Jim Calderon

March 11, 2016

Analytical Studies
Dr. Kosar
Analysis Project #1
Widmung by Robert Schumann
Robert Schumann was and is still known as one of the most significant German
composers of the 19th century, by creating many great works in many different musical
settings. His works range from piano works, to incredible symphonies, to choral works
and German lieder. Roberts lieder songs definitely helped in the flourishing of German
Lieder throughout Europe and the rest of the world. The piece Widmung is actually one
of the most iconic lieder pieces that Robert Schumann composed during his lifetime
because it truly promotes the romantic ideas of master poets.
Widmung by Robert Schumann was written in 1840 as a part of his song cycle
Myrtle. The title translates to "dedication" with text written by Friedrich Rckert a
German romantic poet from the 19th century. The song is clearly in an A B A' form which
means that it is probably rounded binary but when we take a closer look at the B section
we see or hear that the B section is in a completely different key and a lot more
contrasting than the A section which probably means that it is Ternary form. The form
that the piece is likely in is ternary form because the there are not binary forms within the
larger ABA form. When the A section returns it is more of an A' because the cadence ends
differently. In the A' section Schumann uses a lot of secondary dominance and diminished
seventh chords to end the piece unlike the A section where he uses V7, ii, IV and I.
The poem itself is very romantic. It talks about the composer or poet's love, and
the fact that they are their world. It makes the title interesting because it could be that
Schumann was dedicating this song or the song cycle to his wife or it could be that he is

simply discussing how he dedicates himself to his wife, Clara Schumann. When the key
change happens the text takes a turn to a more peaceful idea that is represented by longer
notes and a steadier accompaniment, with the words, Du bist die Ruh, du bist der
Frieden. The modulation is a direct modulation, which is very abrupt with a sudden
change of piano style. The Gb that is found in measures 8 and 9 was probably used to
portray the idea of heaven, which is the text that accompanies this section. The composer
probably chose a chromatic note because heaven is not a stable idea, no one truly knows
what it is, and not everyone believes in it. When I sang this piece for my voice teacher
and studio I really tried to think about the contrasting sections.
The phrase from measure 12 to measure 14, in A flat major, ends with a V7sus to I
chord progression and the soprano line shows a sustained A flat over to the final I.
Suddenly, the A flat I chord moves to an unexpected E major chord. The singer repeats
the same pitch of A flat only, but now it is spelled as a G#, which is actually the third of
the E major chord. And just like that Schumann has created a modulation a very abrupt
modulation, between two keys which do not seem to be closely related: A flat major and
E major. Schumann used the soprano's common tone, her A flat/ G#. Finally in the end
of the piece Schumann puts in the Ave Maria in the piano accompaniment as a prayer to
his wife Clara who in the song is his heaven, his guardian angel, and his better self.