“Inside” Voices and Coupling DynamicsAuthor(s): MICHAEL WEINSTEIN-REIMAN

Source: Theory and Practice , Vol. 42 (2017), pp. 1-27

Published by: Music Theory Society of New York State

Stable URL: https://www.jstor.org/stable/10.2307/26477742

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 “Inside” Voices and Coupling Dynamics:
An Analysis of Clara Wieck-Schumann’s
Notturno from Soirées Musicales, Op. 6 No. 2
M I CHAE L W E I NS T E I N- RE I M AN

This essay explores the interaction between deep and surface structures in the Notturno from Clara Wieck-
Schumann’s Soirées Musicales, Op. 6. Though they made claims to interior spaces, nineteenth-century piano
nocturnes were public affairs. This “inside-outside” paradox is reflected in analytical studies of the genre,
where foreground details are often subordinated to deeper structures. In Wieck-Schumann’s Notturno, deep
“inside” and surface “outside” aspects do not exist hierarchically. The term “inside voice” can thus be a
metaphor for two musical ideas: 1) to describe the function of the Notturno’s Urlinie; and 2) to describe the
activity of inner contrapuntal voices. This analysis focuses on two of the Notturno’s “inside voices,” each
linked to a specific pitch-class. At moments of surface-level animation, these voices engage in a series of
register transfers and octave couplings that illuminate a chiastic structure of interwoven musical threads.

The nocturne is an “inside” genre. Described by nineteenth-century critics

as dreams or fancies, piano nocturnes—with their delicate textures, rhapsodic
passagework, and placid left-hand accompaniments—were quickly associated with the
individual composer and his or her innermost sentiments.1 Writing in 1834, for instance,
Gottfried Wilhelm Fink summarized Chopin’s Op. 15 nocturnes as “reveries of a soul
fluctuating from feeling to feeling in the still of the night” (1834, col. 543). 2 Even so, the
nineteenth-century piano nocturne—alternately the notturno or Nachtstück—lived life
on the outside: although they made claims to the interior—the salon, the sentimental,
or solitude—nocturnes were public affairs. “The Notturno for the Pianoforte,” Carl
Czerny writes in the first volume of the School of Practical Composition, “is really
an imitation of those vocal pieces which are termed Serenades . . . performed by
night, before the dwelling of an esteemed individual” (1839, 91). In light of Czerny’s
description of the nocturne as music en plein air, we could perhaps consider nocturnes

A version of this essay was presented at the Mannes Graduate Student Theory Conference, held
at The New School on January 22, 2017. My thanks to Robert Cuckson, Poundie Burstein, Edward
Klorman, Christopher Park, Lynne Rogers, Hedi Siegel, and the conference committee for their
encouragement. I am grateful to Benjamin Steege, Ellie Hisama, Mariusz Kozak, Stephen Rodgers, Joon
Park, Carmel Raz, and the anonymous reviewers of Theory and Practice for their insightful comments.
Many thanks especially to Sarah Marlowe and William Marvin for their helpful suggestions.

1 On the origin of the piano nocturne see Temperley 1975, Rowland 1992, Kallberg 2000, and Bellingham
2016.
2 “Die Nocturnen sind wirkliche Träumereyen einer in der Stille der Nacht von Gefühl zu Gefühl schwankenden
Seele.” English translation in Kallberg 1992, 104.

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2 THEORY and PRACTICE Volume 42 (2017)

as studies in contrasts, characterized by the “inside” voices of moonlit solipsism and the
externalization of these same introspections.
The dynamics of the nocturne’s “inside-out” paradox interface poignantly
with early-nineteenth century notions of femininity in music. As Jeffrey Kallberg
observes, responses to nocturnes by Chopin—the “Ariel of pianists”—decried
their “Raphaelesque” ornaments. More generally, nineteenth-century critics wrote
disparagingly of what they saw as the nocturne’s propensity to “prolix and dawdling”
and “the effeminate and languishing,” continually distinguishing the genre from more
“vigorous” forms like the sonata. 3 “The brevity of a nocturne, along with its typically
ornate melodies,” Kallberg writes, “would presumably have led nineteenth-century
listeners to focus more on momentary surface details of its construction than on the
sorts of larger-scale processes that might enter into their experience of a more expansive
work. And if this were so, their preoccupation with such details would help reinforce
the sexual characterization of the genre” (1992, 109). In the work of Heinrich Schenker,
particularly, we might therefore locate the nocturne’s paradox: foreground details, like
the genre’s virtuosic fioritura,4 are frequently subordinated to deeper, background
structures. What is on the surface—or, to speak figuratively, the “outside”—is eroded
away, while the deepest level—the “inside” voice, or Urlinie—is turned inside out.
In what follows, I explore the unique interaction between deep and surface
structures in the Notturno from Clara Wieck-Schumann’s Soirées Musicales, Op. 6.
Written in 1835 and published by Hofmeister in 1836, the Soirées Musicales comprised
six miniatures—a toccatina, a ballade, a polonaise, two mazurkas, and the Notturno—
and was Wieck-Schumann’s most popular early work. 5 Using the notion of the “inside
voice” as a vanishing point for my analysis, I take recourse to a Schenkerian analytical
framework to illustrate how deep “inside” and surface “outside” aspects of Wieck-
Schumann’s nocturne might not necessarily exist hierarchically. As suggested above, I
use the term “inside voice” as a metaphor for two musical ideas: first, to describe the
function of the Notturno’s fundamental line, or Urlinie; second, to describe the activity
of inner contrapuntal voices said to operate “inside” the texture.
I begin by mapping the overall form of the Notturno and highlighting several
important coupled motives derived from the first twenty-five measures. Next, I illustrate
how these motive pairs underwrite much of the work’s long-range harmonic activity.

