NEOCLASSICISM IN EDVARD GRIEG'S SIX SONGS, OPUS 48

By

Jamie Mills

A Thesis
Submitted in partial Fulfillment of the Requirements for the
Master of Music.

School of Music
in the Graduate School
Southern Illinois University Carbondale
August, 2009
 UMI Number: 1469336

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 THESIS APPROVAL

NEOCLASSICISM IN EDVARD GRIEG'S SIX SONGS, OPUS 48

By

Jamie Mills

A Thesis Submitted in Partial

Fulfillment of the Requirements

for the Degree of

Master of Music

in the field of Vocal Performance

Approved by:

Dr. Jeanine Wagner, Chair

Dr. David Dillard

Dr. Paul Transue

Graduate School
Southern Illinois University Carbondale
July, 2009 "
 AN ABSTRACT OF THE THESIS OF
JAMIE MILLS, for the Master of Music degree in Vocal Performance, presented in
July, 2009 at Southern Illinois University Carbondale.
TITLE: NEOCLASSICISM IN EDVARD GRIEG'S SIX SONGS, OPUS 48

MAJOR PROFESSOR: Dr. Jeanine Wagner

"Style is the characteristic way elements are treated to form a unique whole"

(Meyer, 1996). The major stylistic movements in music are Baroque, Classicism,

Romanticism, Neoclassicism, and Modernism. Edvard Grieg is associated with the

Romantic movement, however this ignores the full breadth of his compositional

qualities. Scholars studying his final stage have found, in his Songs, Op. 66 and

Haugtussa, Op. 67 of the 1890's compositional period, techniques that point forward

to Neoclassicism (Horton, 2007). In his Six Songs, Op. 48 of 1884-1889 there are

also characteristics of Neoclassicism, as well as Romanticism and Classicism.

According to D. Stevens, "Grieg admired Mozart's use of form and harmony, and

often used segments as models for his own compositions" (Stevens, 1960). For this

reason, a comparison of Op. 48 will be made to Mozart's leider J4« Chloe and

Abendempfindung using a traditional harmonic analysis of the form, melody,

harmonic structure, and a textural analysis of the poetry including rhyme scheme and

meter.
 DEDICATION

I would like to dedicate this work to Drs. Wagner, Dillard, and Transue,

without whose guidance and support I would never have been able to accomplish this

task. I would also like to thank my parents for their support.

 TABLE OF CONTENTS

CHAPTER PAGE

ABSTRACT i

DEDICATION ii

LIST OF FIGURES iv

CHAPTERS

CHAPTER 1-Introduction 1

CHAPTER 2 - Method 5

CHAPTER 3 - Discussion 37

CHAPTER 4 - Conclusion 49

REFERENCES 50

VITA 54

iii
FIGURE PAGE

Figure 2.1 6

Figure 2.2 7

Figure 2.3 7

Figure 2.4 8

Figure 2.5 8

Figure 2.6 9

Figure 2.7 10

Figure 2.8 12

Figure 2.9 13

Figure 2.10 13

Figure 2.11 14

Figure 2.12 14

Figure 2.13 15

Figure 2.14 16

Figure 2.15 16

Figure 2.16 18

Figure 2.17 19

Figure 2.18 19

Figure 2.19 20

Figure 2.20 21

Figure 2.21 21

iv
FIGURE PAGE

Figure 2.22 22

Figure 2.23 22

Figure 2.24 23

Figure 2.25 24

Figure 2.26 24

Figure 2.27 25

Figure 2.28 27

Figure 2.29 27

Figure 2.30 28

Figure 2.31 29

Figure 2.32 30

Figure 2.33 31

Figure 2.34 31

Figure 2.35 32

Figure 2.36 32

Figure 2.37 33

Figure 2.38 34

Figure 2.39 35

Figure 2.40 35

Figure 2.41 36

Figure 3.1 38

Figure 3.2 38

iv
FIGURE PAGE

Figure 3.3 40

Figure 3.4 41

Figure 3.5a 42

Figure 3.5b 42

Figure 3.6 46

Figure 3.7 47

Figure 3.8 47

iv
 1

CHAPTER 1

CHARACTERISTICS OF MUSICAL PERIODS

"Style is the characteristic way elements are treated to form a unique

whole" (Meyer, 1996). The major stylistic movements in music are Baroque,

Classicism, Romanticism, Neoclassicism, and Modernism. Edvard Grieg is

associated with the Romantic movement, however this ignores the full breadth of

his compositional qualities. Scholars studying his final stage of composition have

