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Organicism in a Piano Sonata by Clara Schumann

Article · August 2019

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Organicism in a Piano Sonata
by Clara Schumann

by
Elora Grace

August 12th, 2019

Abstract
Using analytical techniques at both local and large scale levels, I examine how Clara
Schumann creates a sonata form that is harmonically, formally, and motivically organic.
This sonata was examined using the concepts and teachings of William Caplin. In this paper,
I first examine how Clara Schumann elevates a formally subordinate theme to cohesively
connect the segments of this movement by giving it different formal functions in different
parts of the sonata. I then study her use of a specific interval within regionalized areas
which then creates cohesion across large-scale areas. Finally, I exhibit her use of motivic
connection, which ensures a deep-level connection by utilizing an apparent surface-level
formal connection. I show that an inordinately organic sonata still functioning within the
parameters of the 19th century sonata form can be unique. Representing the compositions
of Clara Schumann as works of value within the 19th century sheds light on a female
composer whose music has not yet been thoroughly analyzed from a purely theoretical
standpoint and helps us better understand the ingenuities and aesthetic of the Romantic
Period.

ii
Contents
1 Introduction 1

2 Formal Adaptation 2

3 Intervallic Idea 12

4 Motivic Connection 15

5 In Conclusion 24

iii
1 Introduction
The first movement of Clara Schumann’s Piano Sonata in G minor is remarkably organic,
meaning its parts are interrelated; a few ideas yield a larger amount of material, or rather,
a larger amount of material is drawn from a few basic ideas. She achieves this organicism
in three primary ways: first, a single musical structure serves different formal functions in
different parts of the sonata form; second, concentration on a particular musical interval
ensures coherence at both local and large-scale levels; and, third, motivic connections
creates a cogent musical work.
Clara Schumann (1819-1896) was a highly successful concert pianist of the Romantic
period. Like many of her contemporary virtuosos, she composed showpieces for herself
to perform. She enjoyed composing but doubted the caliber of her works. Her husband
Robert encouraged her to compose more, and she composed many of her works as gifts to
him1 . The couple retained their own compositional language and conversation throughout
their marriage; the pair referenced each other’s works motivically and with key choices2 ,
and Robert used what he called his “Clara theme” in several of his works3 . Clara Schumann
composed only 22 opera, mostly for piano and voice, but she did write a few works for
other instruments: her op. 7 Piano Concerto, her 1847 Konzertsatz for piano and orchestra
(though it was not orchestrated in her lifetime), her op. 17 Piano Trio, her op. 22 Romances
for violin and piano, and two lost orchestral works4 . Most of her compositions are small-
scale works: scherzos, lieder, romances, fugues, etc. She only composed four movements in
sonata form: the first movements of her concerto, Konzertsatz, trio, and her G minor Piano
Sonata.

1
Nancy B. Reich, Clara Schumann: The Artist and the Woman (Ithaca, N.Y.: Cornell University Press, 2013),
304ff.
2
Clara composed her Piano Sonata in G minor after studying Robert’s second Piano Sonata in G minor.
She composed her sonata-form Konzertsatz in F minor; Robert’s “concerto without orchestra” sonata is in
F minor. He composed his first piano concerto in A minor after Clara’s A minor Piano Concerto.
3
One use of his Clara theme is found in “Der Himmel hat eine Thräne geweint” from Zwölf Gedichte, op. 35.
4
Reich, Clara Schumann, 297ff.

1
2 Formal Adaptation
A traditional musical composition has a structure. This overall structure consists of numer-
ous smaller parts. More technically, to quote William Caplin in his book Classical Form,
“the form of a musical work can be described minimally as a hierarchical arrangement of
discrete, perceptually significant time spans, what has been termed the grouping structure
of the work”1 . The parts of a sonata form have distinctive functions, that is, definite roles
that each part plays in the formal organization of the work. They are organized in a specific
order and their repetition—or lack thereof—constitutes the form. The first and second
themes are separate entities, meant to present themselves as harmonically stable in order
to emphasize their areas of tonality. The transitional theme or themes bridge the two.
Likewise, a closing theme gives a smooth end to the exposition (or recapitulation) as a
whole, emphasizing or prolonging a cadence. These structures are generally melodically
and harmonically different. Motivic connections or even quasi-developmental techniques
do not undermine the independence of a structure. However, in the first movement of Clara
Schumann’s Piano Sonata in G minor, she uses a single structure, the first transitional
theme in formally different places.
A monothematic sonata form utilizes a single theme in different formal areas, such as
in Mozart’s Rondo, K. 485. Mozart jokingly labels this work a “rondo,” as it is actually in
sonata form, and, though it is monothematic, every iteration of the theme is altered to
function as an area of a sonata. Additionally, it is not uncommon for motivic material to
be situated in various areas of a composition. For example, in the Largo of Bach’s Violin
Sonata no. 3, BWV 1005, the four-note opening gesture (m. 1) becomes the closing gesture,
present in the bass voice rather than the original soprano voice (mm. 3–4), see example 1.
This technique is also seen in the second movement of Albert Dietrich’s violin concerto
(published in 1874); the four-note motif that starts the movement (m. 2) also ends the
the opening section (m. 8), see example 2. In the first movement of Clara Schumann’s
Piano Sonata in G minor, the transitional theme between the first and second themes
1
William Earl Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn,
Mozart, and Beethoven (New York: Oxford University Press, USA, 2000), 9.