3 Ibid., 105.
4 On the association of early nineteenth century piano nocturnes with the voice, and the vocal Romance in
particular, see Kallberg 2000.
5 For more on the provenance of Op. 6, see Reich 1985, 296.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 3

Following that, I turn my attention to two of the Notturno’s “inside” voices, each linked
to a specific pitch-class: the first, A, which I associate with the work’s Urlinie, and
the second, C, which I associate with a contrapuntal inner voice.6 In the Notturno, at
moments of surface-level animation, these voices weave around one another in a series of
register transfers and octave couplings. As my analysis shows, these couplings—whereby
“inside voices” momentarily become “outside voices,” and vice versa—illuminate no
single fundamental, interpretative line, per se, but a structure of interwoven musical
threads in which no voice takes primacy over another.7
Lastly, I imagine a narrative around the Notturno, one suggested by Clara
Wieck-Schumann’s unique position as a composer and performer of her own music.
Such a positionality is evocative of literary theorist Elaine Showalter’s concept of the
“double-voiced discourse” of writing by women, which “always embodies the social,
literary, and cultural heritages of both the muted and the dominant” (1981, 201). The
interplay of muting and dominance, exemplified by my analysis of the Notturno’s
variable “inside” voices, is underscored by Robert Schumann’s appropriation of the
theme from Clara’s Notturno for his own composition. In his Novelletten from 1838,
Op. 21, Robert recasts Clara’s theme as a mere “distant voice” (Stimme aus der Ferne).
With this in mind, in my conclusion, I consider how his reimagining would ultimately
render Wieck-Schumann’s signature contribution to the nocturne genre “inside out.”

A Palette of Motive Pairs

It will be useful to make some general remarks about the Notturno’s form and
phrase organization before launching into my analysis. The work is in three large
overlapping sections, which articulate an ABA' form. Measures 1–57 comprise the
initial A section, characterized by a descending melody and an arpeggiated left-hand

6 By “contrapuntal inner voice,” I mean what William Rothstein refers to as an “obbligato voice,” “present
throughout much or all of a composition,” in contradistinction to “filling tones,” those inner voices that
contribute to the prevailing harmony but may not necessarily be traced as continuous contrapuntal lines. See
Rothstein 1990, 101.
7 This is not to say that primacy of the single fundamental line is a Schenkerian sine qua non. My study is
built upon the work of several theorists who have expanded Schenker’s concept of the singular Urlinie to include
multiple structural voices. Most notably, in cases where the first tone of the Urlinie could be 3 or 5, David
Neumeyer posits a structural soprano and alto voice in a “three-part” Ursatz (1987). (Pertinent to this study,
see also the response to Neumeyer in Larson 1987, and Neumeyer’s subsequent response to Larson, in which
the author describes the relationship between the structural soprano and alto voices as “dynamic—even a bit
unpredictable” [1987]). Channan Willner’s notion of the “polyphonic” Ursatz adds a structural tenor voice to
Neumeyer’s three-part model. However, Willner acknowledges that at the deepest level, the Ursatz remains a
two-voice structure (2007).

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4 THEORY and PRACTICE Volume 42 (2017)

accompaniment typical of the genre, and traces a harmonic progression from F major
to D minor. A dovetails with a contrasting B section in the relative minor (mm. 57–89).
The B section is marked by a different left-hand accompaniment—a series of long–
short trochees—and an ascending melody that accentuates the D harmonic minor
scale. The tonic key returns at mm. 79–81 with the progression I6 –Fr+43 –V64 ––53 –I. This
return is slightly obfuscated by the deferral of F to a weak metrical position at m. 81.
(Wieck-Schumann crystallizes the return to F major at mm. 84–5 with a confirmatory
cadence and the realignment of root-position tonic harmony with the downbeat at m.
85.) Measures 90–126 mark a thematic and formal return, preceded by a two-measure
retransitional passage. With the motion from A1 to F2 in the bass (mm. 88 and 90) and
the subsequent collapse of the pitch F and A-major harmony, we get a recurrence of the
nocturne’s characteristic augmented triad, F–A–C s. This triad, as I will show, is a nexus
of the work’s principal motives. A final cadence in F major occurs at mm. 109–12, with
the articulation of PD–D–T harmony (ii6 –V64 ––53 –I) and a descent A 5 –G5 –F5 across the
barline at m. 112. Measures 112–26 comprise a coda that prolongs tonic harmony for
fifteen measures.
These large formal sections may be divided into subsections: A (mm. 1–56)
into two overlapping subsections, a and a', distinguished by the return of the F-major
arpeggiated “vamp” at mm. 25–6; B (mm. 57–89) into b and b', with the point of
overlap at m. 69; and A' (mm. 90–126) into a'' and c, joined by the cadence at mm.
109–12. These subsections are, of course, divisible into phrases, each of which may be
parsed into subphrases of varying lengths. For the purposes of the current article, I will
not provide a detailed accounting beyond the phrase level, except where such aspects
might illuminate the overarching conceit of my analysis. Example 1 is a map of the
whole movement, and summarizes the Notturno’s phrasing and tonal plan.
Many of the movement’s principal motives are adumbrated by the first twenty-
five measures (Section A, subsection a, phrases 1–3, abbreviated Aa1–3). Measures
1–10 (Aa1) articulate a progression from tonic to supertonic harmony. This harmonic
motion is accomplished by means of asynchronous semitonal inflection: first, the
move C4 –C s4 –D4 in the top voice of the accompaniment at mm. 2–5, followed by the
move F2 –Fs2 –G2 in the bass at mm. 6–9. Concomitant with this half-step gesture, the
melody traces a descending pentachord A4 –G 4 –F4 –E4 –D4. This “dip” into the middle
register—the domain of contrapuntal inner voices—though not exceptional, is certainly
notable for its appearance so early in the movement, and bespeaks the Notturno’s
idiosyncratically low tessitura. (Of the nocturnes Op. 9 and Op. 15 by Chopin, for
instance, I count only one in which the melody dips below the lowest line of the treble

