“DAVIDSBUNDLER DANCES” BY ROBERT SCHUMANN: PROBLEMS OF COMPOSITIONAL UNITY

Abstract

“Davidsbundler Dances” op. 6 is one of most ambitionic and difficulty of piano cycles by Robert Schumann. Many of modern pianists and publishers work with second redaction of this cycle. However first redaction is not less important, in particular in compositional aspect. There are not numerous researches, which dedicated that cycle. Part of papers and dissertations touch mentioned problems in the course of solving other tasks. Works by Andrew Fowler, Christina Eckerty, Stephen White, Dandan Powell are belong to them. Research of “Davidsbundler Dances” takes a weighty part in scientific works by Peter Kaminsky. They are dedicated to study of compositional problems which author solves on example piano and vocal cycles by Robert Schumann. The main purpose of the study is to summarise an expierence in study of “Davisbundler Dances” by Robert Schumann, in particular, in question of it compositional specifics. The important task of author is to define the means of compositional unity of this cycle too. The scientific novelty of this job has all Ukrainian meaning. In this paper firstly in Ukrainian musicology world experience in this area was summarized. The information about foreign researches of this problems was lighted. The composition specifics and means of compositional unity of “Davidіsbundler Dances” were defined. Methods of harmonical analisis, tonalitycal analisis and compositional analysis used in this study. Сycle “Davidsbundler Dances” divides in two part, each of them includes eight pieces. Peace №2 repeats in №17 (in his second part) as a preparing of Final. It is an important compositional mean, which emphasizes an unity of this cycle. Key tonalities of this cycles are G-dur, h-moll, d-moll, D-dur, C-dur. The unity of the cycle is creating due to different forms of realisation of his main tonal-harmonic formula G-dur – H-dur – h-moll or vice versa. This formula is not constant motiv, it rather would be fined as the varianted circle of melodic and rhythmic motifs and textures, all of there based on harmonic movement from G-dur to H-dur or h-moll to forward or reverse. This formula moves through whole cycle and denotes the moments of its division. This harmonic formula is supplemented by movement its basic tones as a melodic leads-down in different layers of texture. It movements through whole cycle as means of its connection between its pieces. Dynamics, texture, registers, programs remarks support it. Specified formula creates the dramaturgical arcs between key moments of the cycle. It affects on compositional decision of big musical form. The leading of repeating elements through whole cycle is characteristic feature of piano cycles by Robert Schumann. This effect is created due to cross links based on harmonic and tonalitic structures. Furthermore, using by Robert Schumann cross links reaches a culmination just in this cycle. The composer used the tonal-harmonic formula as in original form as in it transpositions. Realisation of composition features of “Davidsbundler Dances” сan to hear in several it performance versions. Records by Wilhelm Kempff, András Schiff, Dasol Kim, Ariel Lanyi, Tiffany Poon and other are among them.