2
 Largo ^
oooo Ÿ o o uo o Ÿ o o o
  º oo o oœ — o oo o oœ — o o o oo o o o o o o
oo œ —
T T T œ — T
o ^
 o u o o o o o o oo o o o o o o o
3

 o œ — o o o o
o T œ œ o oo o o o oœ oo œ oT œ o
T T T T
Example 1: Bach, Violin Sonata no. 3, BWV 1005, Beginning of mvt. 3.

reappears in different formal areas, but it is not a traditional monothematic sonata form.
These reappearances are a larger level of alteration as opposed to small-scale motivic
connection; they have greater structural stability with harmonic content and length, which
motifs lack.
For clarity’s sake, the theme in question will be labeled “transitional theme” throughout,
even when it is not functioning as a transition.
The sonata consists of a 90-measure exposition, 32-measure development, 70-measure
recapitulation, and 27-measure coda (see example 3). The exposition begins with a first
theme, mm. 1–18, followed by a transition, mm. 19–26. The second key area includes
theme two, mm. 26–35, and virtuosic cadential material in mm. 44–70. In the second
key area, the transitional theme first acts as the transition between theme two and the
cadential material, then as the closing group to the second key area as a whole. In the
development, mm. 90–122, the first theme to be developed is the transitional theme. This
is followed by a shorter development of theme two. Interestingly, the retransition utilizes
the first theme, causing it to take a subordinate role in this section to the transitional
theme. The 70-measure recapitulation, mm. 123–193, is 20 measures shorter than the ex-
position, as the transitional theme in mm. 71–90 is not used in the recapitulation. This
sonata has a coda of 20 measures with a 7-measure postlude. The postlude features the
transitional theme, altered to act as a cadential group strong enough to end the move-
ment.
It is curious that the transitional theme receives the most substantial use. The transition
is meant to destabilize the tonic key and lead to the second key area; this is achieved with
either a modulatory theme or a non-modulatory theme. The transition presents itself with
either new material, with main-theme material, as a false closing section, or within a non-
tonic region. A transitional theme need not end with a cadence, however, this theme does

3
2 Formal Adaptation

Adagio espressivo.
 
 
sul G.
º u o o o o \ o o
\ oN o \N o o f
p molto espress.
\\ oo oo oo o
 º “  \\\ \\ oo NN o \  o N o \ o
^
 \ oo NN oo \\ oo NN o \
p T T
  º
\ \ < \ o N ou \ \\ <
pp \ \ oN <
‹… †
6

 o u
\N o oN o o o \ oN o
\ o
p
o
  oo ooo\ N o oo oo oo \ oo \\ \
 \\\ \\\ oo
X
o
 
poco espress.

< \N o < \N
< oN o o o
T
Example 2: Dietrich, Violin Concerto op. 30, Beginning of mvt. 3.

cadence imperfectly in the new key area in m. 262 . It is modulatory and begins with new
material in a non-tonic region, though its opening gesture (m. 19) is a rhythmic derivation
of the opening fragment of the first theme (m. 1). It makes six appearances—seven, if
including its use within the development.
The first iteration of the transitional theme (mm. 19–26) is an 8-measure phrase (ex-
ample 4). The first two measures (19–20) are the theme proper, a measure of the main
transitional motif and a measure of arpeggio work. The second two measures (21–22) are
a harmonic transformation of the first two measures. Measures 23–24 begin with another
harmonic transformation of the transitional motif, and the final two measures (25–26) are
a chordal closing gesture that arrive on an imperfect authentic cadence in the second key
area, E-flat major.
The first two measures of the this theme (19–20) tonicize A-flat major, the second two
measures (21–22) tonicize E-flat minor, the third two measures (23–24) tonicize B-flat major,
and the final two measures (25–26) bring us to the tonic of the second key area E-flat major.
From the perspective of E-flat major, the first tonicization within the transitional theme
creates subdominant inflection of the second key area. The subdominant key area is
2
Caplin, Classical Form, 125–137.

4
 Exposition 1–90
Theme 1 (G minor) 1–26
Theme 1 1–18
Transitional Theme 19–26
Theme 2 (E-Flat major) 26–90
Theme 2 26–35
Transitional Theme 35–44
Cadential Material 44–70
Transitional Theme, Close 71–90

Development 90–122
Transitional Theme (C minor – A-flat major –
F minor – D-flat major) 90–103
Theme 2a (F-sharp minor) 104–113
Theme 1 (retransition, G minor) 114–122

Recapitulation 123–193
Theme 1 (G minor) 123–150
Theme 1 123–142
Transitional Theme 143–150
Theme 2 (G major) 150–193
Theme 2 150–159
Transitional Theme 159–167
Cadential Material 167–193

Coda 193–219
Code (G minor) 193–212
Postlude (Transitional Theme, G minor) 213–219

Example 3: Schumann, Piano Sonata in G minor, mvt. 1, form chart.