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 5

Example 1
Division of Formal Sections and Aspects of Phrasing in Wieck-Schumann’s Notturno.

staff in the first twenty-five measures: Op. 15, no. 2, in Fs major).8 Ascending chromatic
bass motion and descending diatonic melodic motion converge on V65 of G minor at mm.
7–8, an arrival decorated by the ornament D–E b –D–C s –D and an octave transfer D4 –
D5. From this opening gambit we can distill two related motives: 1) a motive of upward
semitonal inflection, which I label “x,” and 2) more comprehensively, a motive of
chromatic passing motion, which I label “xp.” We may think of motive x as a chromatic
inflection within a given harmony, such as the motion from C to C s that causes the
striking F-augmented harmony at m. 3, and, as illustrated by the bass motion F 2 –Fs2
at mm. 6–7, motion by step from one harmony to another. Example 2 illustrates the
derivation of these related motives.

Example 2
Derivation of Motives x and x p.

8 As Reich notes, Wieck-Schumann’s early compositional style was associated with that of Chopin and the
“new romantic school” of the late-1830s (1985, 213).

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6 THEORY and PRACTICE Volume 42 (2017)

We might also describe the melody in mm. 1–10 as a series of descending third
progressions: A to F at mm. 3–5, F to D at mm. 6–7, and D­– B b at mm. 7–10. I label
this motion by descending third “y.” Together, this series of third progressions and the
motive xp underwrite the progression from tonic to supertonic harmony with which
Wieck-Schumann opens the Notturno. Moreover, we can summarize this trio of y
motives as an expansion of motive x across the span of ten measures, which manifests
as the upper-neighbor motion from A4 to B b4, accompanied by passing motion from F2
to G2 through F s2 . We can thus nuance our definition of motive x as motion by semitone
that is either chromatic or diatonic, with motive xp defined as a conjunction of two
iterations of either type. Example 3 illustrates how motives x and xp interact.

Example 3
Expansion of Motive y; Interaction Between Motives x and x p.

Although mm. 11–25 (Aa2–3) feature several surface-level elaborations of x and

xp (chromatic neighbor and passing figures abound), it will not be necessary to itemize
them here. Crucially, however, these measures showcase two interrelated “foil” motives
of x and xp: 1) motion downward by semitone, illustrated, for example, by the plangent
suspension G b4 –F4 in the melody at m. 19 and, of course, by this passage’s expressive
modal mixture (note the unexpected appearance of A b at m. 19); and 2) the expansion
of this descending half-step as passing motion in the outer voices at mm. 19–25. We
could also describe the bass descent at mm. 19–25 as the juxtaposition of two expanded
y motives, a diatonic unfolding from C3 to A 2 at mm. 19–21 and a chromatic “filling
in” between A 2 and F2 at mm. 21–5. Because they are “inversions” of x and xp, I refer to
these motives as x -1 and xp-1 respectively.9 Example 4 illustrates how we might therefore
analyze mm. 1–25 (Aa1–3) as a constellation of short musical ideas—a palette of motive
pairs from which the composer draws throughout the Notturno.

9 I am aware that the motion Bb–A is also the retrograde of the motion A–Bb; I use the term “inversion,”
however, to connote reflection, and, as it pertains the conceit of my analysis, turning inside out. My nomenclature
is admittedly imprecise in this regard. See Oxford English Dictionary, s.v. “inversion.”

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 7

Example 4
“Inversional” Motivic Relationships in Wieck-Schumann’s Notturno.

“Inside” Voices

In the preceding section, I demonstrated how we might understand some aspects

of form and phrasing in Wieck-Schumann’s Notturno, in addition to highlighting some
of the work’s motivic relationships sketched by the first three phrases (mm. 1–25). In
what follows, I demonstrate how these motives draw into focus the relationship between
“inside” and “outside” voices in the nocturne. As my analysis shows, the presumed
hierarchy of these voices—whereby the structural “inside voice” is attributed greater
analytical significance than surface-level, or “outside” diminutions of the fundamental
line—can, in fact, be theorized as a mutual relationship. Example 5 is a graph of mm.
1–25 in their entirety.

Example 5
Wieck-Schumann’s Notturno, Graph of mm. 1–25.

A typical Schenkerian analysis such as this might consider the starting note of
the melody (A4 in m. 3) as the Kopfton, which is elaborated by upper-neighbor motion

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8 THEORY and PRACTICE Volume 42 (2017)

to B b4 in m. 10 (motive x).10 At mm. 11–14, as in mm. 3–7, the melody is pushed down
into the texture, tracing a descent from A4 to D4 (see Example 6).

Example 6
Wieck-Schumann’s Notturno, mm. 11–15.

Wieck-Schumann accentuates the upper-neighbor motion from A4 to the dissonant

B b4 with two ornaments, one in m. 11, and a second in m. 12, which leaves the pitch B b4
poised for a resolution at m. 13. Instead of such resolution, the composer downplays
the move from B b to A in m. 12 (the final two eighth-notes of the bar), supplanting the
expected melodic half-step with the accented passing tone G 4 in m. 13, which resolves to
F4 on the downbeat of m. 14 as part of a delayed resolution of V7 of D minor.11 When the
motion from B b to A does occur, it is in an inner, accompanimental voice at mm. 13–14,
signaling a transfer of the Kopfton from its obligatory register to an “inside” voice,
where it articulates neighbor-motion from A3 to B b3 over the barline at m. 15 (again,
motive x). This is followed by a series of articulations of motives x and x -1: an inflection
back down to A3 (now the bass voice) at m. 17; up again to B b3 at m. 18, as part of the
resolution of the fully-diminished seventh chord A­­–C–E b –G b to Neapolitan harmony;
and ultimately through a series of half-step contortions—a striking, extended treatment
of the motion from V b64 to I n at mm. 19–25. As Example 5 illustrates, this transit of the
Kopfton from A4 to A3 at mm. 11–19 exemplifies a salient analytical feature of this
passage, register transfer, whereby the structural voice is curiously “buried” inside the
nocturne’s surface texture.
In connection with this analytical move inward, beginning at m. 15, the pitch
C4 is displaced from its middle register and cast upward in two dramatic leaps, the
first from the grace-note C4 to C5, and the second from C5 to C6, marked sforzando
and ornamented with a turn, at m. 17. The syncopation of C5 at m. 15—accented and