found in his Songs, Op. 66 and Haugtussa, Op. 67 of the 1890s compositional

techniques that point forward to Neoclassicism (Horton, 2007). In his Six Songs,

Op. 48 of 1884-1889 there are also characteristics of Neoclassicism as well as

Romanticism and Classicism. According to D. Stevens, "Grieg admired Mozart's

use of form and harmony and often used segments as models for his own

compositions" (Stevens, 1960). For this reason a comparison of Op. 48 will be

made to Mozart's lieder An Choe and Abendempfindung using a traditional

harmonic analysis of the form, melody, harmonic structure, and a textual analysis

of the poetry including rhyme scheme and meter.

The Mozart lieder An Chide and Abendempfindung, among others, are

considered to be the epitome of the Classical art song (Stevens, Meyers, 1960).

For this reason a traditional harmonic analysis of these particular lieder will be

used for the comparison to Grieg's Six Songs, Op. 48. These two pieces will help

to show a relationship back to Classicism in Grieg's work.

 2

The Classical era is a period in music that spans from around 1750-1820.

It includes masters such as Haydn, Mozart, and Beethoven. In fact, these three

composers are the ones that most represent the Classical period. Haydn, the

father of the Classical period, broke free of the Baroque to create an "individual

pleasing tunefulness" (Sadie, 1994). Followed closely by Mozart, the two

created a new language within the musical realm. They both developed the idea

of using dynamics and orchestral color in a thematic way, the use of harmonic

rhythm to express larger scale forms, and the use of modulations to create longer

arcs of tension (Sadie, 1994). The characteristics of Classicism are balance,

clarity, and restraint. Composers were concerned with making music accessible.

They did not want music that was too complex but at the same time not too

simple. They wanted to achieve a sort of middle ground (Stolba, 1998).

Composers sought to write music that would be as Stolba says, ".. .refined

without being stiff' (Stolba, 1998).

Important features of Classical music are form, texture, the use of folk like

melodies, and harmony (Stolba, 1998). Form was generally constructed of

regular phrases and periods (Stolba, 1998). The texture of Classical music is

generally homophonic with contrapuntal music used only sparingly, usually in the

developments of works and folk melodies were often incorporated into the music

(Stolba, 1998).

In the Classical period harmony and rhythm share an equally important

role as melody (Stolba, 1998). "...harmonies were treated differently and were

used functionally in a wider sense, with concern for chordal relationships between
 3

keys as well as within a key harmonic clarity was important. When moving

from one key to another, the tonality was established clearly at the beginning and

end of the modulation" (Stolba, 1998). Also, the tonic-dominant relationship

expands to include secondary dominants and pivot chords (Stolba, 1998).

The Romantic era in music spans from about 1820-1900. One of the

bridges between the Classical period and Romantic period is Beethoven.

Beethoven begins to drift away from the Classical ideas in his last period and

begins to take on characteristics of early Romanticism (Sadie, 1994). The

Romantic period ushers in the ideology that individuality is more important than

conformity. One characteristic of Romanticism is the sense of "heightened

individuality" (Stein, 1996), including focus on the individual, their emotions, and

introspection (Stein, 1996).

Another focus of Romanticism is nature and a fascination with the past-

for example, the legends of medieval chivalry. Even more important is the focus

on Nationalism or a national identity (Sadie, 1994). Sadie writes that the

manifestation of these things becomes evident in the composers "commitment to

music that would fashion its own forms more freely than in ages past according to

the emotional demands placed on it" (Sadie, 1994). This leads to an extension in

the harmonic language used within compositions. While the music remains tonal,

the harmonies push tonality to its limits (Sadie, 1994). There is the use of remote

key relationships, greater frequency of modulation, and an acceleration in the

harmonic rhythm. Tonal harmony is extended by use of altered tones and

unprepared and unresolved dissonances (Sadie, 1994).

