Analysis of Robert Schumann’s “Fantasy Pieces for Clarinet and Piano”, opus 73, for a Greater Understanding of a Standard in Western Classical Solo Repertory

In a mere two days, Robert Schumann composed a duet that would become a lasting symbol of romanticism in chamber music. “Fantasy Pieces for Clarinet and Piano”, Op. 73 is now a standard in clarinet repertoire. As such, the piece is frequently performed and analyzed. Schumann and his “Fantasy Pieces” are well known and broadly discussed, which leads one to wonder: how does one contribute to and interpret such a standard? To answer this question, it is proposed that research is utilized to examine the history surrounding the composer and the work alongside theoretical analysis to find and interpret key features of the work. The product of this would be a thesis examining these factors and how they relate to performance related decisions along with a complete performance of the work. True understanding relies upon examination of factors beyond the literature itself. These factors include the time during which the piece was composed, where it was composed, the historical events of this time and place, the musical standards of the time, the composer’s life, and the composer’s repertoire. Knowledge of these factors allow insight to how they may have impacted the composition of the work, whether or not the composer was aware of this impact himself. With an understanding of the historical context, the theoretical analysis will then be performed. The construction of the piece will be analyzed and interpreted. This includes musical features such as the overall structure and form, the harmonic structure, the use of rhythm, the melodic contour, the intervallic structure, the use of tendency tones, and the appearance of ornamental techniques. The information compiled from the research and analysis discussed above can provide a complex understanding of “Fantasy Pieces for Clarinet and Piano”. Understanding these concepts is vital for musicians of all walks of life. Historians communicate with the composer through evaluation of history. Theorists communicate with the composer through examination using technical and mathematical methods. Performers use an understanding of techniques and effects to communicate with everyone. They communicate with the composer through evaluation and study of the piece, with their peers through rehearsals, and finally with the audience, providing a complex mixture of the composer’s musicality and their own. These relationships are the very core of musical study. Thus, study of Robert Schumann’s “Fantasy Pieces for Clarinet and Piano” adds another line of communication within the musical community

Concert recording 2022-04-09

[Track 1]. Arabesque for clarinet and piano / Germaine Tailleferre -- [Track 2]. Fastasie on The game prologue for clarinet and piano / Kailey Miller -- [Track 3]. Ballade for bass clarinet and piano / Eugene Bozze -- [Track 4]. Fantasy pieces for clarinet and piano, op. 73. I-III / Robert Schumann

Concert recording 2022-04-09

[Track 1]. Arabesque for clarinet and piano / Germaine Tailleferre -- [Track 2]. Fastasie on The game prologue for clarinet and piano / Kailey Miller -- [Track 3]. Ballade for bass clarinet and piano / Eugene Bozze -- [Track 4]. Fantasy pieces for clarinet and piano, op. 73. I-III / Robert Schumann

Concert recording 2022-04-06

[Track 1]. Three pieces / Igor Stravinsky -- [Track 2]. Sonata for clarinet and piano. II. Lebhaft / Paul Hindemith -- [Track 3]. Fantasiestücke, op. 73. I. Zart und mit Ausdruck ; II. Lebhaft, leicht / Robert Schumann -- [Track 4]. Duo for clarinet and piano. I. Allegro / Norbert Burgmüller -- [Track 5]. Sonata for clarinet and piano. II. Allegro animato / Camille Saint-Saëns -- [Track 6.] Set for clarinet. III. Vite / Katherine Hoover -- [Track 7]. Ballade, bass clarinet & piano / Eugène Bozza -- [Track 8]. Introduction, theme and variations / Carl Maria von Weber -- [Track 9]. Five Bagatelles. IV. Forlana / Gerald Finzi -- [Track 10]. Six studies in English folksongs. V. Andante tranquillo ; VI. Allegro vivace -- [Track 11]. Grand duo concertant. I. Allegro con fuoco / Carl Maria von Weber

Concert recording 2022-04-06

[Track 1]. Three pieces / Igor Stravinsky -- [Track 2]. Sonata for clarinet and piano. II. Lebhaft / Paul Hindemith -- [Track 3]. Fantasiestücke, op. 73. I. Zart und mit Ausdruck ; II. Lebhaft, leicht / Robert Schumann -- [Track 4]. Duo for clarinet and piano. I. Allegro / Norbert Burgmüller -- [Track 5]. Sonata for clarinet and piano. II. Allegro animato / Camille Saint-Saëns -- [Track 6.] Set for clarinet. III. Vite / Katherine Hoover -- [Track 7]. Ballade, bass clarinet & piano / Eugène Bozza -- [Track 8]. Introduction, theme and variations / Carl Maria von Weber -- [Track 9]. Five Bagatelles. IV. Forlana / Gerald Finzi -- [Track 10]. Six studies in English folksongs. V. Andante tranquillo ; VI. Allegro vivace -- [Track 11]. Grand duo concertant. I. Allegro con fuoco / Carl Maria von Weber