10 I preserve Schenker’s usage and graphic representation of the Kopfton to make an analytical distinction
between pitch-classes A and C.
11 We could, of course, analyze the harmony at m. 12 as viiº7 of D minor over a D pedal. I hear m. 13 as a
decorated resolution of V7 from the previous bar.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 9

notated rubato stretto—underscores a change in mood concomitant with this motion

from an inner voice, as the harmonic motion accelerates toward the arrival of the
Neapolitan at m. 18. Example 7 reproduces the melody at mm. 14–18.

Example 7
Wieck-Schumann’s Notturno, Melody, mm. 14–18.

In preparation for this rousing gesture—indeed, the first of such magnitude in

the Notturno—Wieck-Schumann makes a small but critical adjustment to motive y.
We recall that motive y initially outlined a downward arpeggiation in the melody,
A4 –F4 –D4, at mm. 3–5; the repeated F4 on the fourth eighth-note of m. 6 allowed for the
arrival of D4 in a strong metrical position at m. 7. Contrastively, at m. 14, the melody
moves stepwise through E4 (another accented passing tone) and D4 without the repeated
F4, landing on C4 on the downbeat of m. 15. Example 8 compares these two passages.

Example 8
Wieck-Schumann’s Notturno, Comparison of mm. 6–7 and mm. 14–15.

When the pitch C6 descends through an arpeggiation of Neapolitan harmony, it

not only articulates a move from C6 to B b6 reminiscent of the resolution of the accented
passing tone C5 to B b5 in the melody at mm. 9–10, but also an expression of motive x,
C6 to D b5. This chromatic upper-neighbor motion echoes the initial motion from C4
to C s4 in the accompaniment at mm. 1–4; the voice ultimately recedes back into the
accompaniment at mm. 18–19 and converges with the melody on C4, the last eighth-
note in mm. 22. Also, note the octave spread between D b3 and D b4 in the left hand, such

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10 THEORY and PRACTICE Volume 42 (2017)

that the pianist’s thumb would have to articulate the motion from D b4 to C4 across the
barline at m. 19, perhaps causing a small accent.
From this treatment of pitch-classes A and C, both in terms of register and the
expression of motives, we can understand an additional salient analytical feature of
mm. 1–25. While the Kopfton is transferred to the inside of the texture—the territory
of so-called inner voices—the note C4 that occupied this territory is launched upward
into a foreign tessitura. This voice exchange loosens our determinations of “inside”
and “outside” voices, as pitch-class C becomes more animated and draws our focus
away from the starting melody note, A. Thus mutuality between voices, exemplified by
these exchanges in register and, as I expand in the subsequent section, octave coupling,
becomes a conceit for the work as a whole.
In view of the relationship between pitch-classes A and C, we may also consider
a dynamic harmonic complex composed of the motives x, x -1, xp, and xp-1, depicted
in Example 9. Although certainly not comprehensive of the work’s harmonic arsenal,
Example 9 illustrates the intersection among the Notturno’s four related motives.
Additionally, with this diagram, we can better understand the F–A–C s/D b augmented
triad so characteristic of the piece, as well as several other melodic and harmonic
gestures that I address throughout this article.

Example 9
Harmonic Complex Composed of Motives x, x -1, x p, and x p-1.

Coupling Dynamics

In this section, I trace the elaboration of octave couplings in both the contrapuntal
inside voice, which often becomes the work’s “outside” melody, and the “inside” Urlinie.
Each voice remains connected to its characteristic pitch-class, C and A, respectively. As
my analysis demonstrates, whereas pitch-class A is prevalent throughout the Notturno’s
contrasting B section (mm. 57–89), the return to F major in the A' section features

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 11

several reassertions of C. I dramatize the relationship between these two pitch-classes

as a long-range, figurative coupling, whereby both the contrapuntal inside voice and
the structural inside voice contend for closure as the work reaches its denouement. I
also argue that pitch-classes A and C—cast as “inside” voices of a different sort—
may be theorized more equitably as we approach the Notturno’s structural close at
mm. 110–12. My analysis does not subordinate the surface-level behavior of pitch-class
C to a final descent of the Urlinie, A–G–F, but substantiates the increasing motivic
significance of C in concordance with that of A.
Example 10 is a graph of mm. 25–33 (Aa'1).

Example 10
Wieck-Schumann’s Notturno, Graph of mm. 25­– 33.

