedinmydreams:
I dreamedthatyoustilllovedme.
I wokeup,andstill
thefloodofmytearsis streaming.


Agawu - Structural Highpoints in Schumann's Diechterliebe

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Structural 'Highpoints' in Schumann's 'Dichterliebe'

Author(s): V. Kofi Agawu

This content downloaded from 171.67.34.69 on Fri, 21 Jun 2013 02:22:41 AM

STRUCTURAL 'HIGHPOINTS' IN SCHUMANN'S

MUSIC ANALYSIS 3:2, 1984 159

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themselves withnotionsof climaxare not the 'serious'theorists - say,

A recurring featureof Heine's earlypoetryis 'reversal',whichoccurs

160 MUSIC ANALYSIS 3:2, 1984

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use ofthisdevicein Germanpoetry,and concludesthatit mustoriginatewith

MUSIC ANALYSIS 3:2, 1984 161

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Das Midchennimmt ausArger

The curvedescribesan ascentto a highpointand a descenttherefrom.The

Song7 willservetointroducethefundamental elementsofSchumann'ssong

162 MUSIC ANALYSIS 3:2, 1984

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momentofreversalis all themorestriking becausetheparticularhighpointis

A considerationof the firstfourbars of this song (Ex. 1) will show how

MUSIC ANALYSIS 3:2,1984 163

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inthemovement oftheoutervoices.In otherwords,thebassreachesa physical

Undwenndas Herz auch bricht

die diram Herz-ensfrisst

minor3rd perfect4th 5th

164 MUSIC ANALYSIS 3:2,1984

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b. 27. Note firstthat the five occurrencesof 'Herz' are separated by

die dir am Her - zen ich sah,mein Lieb,wiesehrdu e - nd

An objectionmay be levelledagainstthe analysisof a nineteenth-century

MUSIC ANALYSIS 3:2, 1984 165

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as secondary- is no longertenablehere. This issue has been discussed

In Songs 11 and 1 thebasicmodelis somewhatmodified.Song 11, as noted

Following this poetic structureclosely, Schumannadds an extendedin-

The methodsof preparingthishighpointembracebothtonaland melodic

166 Music ANALYSIS 3:2, 1984

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Thereis one important difference

MUSIC ANALYSIS 3:2, 1984 167

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Schumann'schoiceoftexture- whatDesmond calls 'questioningarpeggios'

168 MUSIC ANALYSIS 3:2, 1984

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sprangen da ist n me - nemHer - zen die Lie - be auf ge-gan-gen

MUSIC ANALYSIS 3:2, 1984 169

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so-called'poeticthird'effect,and also setsF#in an unstableenvironment (b.

Heinepresentsa linear-dynamic modelwiththreeprogressive dreamstates:the

170 MUSIC ANALYSIS 3:2, 1984

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piano commentssparinglywithlow-register chords,all thisin the keyof Eb

Ex. 7: Chromatic inascentstohighpoints

Inevitably,ofcourse,therewillalwaysbe a singlemomentin thehighregion

The juxtapositionof highpointsin different

MUSICANALYSIS3:2, 1984 171

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? W. W. Nortonand CompanyInc.; reproducedbykindpermissionofthepublishers.

172 MUSICANALYSIS 3:2, 1984

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special because of its paradigmaticuse of poetic reversal(as noted at the

Lines: 1-6 7-8