Concert recording 2018-11-29

[Track 1]. French suite. I. Prelude [Track 2]. III. Gavotte / Yvonne Desportes -- [Track 3]. Flower duet from Lakmé / Léo Delibes -- [Track 4]. Hilltribe dance / Yos Vannesorn -- [Track 5]. Toccata and fugue in D minor, BMV 565 / J.S. Bach arranged by A. Brackett -- [Track 6]. Molly on the shore / Percy Grainger arranged by S. Knight -- [Track 7]. Chorale and danza / Vaclac Nelhybel -- [Track 8]. Klezmer suite / Alexis Ciesla

Concert recording 2019-04-17

[Track 1]. Concerto for clarinet and string orchestra / Aaron Copland -- [Track 2]. Dance preludes. I. Allegro molto [Track 3]. II. Andantino [Track 4]. III. Allegro giocoso / Witold Lutoslawski -- [Track 5]. Sonata for clarinet and piano in B♭major. I. Mäβig bewegt [Track 6]. IV. Kleines rondo. Gemächlich / Paul Hindemith -- [Track 7]. Five bagatelles, op. 23. I. Prelude / Gerald Finzi -- [Track 8]. Five bagatelles, op. 23. V. Fughetta / Gerald Finzi -- [Track 9]. Sonata for clarinet in B♭ and piano. I. Allegro tristamente / Francis Poulenc -- [Track 10]. Sonata for clarinet in B♭ and piano. III. Allegro con fuoco / Francis Poulenc -- [Track 11]. Introduction, theme and variations: Theme, var. 1, 2, 3, minor and major / Gioachino Rossini -- [Track 12]. Time pieces. I. Allegro risoluto [Track 13]. II. Andante espressivo / Robert Muczynski -- [Track 14].Sonata for clarinet, op. 120, no. 1. I. Allegro appassionato / Johannes Brahms -- [Track 15]. Wind in the reeds. I. March [Track 16]. II. Humoreske [Track 17]. III. A childhood memory [Track 18]. IV. Ballet russe / Gordon Jacob

Analysis of Robert Schumann’s “Fantasy Pieces for Clarinet and Piano”, opus 73, for a Greater Understanding of a Standard in Western Classical Solo Repertory

In a mere two days, Robert Schumann composed a duet that would become a lasting symbol of romanticism in chamber music. “Fantasy Pieces for Clarinet and Piano”, Op. 73 is now a standard in clarinet repertoire. As such, the piece is frequently performed and analyzed. Schumann and his “Fantasy Pieces” are well known and broadly discussed, which leads one to wonder: how does one contribute to and interpret such a standard? To answer this question, it is proposed that research is utilized to examine the history surrounding the composer and the work alongside theoretical analysis to find and interpret key features of the work. The product of this would be a thesis examining these factors and how they relate to performance related decisions along with a complete performance of the work. True understanding relies upon examination of factors beyond the literature itself. These factors include the time during which the piece was composed, where it was composed, the historical events of this time and place, the musical standards of the time, the composer’s life, and the composer’s repertoire. Knowledge of these factors allow insight to how they may have impacted the composition of the work, whether or not the composer was aware of this impact himself. With an understanding of the historical context, the theoretical analysis will then be performed. The construction of the piece will be analyzed and interpreted. This includes musical features such as the overall structure and form, the harmonic structure, the use of rhythm, the melodic contour, the intervallic structure, the use of tendency tones, and the appearance of ornamental techniques. The information compiled from the research and analysis discussed above can provide a complex understanding of “Fantasy Pieces for Clarinet and Piano”. Understanding these concepts is vital for musicians of all walks of life. Historians communicate with the composer through evaluation of history. Theorists communicate with the composer through examination using technical and mathematical methods. Performers use an understanding of techniques and effects to communicate with everyone. They communicate with the composer through evaluation and study of the piece, with their peers through rehearsals, and finally with the audience, providing a complex mixture of the composer’s musicality and their own. These relationships are the very core of musical study. Thus, study of Robert Schumann’s “Fantasy Pieces for Clarinet and Piano” adds another line of communication within the musical community