Measures 25–29 mirror mm. 1–5, with motion from C4 to C s4 to D4 in the

accompaniment. Unlike mm. 1–5, the short introductory “vamp” at mm. 25–6 outlines
the register transfer of C3 to C4 in the left hand, while the melody is transferred from
A3 at m. 25 to A4 at m. 27. With these asynchronous octave leaps, Wieck-Schumann
reestablishes the home register of both the inner tenor line associated with C4 and the
melody, which originated from A4, at m. 3.
An initial series of octave couplings presents at mm. 25–33. Concomitant with
the passing motion A4 –G 4 –F4 at mm. 28–9, the Kopfton is transferred back into the
inner voice; at mm. 30–1, it is inflected down from A3 to G s3 in connection with the
harmonic progression iiø7–V7 in A minor. At m. 29, the composer introduces another
register transfer, from F2 in the bass to F4 in the melody, which ultimately resolves
down by semitone to E4 at m. 31. The arrival of V7 in A minor, heralded by the repeated
striking of F4 at m. 30, signals yet another jump to a higher octave—foreshadowed by
the leap of a perfect-fifth in the melody on the fourth eighth-note beat of m. 28—with
the motion E5 –D s5 –E5 –F5 in the melody at mm. 31–2, and a dramatic unfolding of the

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12 THEORY and PRACTICE Volume 42 (2017)

octave E5 –E4 with the ornament marked risoluto at m. 32. Additionally, this animated
passage at mm. 30–33 illustrates several manipulations of the x -1 motive within the
octave couplings: the melody’s F4­descends to E4 at mm. 30–1 as A3 moves to G s3; at m.
32, F5 descends to E5 (the first two notes of the ornament), followed by the decorated
move F4 –E4 approaching the fourth eighth-note beat of the measure. And a­­s the melody
descends C5 –B5 –A 5 into m. 33, the neighbor motion F4 –E4 becomes an inner voice once
more, joining the melody in a stepwise descent E4 –D4 –C4. Example 11 is a voice-leading
sketch of the relationship between pitch-classes A and C at mm. 25–33.

Example 11
Voice-Leading Sketch of the Notturno, mm. 25–33.

A second series of octave couplings presents at mm. 41–9 (Aa'3), illustrated in

Example 12.
At mm. 39–41, the bass climbs upward by semitone in a gesture reminiscent
of the bass motion at mm. 15–16. Concurrently at mm. 39–41, the melody elaborates
motives x and x-1, with the motion A4 –G 4 –B b4 –A4. This prefaces the transfer of A4
down into the middle register at m. 41, again succeeded by an elaboration of motives
x and x-1 in the “inside” voice of the accompaniment over an eight-measure span (mm.
41–48). The leap of a sixth in the melody to F5 at m. 41 initiates a descent of a perfect-
fourth, F5 –E5 –D5 –C5, which comes to rest on the melody note C5 at m. 43, in tandem
with the harmonic progression vi–IV6 –V65 in F major (mm. 41–3). In a treatment again
congruent with that at mm. 15–17, C5 is transferred up to C6 at m. 43, ornamented by
a similar grace note (instead of six syncopated pulses of C5, though, Wieck-Schumann
writes straight pulses of C6), followed by a move up to D6 (via the resolution of the
9–8 suspension at m. 45) and a dramatic unfolding of predominant harmony (ii6 in
F major) at m. 46. Although mm. 43–6 closely model mm. 15–18 (the substitution of
a diatonic ascent through the tritone E3 –B b3 in the bass at mm. 43–5 for the largely
chromatic ascent through the same interval is an especially deft sleight-of-hand), the
coupling C5 –C6 –D6 –D5 is notable for its inclusion of D n instead of D b, which was part
of Neapolitan harmony at m. 18.
At mm. 49–53, Wieck-Schumann initiates a third series of octave couplings,

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 13

Wieck-Schumann’s Notturno, Graph of mm. 41–57.

Example 12

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14 THEORY and PRACTICE Volume 42 (2017)

which conveys two iterations of motive y in the melody: the motion from F5 to D5 at
mm. 49–51, and the motion from D5 to B b4 at mm. 51–3. The model-sequence passage
at mm. 49–53 culminates in a large elaboration of the semitone B b4 –A4 —one doubled
in octaves between the outer voices on the downbeats of mm. 54–55—followed by a
cadence in the relative minor at mm. 55–7. This cadence draws into sharper focus again
the transit of the Kopfton from the melodic to the middle register in mm. 55; both
A4 and A3 are therefore elaborated by motive x -1, B b –A, in a gesture that echoes the
semitonal inflection from B b3 –A3 at mm. 24–5.
In connection with these couplings, the performance of the cadence at mm. 55–7
further supports the inside-outside conceit of my analysis. For instance, the elaboration
of motives x and x -1 at mm. 55–6 (the right hand’s articulation of A3 –B b3 –A3, marked
sforzando), accentuates the physical transfer of the primary tone A from its obligatory
register into the middle range. While I theorized the descent from B b3 to A3 at mm.
24–5 as a “burying” of the primary note inside the accompaniment, the motion from
C4 down to A3 (mm. 22–5) was an “outside” maneuver—at the cadence in F major at
m. 25, A3 is in fact the highest voice in the texture. At mm. 55–7, however, the Kopfton
is eclipsed by the articulation of D4 –C s4 at mm. 55–6, which literally covers the melody.
The pianist would, of course, cross his or her hands, right over left, to achieve the
desired effect of placing the note A3 inside the left-hand arpeggiation.
Likewise, we may recall that the motion from Neapolitan harmony to V b64 ––35
harmony at mm. 18–19 was underwritten by the articulation of D b4 –C4 in the middle
register by the thumb of the left hand, followed by a series of descending semitones in
the outer voices. In addition to the enharmonic reinterpretation of D b4 as C s4 (comparing
mm. 18 and 56), which resolves up as a leading-tone to the new tonic, D, at m. 57, the
motion C s4 –D4 occasions a reconfiguration of the pianist’s hands back to their normative
alignment. This renegotiation is somewhat tricky: I find it easier to use my right index
finger instead of my thumb on A3 at m. 55, even though the thumb would cause the note
to sound more loudly. This also avoids an awkward collision of thumbs—right on A3
over left on C s4 —on the final two eighth-notes of the bar. Example 13 compares the use
of the right thumb with the use of the right index finger.
With the physical embodiment of registral exchange depicted in Example 13—
though entirely pianistic and typical of the nocturne genre—the two “inside” voices,
contrapuntal—already closely aligned with the pitch-class C and the motive xp,
C4 –C s4 –D4 —and analytical, grounded by the Kopfton, are swapped. And as both
converge on D4 at m. 57, heading into the contrasting B section, the distinction between
inside and outside is further obscured by the renegotiation of the hands as discussed
above.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 15

Example 13
Thumb vs. Index Finger, mm. 55–6.