5
2 Formal Adaptation

u
 ll  \ o o o o o o o o l \
g
o o
(18)

 o ll \ o o o o llll  \\ oo  oo
p ll \ ll o
ll  \  oo  oo  oo ll \
  — — “ ll  \ o o
l o o

  ou o o o o u
\ o oo   ooL ooL ooL  ooL
22

}
 o o o \ o ooL
\N o
oo  \\ NN L
u p
  o œ— “ oL oL  oL oL oL
 o <
\ \ \N o o o u
\N o
oL
Example 4: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme.

often seen preceding or within codas and closing sections. Thus, Schumann already is
preparing the transitional theme to act as a closing theme. The next tonicization, E-flat
minor, delays the arrival of the second key area. The third tonicization is of B-flat ma-
jor, normally the second key in a G minor sonata, but here it acts as the dominant of
this sonata’s second key area, E-flat major. The shifting tonal center of this transitional
theme destabilizes the original tonic key of G minor, acts as an ideal method of tran-
sition, and its unstable harmonic nature makes it suitable for use in the development
section.
The transitional theme then appears between theme two and the cadential material of
the second key area (example 5).
Theme two, ten measures long, and its cadential material, 27 measures long, both oc-
cur in E-flat major. Placing the transitional theme between them allows for a respite
from E-flat major and prevents tonal stagnancy. The transitional theme begins similarly
with the anacrusis in m. 36 extended from beat four to beats two, three, and four. A
variant on its original closing gesture replaces where the next harmonic transformation
would occur in mm. 39–40, and scalar passagework beginning in m. 40 is utilized as a
closing gesture to this theme. The transitional theme still functions here as a formal tran-
sition. Theme two and the cadential material are both in E-Flat, and this passage does
not transition between keys; this section acts as an expansion of a harmony, prolonging
E-flat and giving a smooth bridge between contrasting thematic sections with a familiar
theme.

6
 u u o o o o o o o
 o
  o oo o ll  \ o o oo o o o o  o o o \ N
(36)

}
J J oJ ll \ o
ll o \ \o o o o o o o o
 ooJ ooJ ooJ ll \ p
ll  \  oo  oo  oo o — “ \ \ o mf o
  o o
\ \
T
animato

 u o o o o o o o o o o o
  o\ \ \ o  oo o o  o o o o o o o o    ou
41

‚
o o
\ o o  o oo  o oo
T sf ooff oo  o o f
   \\  \\  oo  o o o
o   œ
T
Example 5: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme after Theme
Two.

The transitional theme also is used as the exposition’s closing theme (example 6).
Due to its modulatory nature, it begins to destabilize E-flat major, but the transitional
theme is respelled now, beginning with V4/2 /IV in m. 71, rather than V4/3 /IV, therefore
switching the soprano and bass voices. This is the “closing theme” version of the tran-
sitional theme: harmonically beginning the same with the same motivic direction, but
different enough from the original forms that the necessary motivic and harmonic al-
terations may occur smoothly for this structure’s purpose. The theme, eight measures
long (mm. 71–78), is repeated. The opening four measures are identical (mm. 79–82),
but the opening motif is then developed another three times (mm. 83–87) before mod-
ulating to C minor (mm. 87–90). The repetition provides the length needed to distance
the listeners’ ears from so long an area of E-flat major. Too short a transition between
two large formal areas, the exposition and development, would prove to be too dis-
jointed.
The development begins by breaking down the transitional theme (example 7).
Previously, the transitional theme used one or three anacrusis tones; here, it utilizes two
upbeat tones embedded within virtuosic arpeggio work. The development of this theme
makes up more than a third of this section, giving emphasis to a theme intended to occupy
a subordinate role to the other themes. In the upcoming retransition (mm. 114–122), the
opening fragment of theme one (m. 1) is utilized as a transitional figure rather than an in
the initial area of development.

7
2 Formal Adaptation


Tranquillo uo o oo uo o oo
   o o o lll \\ ooo
(70)

oo oo oo ooo ll \\
ƒ
ll oo  oo oo
ll ll
p ll J J J ll \
ll \ o o o o o o l o o o
  — “ T œ T œ— “



   \< o o o o ll \\
75

oo oo
ƒ <
\ o
 \\ NN o oo   oo o o o  oo o o o ll
ll
p ll  \
o o o o o l o o
  <\ \N o — “
 \ o o o o
\N
(1. Mal:)
uo o oo u

ritardando
oo œ o o o \\
80

  oo o o o ll \\  oo oo
ƒ
ll oo  oo
Jo oJ oJ ll
o ll \ \
  T œ l o o o o o
 T œ — “

1. 2.

 — }u
\  — }u
\ o
   << o o o  \o o NN   <<< o o o \ o
84
o o

ƒ
< \\\ \\\
p \ cresc.
  << \
\ \ NN   << \
\
 

 —< o o o \
}u
o o o  o\  o  o\ o
 \ o\  o \
86

   <<
ƒ
 \o o o
f
\  \\ \\
dim.

  < \ \ \ \ \
 < \ \
o
Example 6: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme as Closing
Theme to the Exposition.

8
 o o o o o
3
3

 œ o  o o o œ o o œ o o o o
3 3

— o o o
u
90 3 3 3 3

 o o o \ o
f o o o o
ooo  ooo
3 3

  3 o o o  o\\ o \
\\\ o o o \\ o
 o o o
3

o oo
 o }u o  o 3
3 3

o ooo
3

o o o
3

 o o o  o oo o
3

 œ o o o o o \ œ o o o œ o o
93 3 3 3 3


o po
 oooo
3
o o o o o
   \\\ o o o o \ o  \o \\
\  oo o o \ \
3

o
o
Example 7: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme in the Devel-
opment.