 Neoclassicism is a period of music that spans from around 1920-1950. It

is characterized by a return to the formal structures of the Baroque and Classical

periods while using the harmonic techniques of the 20th century. Neoclassicism,

according to Whittall is, "a revival of balanced forms and clearly perceptible

thematic processes of earlier styles to replace what were, to them, the increasingly

exaggerated gestures and formlessness of late Romanticism" (WhittaL 1994).

While Neoclassicism makes use of forms from the Baroque and Classical eras it's

composers make use of expanded tonality, modality, and even atonality (Whittal,

1994). Edvard Grieg is a Romantic composer who, in several of his songs, it can

be argued, by composing in a Classical way during the height of Romanticism

looks ahead to the Neoclassical movement. Looking at Grieg's Six Songs, this

thesis will determine whether these songs look ahead to Neoclassicism or remain

emboldened by Romanticism.
 5

CHAPTER 2

METHOD

The first of Grieg's songs is Gruss or Greeting. The poetry was written by

the great German Romantic poet Heinrich Heine (1797-1856) poem is relatively

simple, the song is not. The poem is a greeting to a loved one in the form of a

rose and is nothing like the melancholy poetry for which Heine is remembered

(Jarrett, 2003). The text is descriptive and makes use of nature as much Romantic

poetry does. The reference to the beloved as a rose in particular is characteristic

of Romantic poetry (Stein, 1996). The poem is set in two stanzas with four lines

each, commonly called a quatrain (Stein, 1996). Another feature of the poem that

is commonly found in German Romantic poetry is a form of end-rhyme. Gruss

uses an abab pattern. This rhyme scheme, according to Stein, aids in the creation

of a moderate tempo (Stein, 1996).

In addition to the tempo of the poetry, the poetic meter of the piece must

be considered. The poetic meter, or word stress, helps create a rhythm to a piece

(Stein, 1996). The poetic meter of this poem is duple trochaic. The duple

trochaic meter is a pattern of one stressed syllable followed by one unstressed

syllable. This particular meter accentuates the text rather well. The stress

followed by the release of the weaker syllable creates an illusion of the spring

song floating away on the breeze. Grieg reinforces the poetic meter with his

choice of musical meter. He uses duple meter, which serves to accentuate the

stress/unstressed in poetic meter.

 6

For the form of Grass, Grieg chose through-composition, with new music

for each new part of the poetry. This particular form helps to move the drama of

the poetry along, and it adds depth to the text that may not be there otherwise.

The melody of this piece is not virtuosic, it contains no difficult intervals

or melismas. It is relatively simple in these regards, using steps, thirds, fourths,

fifths and octaves in fairly predictable patterns. This is not to say that the piece is

not dramatic. On the contrary, there is substantial drama, which occurs mainly

through the dynamic expressions written, the phrasing, and the accompaniment.

While the dynamics of this piece are not as extreme as other Romantic

pieces they are still more complex than those found in most earlier periods

(Kamien, 2008). The marking at the beginning of this piece is piano with a long

crescendo to forte.

Figure 2.1 Excerpt from Gruss

The next phrase begins piano yet again with a crescendo/decrescendo

ending the phrase.

 7

Figure 2.2 Dynamic marking in Gruss.

This pattern continues for the next phrase, and then there is another

gradual crescendo to forte followed by a sforzando to end the vocalists line. The

accompaniment ends the piece with a posthide that decrescendos to a. pianissimo

ending.

Figure 2.3 Crescendo and sforzando ending the piece.

Musical phrasing is an important element in instrumental and vocal music.

Grieg's phrasing beautifully aligns with the poetry. To ensure that the phrase is
 8

indeed the eight bars, he composes, two tied half-notes at the end of four bars

with a crescendo through to the fifth in the vocal line.

iW^-lT^
W zivhtdurchinein Ge - miith_
ro - rer dii, mis Sa»g%

mA
w
?m=^
w*
mm
WW
3¥
fe

Figure 2.4 Tied half-notes bridging four and fifth bars.

In the next stanza he uses the tied half-note again coupled with the

syncopated chords in the accompaniment to push the vocalist through to the next

bar.

* |fe P^* Ti±±*^

Zieti hin . aua bis an das Haus,
Lad Pi . o - lens fi - ne Skjitr.

