Angela Carone: Rhythmus und Form in der Instrumentalmusik Robert Schumanns

Anmerkungen zur theoretischen Schumann-Rezeption 1860-1930

Analyses written between 1860 and 1930 that discuss rhythm and form in Schumann’s music portray a composer both esteemed and criticized for the innovations of his musical language. These texts depict the linkage between Schumann’s musical language and speculations about the essence of the romantic vein, and they emphasize the value music theorists assigned to the sudden meter changes and, quintessential to Schumann’s style, the coexistence of various rhythms. The analyses also expose coincidences with developments in music theory and philosophy during the late nineteenth century, as witnessed, for instance, by the introduction of unconventional terms in describing syntactical and morphological aspects of music. In considering Schumann’s innovative transformation of rhythm as a propulsive/restraining force, theorists positioned the consequences of this innovation on a formal level by assessing rhythm as an organizational principle. Inasmuch as his compositional forms revealed themselves as variations on a rhythmic element, they were, conversely, viewed negatively.

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