In the recapitulation, the transitional theme continues to be utilized (example 8).

Despite the first and second themes having the same tonic, the transitional theme
provides a smooth link between a shift from the minor and major mode. Aside from the
lack of a retardation, this iteration of the theme is a transposition of its original form. The
first area of tonicization is of iv, the second is of i, the third is of V, and the fourth tonicizes
and arrives in I.
The transitional theme between theme two and the cadential material is the most heavily
altered version (example 9).
Its opening motif is changed in order to accommodate a bassline which chromatically
departs from scale degree 5 in the beginning of m. 159 and then returns to said scale
degree in m. 163, in order to stay in the realm of G major without remaining stagnant.
The transitional theme in this passage retains many of its former attributes rhythmic and
motivic: the anacrusis of three repeated notes has been reduced to two. Three repeated
notes do occur on beats three, four, and one of mm. 160–161 before leaping a third and
descending as it did in the exposition; this is the same transformation which occurred in
the development. The closing scalar passagework in mm. 163–167 is a transposition of its
parallel occurrence in the transposition.
Recall that the transition theme served as the closing theme of the exposition. This
is not the case with the recapitulation. Instead, Schumann plunges directly into a coda.
Because the “closing theme” version of the transitional theme was omitted at the end of the

9
 2 Formal Adaptation

u u
 l\ o o o o o o o o \ oo oo o  o o o o o o
 o llll \  oo
e
(142)

o o o oo \\ o o
o
p lll \\ oo  oo oo
  — T œ — “ \\ o o o œ — “
 o o o
T
u

  \ o o    oo
s
147

o o \   oo  oo o
\N oo  \\ NN o oo o
pu
p o o o o oo
   << \N o o   o
o
 “ \ \N
Example 8: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme in Recapitula-
tion.

animato
u

 \\  oo
o o o oo œ }u  oo oo oo oo o o o  o\\  o o o
oo   oo o  oo
(159)

o  oo  oo oo o o o o o o o o
¢
T cresc.

u o o o o o o o o o o o o
   \\   oo  oo  oo  oo o  o œ  o o o \
o o o o o o o o  o oT

u u
  o o o o o  o  oo o  oo o o o o o  ooo  o oo o  oo o o o  oo o o
u
 oo o o o o o o
164

o o
§ f
o o o
o o o o o o o o o o
 o
o
o o o o o o  o oo o oo
T T T
Example 9: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme after Theme
Two in the Recapitulation.

10
 
Andante
 o o o ll \\ oo  oo oo — “ “
(212)

r
ll  \\
p ll
l\ o o o pesante
o o o o
}u \
  — “ \

p
u} sf
o
o oo ;
 o —
o — oo —
a tempo
o o o
t
216
o
 o  \\
o f \ oo oo <
o o
}u
o o
o pesante f oo ;
  o — \ — —
\ o <
f sf o <
Example 10: Schumann, Piano Sonata in G minor, mvt. 1, Transitional Theme as Postlude.

recapitulation, it is presented after the coda as the closing postlude to the entire movement
(example 10). This postlude cements the parallels between the exposition and recapitulation.
In both, the transitional theme is used three times.

11
3 Intervallic Idea

Including its appearance in the development section, the transitional theme yields a plethora
of interesting connections within the first movement (example 11). Clara Schumann also
uses the transitional theme’s key scheme to focus on a specific intervallic idea that occurs
throughout this movement: the interval of a third. On a large-scale level, this sonata
contains a thirds plan: the first key area is G minor and the second key area is E-flat major,
a major third below G. The development begins in the key of C minor, which is a minor
third below E-flat.
Focusing on a more local level reveals third plans within some large-scale areas. For
example, placing the transitional theme between the exposition’s theme two and cadential
material, again, allows for a respite from E-flat major and prevents tonal stagnancy by pre-
senting unstable resolutions to harmonies with mediant relationships1 ; A-flat is tonicized,
followed by an unstable resolution to C minor in m. 40; C is a major third above A-flat. This
is then followed by an unstable resolution to F minor in m. 42; F is a minor third below
A-flat. In m. 43, Schumann recaps the idea by having the bass fall from C, to A-flat, to F.
Within the second key area’s cadential material, after 12 measures of E-flat, the key area
of B major arises (example 12).
It is present for only five measures; however, B major is enharmonically equivalent to
C-flat major, bVI of the second key area E-flat major, therefore continuing with the thirds
plan. B major is undone with a long string of non-functional harmonies that lead to a
cadence back in E-flat major, thus, completing the thirds motion E-flat, C-flat, E-flat. A
perfect authentic cadence is not achieved in this key area, yet the slow harmonic rhythm
1
This is shown in example 5.

o
First Key Area Second Key Area Development

 < < \ o o
 o o
o
Example 11: Schumann, Piano Sonata in G minor, mvt. 1, Thirds Plan.

12
 L L L L  oL L

    oL oL oL  oL  oL oL  oL  oL  oL oL  o  o  o  o o  o  o  o o 
o o
n
56

 o  o\ o
   \\\   \\\\  \\   \\
 \  o  \\
\  \ o
  \ \
i
BM (Cfl): iii V4/3 I V6/5 I V6/5

L L L
rit.

  oo N  o  o   oo  o
o  o  o
s
59

 \  o o   oo o  o\ o  o o
p T
    o\  o  o  o  o
o  o  o  oo
o
o 
 oo
 \ o
I V6/5 I

Example 12: Schumann, Piano Sonata in G minor, mvt. 1, B major within Second Key Area.