Figure 2.5 Accompaniment syncopation.

Grieg's piano accompaniment is extremely Romantic, for as in the

majority of Romantic music, the pianist and the vocalist are treated as equals.
 9

This is traditional in Romantic music, and Gruss is no exception.

Figure 2.6 Introduction

Figure 2.6 shows the rhythmic and harmonic pattern that is the basis of

the accompaniment. This figure repeats through out the first stanza adding

momentum to the piece. The bell-like chords of the interlude serve as a nice

transition to the syncopated chords that urge the vocalist on in the second stanza.

The arpeggio figure returns at the end of the second stanza to end the piece as if,

a spring song is floating off in the breeze.

While the texture of this piece is basically homophonic, the

accompaniment is still vital to the creation of the drama of the piece. It could be

argued that the arpeggio figure is an independent melody functioning in

counterpoint to the vocalists line- a spring song played parallel to the vocalist.

The final element of the first song is harmony, made up of four basic

ingredients: tonality/modulation, harmonic rhythm, diatonic versus alerted or

borrowed chords, and harmonic progressions. These are the elements that
 10

ultimately determine the classification of this piece as Classic or Romantic.

Gruss begins in the tonality of E major, modulates to the parallel minor

for the second stanza, and returns to E major at the end. Large portions feature

merely the tonic and dominant chords. While there are other sections that could

be considered unconventional progressions, the piece never loses its tonality.

There is no overt dissonance or chromaticism; however, Grieg does make use

altered chords. For example, at the end of the first phrase Grieg uses an

augmented median chord. Grieg also uses a modulation to the parallel minor.

A
mw
Via - - te,
Siren- -ge,

mm ISP
as ^ssi
'vresc

P^ ^
f
nT
Figure 2.7 Augmented III chord

The second song of the cycle is Dereinst, Gedanke me in (One day, O my

mind). Once again the poetry of the piece reflects popular poetic Romantic

themes, what Stein calls "heightened individuality"- a focus on emotionalism,

introspection and self-absorption (Stein, 1996). The text, "One day O my mind,

you will be at peace. Love's ardor will not leave you alone, in the cool earth you

will sleep well without suffering, without pain" (Jarrett, 2003) is a perfect

example of the introspection and heightened emotionalism of Romanticism.

 11

There are several features, both poetic and musical, that reinforce the atmosphere

of that introspection.

Beginning with the rhyme scheme, this poem makes use of the end rhyme

format AABB. This creates long phrases with a definitive ending that serve to

reinforce the text's illustrations of the finality of death. The poetic meter of the

text also creates the allusion of trodding through life. The use of the duple

iambic, or unstressed/stressed syllables (Stein, 1996) adds to the ambience of

plodding along. This serves to help illustrate in the text the release that will come

with death.

The musical meter switches between duple and quadruple. The steady

reoccurring beat of the quadruple meter aids in creating an atmosphere of life.

The text refers to death as sleeping and being at rest-implying that life is anything

but. The musical meter helps to illustrate life while the text describes with

longing the peace death will bring.

The form of the piece also adds to the poetic image of a downtrodden life.

The use of strophic form creates a repetition that describes the idea of going

through the motions-the repetitiveness and monotony of life.

An examination of the melody shows a simple, mostly diatonic melody.

The intervals are small as is the range, it remains in the middle register with a

diminished sixth as the largest intervallic leap. The small range and intervals

illustrates the text maintaining a quiet, peaceful atmosphere. Given the text's

description of death being comparable to drifting off to sleep, these limitations on

 12

range and intervals work in keeping with that atmosphere.

cresced agitato
$&
Pi) I J J^Ji
wirst ru . big sein.
%
Lusst
533
*
I,ie-bes-glutb
^m
*dich still niih; wer-den
du skal fa Frvd! Vil Eh-koes glod dig Ro cj uu . dr,

Figure 2.8 Typical melodic intervals in Dereinst, Gedanke mein

The phrasing of this piece is somewhat irregular. The first verse can be

broken into three smaller phrases, of four bars, three bars, and six bars. The

irregularity of the phrasing helps to create a flow that otherwise would be lost,

and it prevents the piece from becoming to choppy.