In the contrasting middle section at mm. 57–89, Wieck-Schumann expounds

upon this exchange, marked by the connected motion of C s –D and B b –A, in a series
of upward melodic sweeps. We might analyze the first of these sweeps, at mm. 58–
60, as a chain of minor-third unfoldings (D4 –F4; G 4 –B b4; C s5 –E5), each in a strong
metrical position. This entire sweep of a tenth, D4 –F5, could therefore be understood as
a succession of three motive y “foils,” which I label y -1 in the following example, nested
within the long-range motion D4 –F5, which itself traces a fourth iteration of y -1.

Example 14
Wieck-Schumann’s Notturno, mm. 57–60.

Crucially, the ascending harmonic minor scale at mm. 58–60 features a prominent
“gap” of an augmented-second between B b4 and C s5, which resolves outward to a perfect
fourth (A–D), though in the accompaniment, at mm. 59–60. Therefore, we might also
consider the opening gesture of the B section to be a summary in diminution of the
cadence at mm. 55–57, as well as a reminiscence of the registral exchange between the
Kopfton A, nestled inside the texture, and the motion from C s4 to D4 above it.
Again, register transfers underwrite a series of octave couplings, the first of which
occurs following the cadence in A minor at mm. 61–2. At m. 62, pitch-class A emerges
as the focal note, now in the melody, and is subsequently propelled upward from A4 to

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16 THEORY and PRACTICE Volume 42 (2017)

Wieck-Schumann’s Notturno, Graph of mm. 57–69.

Example 15

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 17

A 5 in another right-hand sweep. Motives x and x -1 converge in another constellation

of augmented-seconds, with G s5 resolving to A 5 over the bar line at m. 64, and the
concurrent resolution of F5, transferred in register to F4 in the accompaniment, down to
E4. At m. 64, Wieck-Schumann initiates another sweep upward, followed by the descent
A 5 –G5 –F5 in melody at mm. 66–8. As Example 15 illustrates, I do not imply E5 from
the prevailing dominant harmony in m. 68, which would substantiate a firmer cadence
in D minor than is present (note the diminuendo marking in m. 67). Rather, I analyze
the cadence at mm. 68–9 as a prolongation of A, the culmination of the octave coupling
between A4 at m. 62 and the return of A to the middle register, as 5 in D minor, at m. 69.
Pitch-class A remains active throughout the B section; Wieck-Schumann
reanimates A in its high register as part of a return to F major, which, I contend, is
initiated by the motion of A3 to B b3 (motive x) in the accompaniment at m. 72 (see
Example 16).

Example 16
Motion A 3–B b 3 (Motive x) at m. 72.

The move from A3 to B b3 at mm. 72–3 is notable for two reasons. First, we might
expect a literal repeat, or “vamp” of the accompaniment at m. 73, with the left hand
rearticulating the motion from i–VI6 in D minor in long–short trochee pairs. Example
17 is a recomposition of mm. 72–3 along these lines.

Example 17
Recomposition of mm. 72-3.

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18 THEORY and PRACTICE Volume 42 (2017)

Instead of my banal reimagining of this passage, however, Wieck-Schumann offers a

momentary destabilization of the prevailing metrical organization of the B section, which
resonates in mm. 73–5 in a series of weak-beat accented B bs in the accompaniment,
illustrated in the following example.

Example 18
Weak-Beat Accented B b s, mm. 73–5.

Second, this accentuation of subdominant harmony occurs in tandem with the

unprepared dissonance, A 5, which articulates motive y as the accompaniment slides
from E3 to F3 and from C s4 to D4 across the bar lines at mm. 74 and 75. As Example 19
illustrates, this expressive repetition of a dissonance, a major-seventh above B b, supports
the general prolongation of the pitch-class A: we expect A to resolve somehow, which it
does, from B b2 to A 2 in the bass at m. 76, and back to B b3 from A3 in the accompaniment
at mm. 77–8.
After the return to F major at mm. 79–81, pitch-class C reemerges in the
middle register with the reinterpretation of the opening xp motive, C4 –C s4 –D4, as xp-1,
D4 –D b4 –C4, doubled by the bass at mm. 81–3 and 85–7. In this literal coupling—the
doubling of the right hand by the left hand—D minor and F major are juxtaposed, with
the articulation of xp-1 mediating between the two closely-related harmonic areas. This
gesture may also be analyzed as a précis of the opening gambit at mm. 1–6, wherein
the harmony progressed through C s to D minor from F major. At mm. 81–7, Wieck-
Schumann mirrors this progression (now D minor to F major) as a kind of foil to the
opening gesture. Thus we might also analyze the transition from B to A' as a long-
range, figurative coupling between thematic sections A and A', underscored by a hushed
recasting of D b as C s, marked pianissimo and calando, at mm. 88­–9.
Since mm. 92–6 are essentially a paraphrase of mm. 5–10 (with the exception
of yet another coupling maneuver, the octaves at m. 95), we can turn our attention
more concertedly to the relationship between pitch-classes A and C, which contend for
resolution as the nocturne draws to a close. Pitch-class A, we recall, remains linked with

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 19

Wieck-Schumann’s Notturno, Graph of mm. 69–78.