Measures: 90–94 94–96 96–98 98–101 101–103 104–106 107–112

Harmonies: Cm AbM Fm DbM (Bbm) F#m D pedal

Example 13: Schumann, Piano Sonata in G minor, mvt. 1, Thirds Plan within the Develop-
ment.

between tonic and dominant, the length of this passage, and the ritardando in m. 59 afford
this section more stability than a simple area of tonicization. In the parallel passage of the
development (mm. 179–183), the key area moves between G major and E-flat major.
After arriving in C minor at the start of the development, a minor third below E-flat,
another local-level thirds plan occurs; note that these groups are areas of tonicization
rather than stable key areas (example 13).
This local level thirds plan consists of C minor, A-flat major, F minor, D-flat major, and
an implication of B-flat minor before F-sharp minor interrupts2 . B-flat minor is implied,
as its dominant 7th chord occurs twice preceded by a predominant (mm. 101–103). The
next harmony tonicized in the thirds plan is F-sharp minor, #vii of the movement’s main
key, G minor, which sets up the retransition on a prolonged D natural. However, F-sharp is
the enharmonic equivalent of G-flat, a third below B-flat, which then moves to the tone D
in bass, a third below F-sharp. This tone initially supports a D dominant 7th chord and
is prolonged for another 12 measures (mm. 107–112) until a two measure bridge occurs
2
B-flat minor can be inferred rather than B-flat major, as this harmony would follow suit of the alternating
modes in this passage.

13
3 Intervallic Idea

 — oooo — ;
1. Allegro

  º \\  oo oo “ 
 o
ˆ ˆ
\  oo N o oo oo
o <
p oo
 º \ o oo oo o “   — oo — ;
 \ o o  o <
o <
Example 14: Schumann, Piano Sonata in G minor, mvt. 1, Opening Enharmonic Major Third
and Closing Minor Third.

before a retransition. While some mediant relationships are more explicit than others, the
structural-level thirds plan has been kept through these areas of tonicization.
The movement from B-flat major to F-sharp minor mirrors the interval of a diminished
fourth, B-flat to F-sharp, from the opening of theme one (m. 1)3 . The B-flat is a stable tone,
part of a deeper level arpeggiation of a tonic triad in mm. 1–2. Though unstable, the F-sharp,
an enharmonic major third below B-flat, is an interval emphasized and utilized throughout
the framework of this movement. They are rhythmically situated on a strong beats of the
measure, beats one and three, as a half note and quarter note; the following material in
mm. 3–6 and 7–14 is rhythmically contrasting and devoid of those ideas. Additionally this
opening enharmonic third is part of a musical frame; this movement is framed with thirds.
The final interval which closes out the postlude is a minor third from B-flat to G (found in
the right hand on beat three of m. 218 and beat one of m. 219).
Overall, these third plans lend to a cohesive structural plan, preventing the recurring
“transitional” theme from creating a sonata that seems formally disjunctive. Symbiotically,
the recurring theme provides thematic connections, preventing the sonata from seeming
harmonically disjunctive. At a first glance this sonata seems to have proportional anomalies,
referring to the length of the sections. It is top heavy with its 90 measure exposition and
relatively short development of 32 measures. Additionally, the transitional theme is used
more frequently than theme one as well as theme two. The displacement of this single
theme throughout the sonata creates a more cohesive form, forming melodic connections
and harmonically supporting a thirds plans throughout, creating formal harmony rather
than incongruity.

3
See example 14.

14
4 Motivic Connection
On a deeper level, the facet of this sonata which contains perhaps the most noticeable
examples of organicism is the same facet which contains the most subliminal examples of
organicism: motivic connection. These visually apparent, aurally subliminal areas are not
entirely imperceptible to the ear, but rather reminiscent without being directly apparent.
This is achieved through motivic connections, namely motivic repetition, foreshadowing,
and development.
In motivic repetition, a motif is either replicated or presented as a transposition later
within the piece, therefore referencing something that has already occurred. This is seen in
four areas: between m. 5 and m. 7; between mm. 7–13 in the first key area and mm. 60–63
in the codetta of the second key area’s cadential material; between a closing gesture of
the second key area’s cadential material preceding that section’s codetta (mm. 58–59)
and a closing gesture following that same section’s codetta (m. 67); and, between the
first measure of theme one (m. 1) and mm. 115–118 of the retransition preceding the
recapitulation (examples 15, 16, 17, and 18).
The first connection is perhaps the smallest connection: as single interval of a single
whole step. Measure 7 references m. 5, the first measure of the seemingly retransitional
passage of the first key area and the penultimate measure of theme one’s extension. The
whole step between F and E-flat in m. 5 is part of a rising sigh-figure which culminates
with G and F-sharp. F and E-flat are the initiating interval of m. 7. The melodic content
of theme one has progressed registrally higher; as new thematic material is presented
on the downbeat of m. 7, the F – E-flat dyad is used to begin a descent from the upper
register, preventing too grand a spectacle in too early an area of the piece as new material
is presented following the first theme.
Within the first key area, an area of prolonged dominant occurs following the first theme
(mm. 7–14). The three anacrusis tones preceding m. 7, eighth notes D – C-sharp – D, are
sequenced throughout this area. This eighth note motion of departing from a tone with a
half step descent and returning to the original pitch is repeated as a transposition found
within the codetta of the second key area’s cadential material (mm. 60–67). This figure