 13
Molto Andante.
=tf
IS fe ^
Der-einst, Ge - dan . Ice mein,
•Ay tvrf, «("« 7Vf« - jh.-, wrf;

££
?
BE
^r
2.
^m
I'M
VP
^Sf
w«?a « / agitato

fei m
f» s S^
wirst ru - big sein. Lisst I.ic-bes-gluth du-h still nicht wer-den,
yil Eh-koes glod dig Ro rj un . dr,
Figure 2.9 Phrasing

One of the main interests in the melody is the dynamics and their

relationship to the accompaniment. The dynamics are diverse and wide-ranging

with several expression markings written throughout. There are several gentle

crescendo/decrescendos through variations of piano designed to demonstrate the

simile of death as a peaceful sleep without pain

Lieb' undoh-ne Pein wirst ru-higsein.

Hab og « - den Frygf— du so - ter trygt.

Figure 2.10 Variations of dynamics

The expressive markings of agitato and molto ten. are found in correlation

with the text discussions of what was lacking in life. These markings help to
 14

reinforce the agitation and frustration found in life, and thereby the peace that

comes in death.

m La - ben
Li - ret
»
nicht bast
til - drig
s
ge -
har
±:
- fun -den,
f/tii - del,
fimol/o

wenn es
fen

nur tit'/
/Xdhn\

J i J Lent/ - srhwun-
er
'• den,
srurt - dvt,

Figure 2.11 Expressive markings

The crescendos/decrescendos create an ebb and flow to phrases that play

well off of the piano by building tension and then releasing it almost as quickly.

The extremely soft dynamic indication above the word pain reflects a soft mewl

of pain described within the text. Grieg uses the dynamics and expressive

markings to illustrate the text very effectively.

H&^
y*fj|
V
3 / 3M
Pein wirst
b'rygt du

Figure 2.12 Extreme dynamic marking on "pain"

Generally in the accompaniment, the harmonic rhythm consists of one

 15

chord every two beats, usually changing before the vocalist. This creates a

continuous flow as if the poet is drifting off to sleep.

dlfe P=^ ^
mnlto fen, (iim.
^
in ktifa - ler Er - den da schliifst du
dn srn/l skill bliin - dn i Jcrr - dens

gJ5*
¥ m dim,

^m^6
y~^ molto (en.
m
w=v_
oc dt a
&0 d
fr

Figure 2.13 Harmonic rhythm

The tonality ofDereinst, Gedanke mein is ambiguous. It begins in g-sharp

minor, moves to d-sharp minor, and finally moves to D-sharp major. There are no

clear cut tonal centers, the piece simply flows from one area to another without

specific, clearly defined beginning and ending points. Figure 2.14 shows the

transition between what appears to be a primarily g-sharp minor tonal area to a

primarily d-sharp minor tonal area.

 16

c-resc &d agitato

wirst ru . big sein. Lusst J.ie-bes-gluth dich still nicbt wer-den,

du skal fa Fred! fit Ets-koes gldd dig Rn cj un . dr,

crw.ed (urttato
tr/r,

7?
5^3^
in kiih - )er Er - den da schlufst du gut, dort 6b . ne
du sralt skid Hun - du i Jor - dens Skjdd, hvor u - den

Figure 2.14 Transition between tonal areas

The chord progressions are unusual, creating a tonal quality that is

somewhat questionable. The way the chords move leaves the impression of

modulation without truly modulating. The ambiguity of the harmonic structure of

this piece adds to the atmosphere Grieg is creating. The poet speaks of death as a

peaceful sleep, and Grieg creates that illusion with his harmonic structure.

orrsc ed agitato
*l
gin
w wirst ru . big scin.
Lusst
**
§2
I.ic-bes-gluth
—^~+*
dich still nicbt
du skal fa Fred!
fil Ets-koes gldd dig Rn cj

ffrO-l
P* c* i* <f C
Figure 2.15 Harmonic structure
 17

The harmonic rhythm of Dereinst, Gedanke rnein basically changes once

every two beats. There are non-chord tones such as passing tones that appear

periodically; however, the primary chord changes still occur every two beats.