Example 19

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20 THEORY and PRACTICE Volume 42 (2017)

the “inside” Kopfton, which often appears with the neighbor note B b in conjunction
with motives x and x -1. Pitch-class C, contrastively, recalls the contrapuntal “inside”
motion C4 –C s4 –D4, or motive xp. Example 20 is a voice-leading sketch of mm. 1–10,
which illustrates the characteristic roles of pitch-classes A and C.

Example 20
Voice-Leading Sketch of mm. 1–10, Pitch-Classes A and C.

At mm. 11–14, a series of ornamented B b4s accentuated the inflection of B b down

to A. At mm. 99–100, however, the melody climbs chromatically upward, from A4 to C5
through B n4, in the progression V–V42 –I6 in F major (the immediate resolution of B b occurs
in the bass). I analyze the motion A4 –B b4 –(B n4)–C5 as a kind of “behavior exchange,”
whereby pitch-class A articulates passing motion instead of its typical x–x -1 neighbor
pattern. After pitch-class A passes through B b and B n to C (a procedure that spans mm.
90–100), pitch-class C, instead of pitch-class A, articulates the neighbor motion C5 –D5 –
D4 –C4 (mm. 100–1)—neighbor motion in the melodic register heretofore linked with
the Kopfton A. Example 21 illustrates this long-range voice-leading at mm. 90–102 and
the increasingly mutual roles of both “inside” voices.

Example 21
Wieck-Schumann’s Notturno, Graph of mm. 90–102.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 21

The octave plunge D5 –D4 in the melody at m. 101 thrusts the contrapuntal
inner voice back into the middle register, where it progresses in a series of descending
half-steps (including, notably, an enharmonic reimagining of C s4 as D b4 over the bar
line at m. 106), reminiscent of the descent at mm. 19–25.12 The significant phrasing
“crisscross” at mm. 102–7 (the accented articulation of off-beat C5s in the melody now
follows the semitonal descent; at mm. 15–25, we saw the reverse), launches the pitch
C4 back into the higher octave at m. 107 instead of casting it downward. In light of this
phrasing crisscross, C5 remains prominent over the span of mm. 107­–10. Example 22 is
a summary graph of mm. 90–102, and a more detailed graph of mm. 103–10.

Example 22
Wieck-Schumann’s Notturno, Summary and Graph of mm. 103–10.

The cadence at mm. 110–12, in connection with the coda at mm. 112–26, can
also be dramatized as a musical representation of the growing mutuality between pitch-
classes A and C, shown in Example 23.

Example 23
Pitch-Classes A and C at mm. 110–12.

12 See Laitz 1996 for a discussion of the motivic import of this enharmonicism.

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22 THEORY and PRACTICE Volume 42 (2017)

As this example illustrates, the dramatic ornament in the right hand at mm. 110–11,
marked sforzando, both accentuates the retention of C5 as the principal melodic note,
and elaborates a semitonal crawl from Fs4 up to A4. At m. 110, Wieck-Schumann writes
another set of register transfers, from A3 in the left hand up to A4 in the right hand and
A 5 at m. 111. With this, the “A” voice crosses the “C” voice at m. 111 in a renegotiation
of these two lines. Moreover, the slide down by semitone in both voices (mm. 111–12)
can be analyzed as a reflection of the Notturno as a whole: the G s5 in the top voice
echoes both the move to A minor (the G s5 at m. 63) and F minor (the A b3 at m. 19), and
the B n4 harkens back to the chromatic passing motion at m. 99.
We may also analyze the cadence at mm. 111–12 as articulating a third-progression
in F major, A 5 –G5 –F5, in coordination with a firm cadence in the tonic key. This cadence
turns out to be somewhat problematic: the descent of the Urlinie from A 5 to F5 does not
occur in the Notturno’s obligatory register, in spite of its aural articulation of closure. In
summarizing analyses of Chopin’s E minor Prelude, Op. 28, No. 4, by Carl Schachter,
Justin London and Ronald Rodman, and Edward Laufer, James Sobaskie illustrates
how parsing the prelude’s Urlinie across different registers undermines the sense of
ephemerality Chopin conjures. The prelude’s “intrigue,” Sobaskie notes, is due at least
in part to the difficulty in reconciling the work’s aural experience with its underlying
tonal structure (Sobaskie 56).13 A similar, registrally diffuse reading might be ventured
in Wieck-Schumann’s Notturno. This analysis would, too, be problematic: for one, the
closure afforded by the descent A 5 –G5 –F5 and the resolution of cadential 64 harmony is
fleeting (the passage is, after all, marked pianissimo); for another, this interpretation
would paradoxically thrust the Urlinie upward into the high register solely for its
structural descent.14
The coda at mm. 112–26 might counterbalance such a sudden move upward.
In Free Composition, Schenker asserts that “the middleground and background . . .
determine the definitive close of a composition. . . . Whatever follows this can only be a
reinforcement of the close” (1990, 129). As John Rink has shown, several theorists have
struggled to reconcile Schenker’s notion of coda with their deployment by composers
such as Chopin and Field. In his analysis of Chopin’s Nocturne, Op. 9, No. 2, Rink
elaborates his notion of “structural momentum,” which, he argues, in the case of
Chopin’s nocturne, “propels the nocturne beyond the ostensible close to the double bar
at the end” (2006, 117). In Chopin, structural descents of the Urlinie are often deferred
to codas; considering the composer’s influence on Clara Wieck-Schumann, it would not

13 For the original analyses see Schachter 1995, London and Rodman 1998, and Laufer 1999.
14 On the tendency for fundamental lines to descend, see Ernst Oster’s note 5 in Free Composition, 13.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 23

be unreasonable to suggest a similar treatment in the Notturno.15

In Wieck-Schumann’s coda, however, I hear no sense of quickening, deferral, or
“propulsion,” for that matter. Rather, my attention is drawn to the final manipulations
of motives x, x -1, xp, and xp-1, which also help to preserve the mutuality of the voices
associated with pitch-classes A and C. The melodic motion from D b5 to C5 at mm.
113–15, for example, repeated at mm. 117–19 (over iv rather than bVI in F major),
and subsequently, as D b4 –C4 at mm. 123–4, signifies another move to the inside of
the Notturno’s texture. Likewise, I hear the resolution of B b3, the seventh of V7, to A3
at mm. 115–16, and again at 119–20, as an articulation of motive x -1 in the middle
register. As Example 24 illustrates, the resolutions D b –C and B b –A are asynchronous
and interlocked.