15
4 Motivic Connection

Mit tiefer Empfindung

 oL oL  ooL oL oL  oL ; o
 o o œ  o o  o  ooo NNN
5

 o o  o o o o
„ p
ooL ooL  ooL ooL  ooL oL ; o o o o
  œ œ — u o
o<

 o  ooo NNN o o o o o o
r
8

N
o   oooo NNN
  u o  o o o o u o o o
o
o
o< o<
Example 15: Schumann, Piano Sonata in G minor, mvt. 1, Motivic Repetitions mm. 5–9.

Mit tiefer Empfindung

 o oN
  o o o o  o o o  ooo NNN o o o  o  o NN o o o
(6)

 oo NN
}
 ooo NN
p
o o o o o o o
  œ —
 u u o o o o u o o o o
o< o< o<
L L
}u o
 o oN o o o oN o
   o  ooo NNN o  o o o oo o o  o   oo NNN o oo o
10

 oo o
z oN f
o o o
oo N o
 o  o o o o o
dim.
  u o  o o o  o u
o
u
o oo
u o  o o o o
o< o< o< o<

L L L L L L
im
L L L
mer schnel
L L L L L lerL L
 o oo
   o o  o o  o  o o   oo o  o  o  o  o  o o   oo o  o\  o o o oo   oo o  o\
o
60

’
 o  \ o  o  oo o o
 o
cresc.
o o o
    oo o  o  oo o o o  o  o o
 o o o o
 o o o o o

Example 16: Schumann, Piano Sonata in G minor, mvt. 1, Motivic Repetitions mm. 6–13
and mm. 60–63.

16
 L  oL  oL  oL  oL  oL  o
 oL  oL  oL  oL oL  o o  o o  o
o o o
n
56

  oL oL oL  oL  oL
o  \
    \\\  \\\ \
  \\\\   \  o\  o  \\
  \  \\

L L L
rit.

    oo N  o  o   oo   o
o  o o
s
59

\  o o   oo o  o\ o  o o
p T
    o\  o  o  o  o
o  o  o  oo
o
o  oo
 \
o
un poco ritenuto

 o
   o o o o o o
e
(67)

o  oo oo  oo
p  \\   o oo ooo oo
  œ — o o
 \ o
Example 17: Schumann, Piano Sonata in G minor, mvt. 1, Motivic Repetitions mm. 56–60
and mm. 67–68.

o o o o o o
ben legato


1. Allegro
 o o  o o \ oo
  º \\ oooo ooo
114

 oo oo  o
ˆ ‡
\ o o
p p
oo oo
   –<  o o
  º \ – o\ o
o o
\ oo oo <
< <

 \ o o o o o  o o oooo o oo
 oooo oo \ o \ o o o  o o oo o
116

o o o o o o o o
˜
oo o

–  ooo ooo cresc.– \\\ – \\

 < o o 
 < <
< < <

Example 18: Schumann, Piano Sonata in G minor, mvt. 1, Motivic Repetitions m. 1 and
mm. 114–120.

17
4 Motivic Connection

begins on the second eighth note in m. 60, transposed to begin on E-flat rather than D.
Like its use in the first key area, it is sequenced throughout the beginning of the following
section (mm. 60–63).
The final four melodic eighth notes of m. 58, repeated in m. 59, are also found in m. 67.
This figure now follows a descending arpeggio rather than a descending scale and is
transposed down a half step, beginning on F-natural rather than F-sharp. In its first oc-
currence in mm. 58–59, it is utilized as a closing gesture to the section which preceded
it (mm. 52–59); it is then followed by a codetta (mm. 60–67), which is then followed by
a closing phrase (mm. 67–70). This gesture is used as an initiating gesture to this closing
phrase.
Theme one is repeated in a retransition at the end of the development rather than
transformed at the beginning of the development. The development begins with fourteen
measures of transformations of the opening fragment of the transitional theme1 . Two
anacrusis tones occur rather than three. In utilizing these anacruses, three occurrences
of three repeated notes do occur on beats two, three, and one (mm. 90–91, mm. 92–93,
mm. 94–95, mm. 96–97), seen in the left hand in the midst of virtuosic arpeggio work.
This is followed by six measures (mm. 104–112) of transformations of the opening
fragment of theme two (mm. 26–30)2 . A descending scale with the surface rhythm of eighth
notes begins on the second eighth note of beat two. It begins in the left hand rather than
the right hand, as it had been originally found (m. 26). It is important to note and highlight
in performance that, while the antecedent figure (mm. 26–30) of theme two is utilized and
its consequent phrase (mm. 30–33) is not, the closing gesture of a descending arpeggio
followed by motion between flat six and scale degree five it found in rhythmic diminution
between the last two beats of m. 110 and the first beat of m. 111 as well as the last two
beats of m. 111 and the first beat of m. 1123 .
The development is followed with a 9-measure retransition (mm. 114–122), an unstable
area in a sonata form. It is here in this unstable area that a repetition of a theme one
fragment (m. 1) is found. An upper note followed by a leap down a tritone followed by a
half step ascent occurs in each measure between mm. 115–117; here, the ear recognizes
the melodic motion of theme one initial fragment, which begins on B-flat followed by a
leap down a diminished fourth followed by a half step ascent. This fragment is then found

1
This is shown in example 7.
2
This is shown in example 20.
3
While this is a motivic connection which would fit into the category of “development,” it is not outside of
formal normalcy, as it occurs within the development proper.

