Listening Blog #3 – “Variations on a Theme by Robert Schumann” – Clara Wieck Schumann

Instrumentation: Piano

Texture: Homophony – the treble and bass clef piano parts combine in harmony

Range: Mostly centered in the typical piano range, between the ranges of bass and treble clefs. During the piano’s runs and arpeggios during one of the middle sections, a couple of higher notes (and a few low) are hit at the end of the ascending/descending runs.

Tempo: Ranges from slow and stately, to fast and light, to energetic and pounding

Throughout the song, however, Schumann does take artistic license as she sees fit, slowing certain phrases for dramatic effect.

Rhythmic pulse: There wasn’t a definable beat in this piece as far as I could find – therefore, it has a fluid meter.

Volume: The volume of the piece begins fairly low: the opening section is soft and bare in nature, and the volume reflects that. As the piece progresses to different sections, it gradually grows in volume: in particular, the fast-paced and energetic section in the middle is much louder, due to the pounding quality on the keys of the section. After this section, Schumann returns to the delicate first section, providing a stark contrast in volumes.

Other:

One might think that the timbre of the piece is fairly homogeneous, seeing as there is only one instrument: however, each section does a good job of highlighting the piano’s different sounds capabilities. In the first section, the piano sounds very precise and delicate: the bareness of the composition at this point brings out the inherent sound of the piano. During the middle sections, the timbre changes: the runs and arpeggios create a pure, complicated intricate sound. During the chord-heavy, energetic pounding middle section, the timbre is much heavier, yet also sprightly.

I found the form of the song to be a very interesting aspect: Schumann distinctly sets each section of her song apart by the pregnant silences between them. Additionally, each section possesses a different attitude that sets the tone of that section. I enjoyed the building upon and deviations from the first section that gradually morphed into completely independent sections, and the final return to the original section.

I found the minor key to play a heavily influential in this piece: it set the tone to a more somber, serious side, sounding mournful at times, and eerie at others. However, I found the piece in general to be beautiful: alternatingly delicate, elegant, complicated, harsh, and stately, all depending on the section.