Example 24
Interlocked Iterations of Motive x -1, mm. 113–16.

Additionally, as shown in the preceding example, the motion from G b2 to F2 in the

bass at mm. 114–16 and mm. 118–20 is also an articulation of motive x -1. In a rehearsal
of the constellation of motives illustrated in Example 9, therefore, Wieck-Schumann
ends the Notturno as a mirror image of its beginning. Furthermore, as Example 25
demonstrates, this long-range coupling produces a chiastic voice-leading structure.
Although D b5 is transferred to the middle register (C s4) at m. 121—whereupon we get a
final iteration of motive xp-1, D4 –D b4 –C4 —at mm. 122–4, A4 is never directly preceded
by its chromatic upper-neighbor, B b4. Rather, I hear the motion from B b3 to A3 as a more
pronounced reflection of x as x -1.

15 As Nancy Reich writes, “A Chopin influence is clear in the young Clara’s compositions, especially her
Op. 6. The national dance forms—mazurkas and polonaises—that color her early works, the narrative ballade in
Op. 6, the Notturno with its songlike melody, the delicate melodic figuration, the abrupt and surprising harmonic
changes, the operatic melodies transformed for the keyboard—all point to an intimate knowledge of Chopin
on the piano. Though there is no record that Clara Schumann saw Chopin after 1836, his compositions were a
mainstay of her professional life for sixty years” (1985, 194).

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24 THEORY and PRACTICE Volume 42 (2017)

Example 25
Long-Range Coupling and Voice-Leading Chiasmus.

Along with this analytical crisscross of structural and contrapuntal “inside”

voices, I cite a final, performative gesture of mutuality beginning at m. 121. As the
pianist’s hands are interlocked, with the thumb of the right hand sounding F3 and the
thumb of the left hand sounding A3 above, the Notturno concludes with its actual inner
voices knitted together.

“Outside” Voices

In the preceding, I examined some aspects of interaction between deep and

surface structures in the Notturno from Clara Wieck-Schumann’s Soirées Musicales,
Op. 6. In so doing, I illustrated how our notions of deep “inside” and surface “outside”
structures may be defeasible. My analysis demonstrated that the Notturno’s “inside”
voices, each linked to a specific pitch-class, are interwoven in a series of register transfers
and octave couplings. These couplings evinced a more mutual arrangement of voices,
in contradistinction to much Schenkerian theory, in which a singular line often draws
the focus of the analytical enterprise. In this sense, my analysis demonstrates how,
metaphorically, such inside voices can be turned “inside out” through the unfolding of
a musical work.
As I indicated above, in the eighth of his Novelletten, Op. 21, Robert Schumann
quotes the theme of Clara’s Notturno. Example 26 is another demonstration of how
voices can be turned inside out. As an appropriation of Clara’s theme—without
attribution, Kallberg notes, but reimagined as a mere “distant voice”—Robert’s
recasting of the Notturno from his own mold transforms the theme into a reminiscence,
a disembodied echo of a voice of—for some listeners—indeterminate origin.16 In

16 Robert Schumann’s custom was to attribute themes “borrowed” from Clara to her. This appropriation is
exceptional for its vagueness. See Kallberg 1992, 120.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 25

Example 26
Quotation of Theme from Wieck-Schumann’s Notturno in
Robert Schumann’s Eighth Novellette, Op. 21, mm. 193–211.

this sense, Wieck-Schumann’s Notturno, which we might have characterized as an

instantiation of the composer’s creative “inside” voice, becomes in Robert’s reflection
on his beloved a gesture of arrogation—an externalization of Clara’s innermost
sentiments, for which Robert claims his own, “inside” meaning. Critically, as Kallberg
writes, “it is significant that Robert prized precisely a nocturne and not a ballade,
mazurka, polonaise, impromptu, or piano concerto . . . the Notturno not only embodied
a generalized feminine spirit, it also represented quite literally his beloved Clara” (1992,
122).
We should also therefore consider Robert’s reimagining of Wieck-Schumann’s
nocturne as his own serenade, reflected back to its original composer, as a particularly
charged activation of the “double-voiced discourse” engendered by the nocturne genre
itself: Robert’s adjustments to Clara’s theme, as shown in Example 26, are a poignant
illustration of how, inasmuch as inside voices can be exposed, outside voices—critics or
courters—can obscure inside ones. While it exceeds the scope of this article to unpack
the intricacies of their working and romantic relationship, I wonder if we could contrast
Robert’s conceptualization of voice in the eighth Novellette with Clara’s in the Nottorno:
the former strips the Notturno’s theme down to a single, unadorned line, whereas the
latter deploys a host of pianistic ornaments to animate successive registral couplings.

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26 THEORY and PRACTICE Volume 42 (2017)

This is not, of course, to suggest that “women’s work” is by definition collaborative

or ornamental—to do so risks descending into the inanity of some nineteenth-century
music criticism—rather, it is to suggest that Wieck-Schumann might have imbued her
own nocturne with a sense of her dual role as composer-performer. Thus, we cannot
poeticize the couplings in Clara Wieck-Schumann’s Notturno as a duet; they are,
paradoxically, the simultaneous expression of different aspects of many voices, inside
and outside.

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 Michael Weinstein-Reiman – “Inside” Voices and Coupling Dynamics 27

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