18
in its original form in m. 1184 . The arrival of the proper motif in m. 118 simultaneously
recalls the first theme and foreshadows the return of theme one in m. 123.
In motivic foreshadowing, a motif is presented in an unstable formal area, such as a
link. Said motif then makes a later appearance in a more stable formal area, often as a
small part of a larger theme. Its original form may be slightly altered, but intervallic unity
between motivic appearances connects the each occurrence. Motivic foreshadowing allows
smooth transitions to occur between sections. This technique is seen in the link between
the second theme and the transitional theme (m. 35), the closing phrase to the cadential
material of the second key area (mm. 68–69), and the link between the development and
the retransition (mm. 112–114); see example 19.
The first occurrence of foreshadowing is present in m. 35 between the second theme and
the transitional theme. A half note A-flat that descends two half steps to eighth notes G and
F-sharp and then ascends one half step to a quarter note G is presented, functioning as an
exact transposition of the opening of the transitional theme. However, the half note begins
on beat two of the measure rather than beat one, causing the rhythm of the two descending
half steps to be diminished to the length of two eighth notes rather than quarter notes.
This figure precedes the arrival of the transitional theme in m. 36. It does not inhibit the
element of surprise, yet it softens the surprise of this theme’s reappearance. This link is
utilized in its parallel area of the recapitulation (m. 159).
Within the closing phrase of the second key area’s cadential material (mm. 60–67)
three repeated tones that act as an anacrusis are found in m. 68 on beats two, three, and
four; these foreshadow the three repeated tones of the transitional theme that will occur
two measures later (m. 70). In m. 68, the repeated notes are A-flats and harmonized with
diminished chords. In m. 70, the three repeated notes are E-flats without supporting chords.
It is worth noting that the three A-flats of m. 68 are followed with another A-flat on the
downbeat of m. 69. This gesture is similar to the second occurrence of the transitional
theme beginning in m. 36, where the three repeated anacrusis tones are also harmonized
and the following downbeat is the same note as the anacrusis tones; the downbeat which
follows the three repeated notes of the upcoming transitional theme in m. 71 is a fifth
above said notes. However, due to the proximity of m. 68 to this upcoming transitional
theme, this motivic connection functions more like a foreshadowing than a repetition or
development.
4
Utilizing similar material before the arrival of the proper motif or theme is a technique Franz Liszt uses
with the first 15 measures of his Transcendental Etude no. 12 and Clara Schumann uses with the orchestral
exposition in her Piano Concerto in A minor op. 7.

19
 4 Motivic Connection

 o o o ll  \ o
  \  oo
(35)

q
o  oo oo oJ oJ oJ ll \ o
\ o ll
 ooJ ooJ ooJ ll  \
l \  oo  oo
    \\ oo  oo oo

u
un poco ritenuto

 o
   o  o o  o o o o  oo
o
(67)

oo  oo oo o o o
p o o  o o ooo
  œ —  \\   o oo ooo o
oo
 oo
 o o — \\o o o o
\ o o

 u
 o o o o o
dolce

t
112

o
p o o o o o o o o o p
u
  o o o o o o o o o o \ o
 œ — \ \
\ o

J Ju uJ J J
 u u
u o o o u
  o  o  o o  oo  o oo o  o o o  oo  o oo o   oo  o  oo oœ   oo œ o
(193)

oo o
Š
o o œ o œ o œ oo  oœ
pp — T T T T T T
œ o o o o u — u
œ o o o o o o o u u
  œ \  o o œ \  o  oo  o o œ  oo œ o œ oo œ oo œ o œ
o o o
T o o T T T T T T o
J Ju
 u u u u o
  o  o
197

 o o o o o o o o o o o
o o   oo  o  oo o   oo œ
ˆ
oo  o o o o o o o œ T
p T
— œ  o o o  ou — œ  o o o ou o  o u
  œ \ u o œ \ o  o  o oo œ  oo œ
 o o o o o o o
T T T T
Example 19: Schumann, Piano Sonata in G minor, mvt. 1, Motivic Foreshadowings:
mm. 35–37, mm. 67–70, mm. 112–114, and mm. 193–199.

20
 The next motivic foreshadowing occurs in mm. 112–113 between the development and
the transition. Beginning on beat two of m. 112 and ending on beat four of m. 113, quarter
notes D – C-sharp – C-natural – B-natural – G – A – B-flat are the same notes as the opening
motivic material of the coda’s thematic content (mm. 193–195, repeated mm. 197–199).
These notes appear in the coda as eighth notes.
One could argue that the second occurrences of these motivic materials are referencing
the initial occurrences; however, the second occurrences are more stable areas, therefore
the initial appearances are categorized as foreshadowings.
In motivic development, a motif reappears at a later instance in a piece featuring material
derived from earlier motifs. This reappearance is therefore altered, yet some aspect of
the original motif remains in use. This is perhaps the most imperceptible use of motivic
connection, but these outgrowths create a cohesive work. The transitional theme, opening
fragments of the second theme, closing group to the second occurrence of the transitional
theme, and a one-measure link within the the cadential material of the second key area are
all outgrowths of earlier materials (example 20).
The transitional theme, first found in m. 19, is a rhythmic outgrowth of the first subphrase
of theme one (m. 1, a half note followed by two quarter notes). The opening fragment of
the second theme (mm. 26–27) to which it leads is a rhythmic outgrowth of the second
subphrase of theme one (m. 3, five consecutive eighth notes beginning on the second eighth
note of beat two). The pervasiveness of the first theme in the areas which follow is an im-
portant attribute that balances the continual use of the transitional theme. The generativity
of the transitional theme in its entirety is one based on exactness or singular similarity,
while the generativity of the partitioned first theme is based on the transformation and
use of its constituents.
The scalar passagework acting as closing gestures to the second occurrence of the
transitional theme (mm. 40 and 42) is an outgrowth of the second theme. This scalar
passagework replaces where the next harmonic transformation would occur in mm. 39–40.
It begins first with the same notes and rhythm as the second theme, eighth notes G – F
– E-flat – D. Rhythmically, this figure has been shifted from the second eighth note of
beat two to the second eighth note of beat one. The original figure culminates with C –
B-flat 7-6 motion over V6, occupying the two eighth notes of beat one. Though the scalar
passagework in m. 40 is altered, these exact notes are achieved in m. 41 with rhythmic
augmentation, transforming the C – B-flat to quarter notes. The scalar passagework is then
transposed up a fourth in m. 42 and further transformed as the scale descends a thirteenth
across two measures from C to E-flat. Interpolating this scalar material creates a connection

21
4 Motivic Connection

 \ 
1. Allegro
  llll \ o o   º \\  oo
q q
19

o o oo
ll \
ll  \ p
 l \  oo  oo  º \ o
  \ o oo

u
 œœooo oo oo u 
 o
œ  o oo  oo o   — œ ou  oo  oo o
(26) 3

 o o o o o o o oo oo
ˆ ˆ
L L L oL ooL oL L L L L L  oL o
T Lu
  o o o o o  oo o oo N o oo oooL oooL  oL oL ooL L L
  — œ  ooL oo oo oL ooL ooL
 o o
 o o 
T T

animato

 o o o o o u o o o o o o o o o
  o o o o o  oo o o\ \ \\ o  oo o o  o o o o
(40)

‚
o
o
T sf ff
o
mf \ o oo
  o \  \\  oo
 o T

o o L
 o  o o  oL   ooL o   ooL oL ooL  oL   ooL oL oL oL
o
e

50

 oo  o o oo œ   oo œ   oo œ o œ ou œ
  o o T
o 
T T T o

oo oo o o o o o
65

 \ o  o  oo   oo  oo   oo oo
|
 —
\ f  oo o o o o
  o\ N o o o o

Example 20: Schumann, Piano Sonata in G minor, mvt. 1, Motivic Development, m. 19 and
m. 1, mm. 26–28 and m. 3, mm. 40–43, and mm. 50–51 and mm. 65–66.

22
to what we just heard, preventing this familiar transitional theme from chopping up the
sections.
Within the cadential material of the second key area, m. 51 and its anacrusis links two
areas of contrasting thematic material. This link is found transformed in m. 66 as the
penultimate measure to this section’s codetta (mm. 60–67) and preceding a closing phrase
(mm. 67–70). In its first occurrence, it features chromatic descent in the bass voice; in its
second occurrence, it features chromatic ascent. The thirds in the bass have been respelled
as sixths, and the eighth note leaps of tritones in the soprano voice have been expanded to
sixths. In the first occurrence, the first four chords are diminished harmonies followed by
a dominant 7th, and in the second occurrence all five chords are diminished harmonies.

23
5 In Conclusion
The interaction of certain thematic, intervallic, and motivic components of this movement
create a cohesive work. In creating a highly organic work, Clara Schumann has composed
a sonata form that is not devoid of independent ideas; rather, its unified components within
and surrounding contrasting materials create allow the work to be both integrated yet
expansive. The use of organic material balances the use of independent ideas. Clara Schu-
mann achieves this with a single musical structure that serves different formal functions
in different parts of the sonata form, concentration on a particular musical interval that
ensures coherence at both local and large-scale levels, and motivic connections that create
a cogent musical work.
This sonata was a Christmas gift to Clara Schumann’s husband Robert. Clara composed
the first and third movements in December of 1841 as a sonatina; after she and Robert
deemed them successful, she completed the other two movements. She wrote about her
Piano Sonata in G minor in her and Robert’s marriage diary: “I tried to compose something
for Robert, and lo and behold, it worked! I was blissful at having really completed a first
and third sonata movement, which did not fail to produce an effect – namely, they took
my dear husband quite by surprise1 .”

1
Reich, Clara Schumann, 304.

24
 Bibliography
Caplin, William Earl. Classical Form: A Theory of Formal Functions for the Instrumental
Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, USA,
2000.

Reich, Nancy B. Clara Schumann: The Artist and the Woman. Ithaca, N.Y.: Cornell University
Press, 2013.

25

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