This helps create the lulling ambience of slumber that Grieg works so hard to

impart. Chord changes generally occur during a rest for the vocalist so that the

two are not happening simultaneously. This helps to create a flow and prevents

the piece from becoming static.

The third song in the cycle, Laufder Welt, is a coquettish little poem

whose translation is The Way of the World (Jarrett, 2003). The poem is rather

light-hearted in comparison to much of the poetry of the Romantic era. Where

great deal of Romantic poetry revolves around tragic love affairs, lost love, or as

in the previous song, death, this poem maintains a carefree attitude towards life.

The poet is worldly without being cynical (Jarrett, 2003), and the rhyme scheme

is ABABCC (Stein, 1996).

The poetic meter alternates between iambic tetrameter and iambic

trimeter-from two unstressed, to one stressed syllable. This meter reflects the

image created by the text by creating the image of the lover skipping along the

pathway to his love. The unstressed syllables relate to skipping up while the

stressed syllable relates to the landing. Jarrett points out that Grieg "retains the

poetic meter with the accompaniment written in a jaunty undotted eight-note

rhythm" (Jarrett, 2003).

The form of the piece is ABA with a B section that varies only slightly
 18

from A. The B section begins, like the A, only in the relative minor. It is the

second phrase of the B section that veers off from the A section, coming when the

poet discusses the "joy of lips resting on lips" (Jarrett, 2003). The A sections

merely discuss the ways of the world (Jarrett, 2003).

The melody of this piece, like the two before it, is not virtuostic. It moves

mostly in thirds and in all diatonic steps. It is based primarily on a tonic arpeggio.

From the standpoint of range it does sit higher than the second song of the cycle,

but it is not extremely high.

Allegretto leggiero. pp

i j - i * m i J>JS M i j>> M
An
iViir
je-dem A-bend
Jcrrldrn kommer,
iJ'j^^
gen k-h aas, hin - auf den Wie-sen -
ranker jvtr >id - n-rrr Mirk ng

Figure 2.16 Tonic arpeggio melodic line

The phrasing of this piece is straight forward, with each phrase being four

measures long, and consisting of two lines of poetry (Jarrett, 2003). The last line

of the first and last stanzas are repeated with the music augmented by four

measures (Jarrett, 2003). The second stanza, or B section, is slightly different,

due to a slight change in this pattern. It begins as in A but is made irregular with

the insertion of two measures of rest between each phrase (Jarrett, 2003). This

gives the piece interest while still maintaining its simplicity. This reinforces the
 19

ideas of the text, in that the couple takes life and love for what it is with no

expectations beyond the moment (Jarrett, 2003).

The accompaniment of this piece is also simple compared to other songs

in the cycle. The texture is homophonic, and the accompaniment is not

independent, doubling and primarily supporting the vocal line.

steg. Sie schautaus ih . rem Gar-ten-haus, e.s Me - bet h;irt am

S(i; hun siiir i Iln - tin htnr mi/i tiy just /at - drr tut for

m mm
Figure 2.17 Accompaniment of Laufder Welt

There are very few dynamic markings in this piece at all. It begins

pianissimo with three small crescendos that return to pianissimo as quickly as

they happen. The greatest crescendo happens in the second phrase of the second

stanza, where a. forte is followed immediately by a decrescendo back to

pianissimo.

^M
Figure 2.18 Dynamic shift between pianissimo and forte
 20

The tonality of this piece is D major. As in the Classical period, the A

sections are in D major while the B section is in the relative minor. There are no

deviations from this pattern and no unusual chords. The piece centers around the

I and V chords with sporadic use of the iii and vi chords throughout. The

harmonic rhythm varies from one chord per measure to one chord per beat and, at

times even one chord per half-beat. In the first and second phrases, the rhythm is

one chord for every eighth-note.

Allegretto leggiero. pp
rjr
± P J^ b J^^ g&
An je-dem A.bend g t h i d ; aas, hin -
iY<tr krrldt'ii kommer, ruiikd' jet? i(d -

w
PP
^
rmrmim
ispi con Ped.
5 pp
4~

Figure 2.19 Chord changes in first phrase

In the third and fourth phrases it changes to one chord per measure over an

ostinato with an anticipation of the next chord on the last eighth-note.

 21

P P P P ' P J > J i P istI PnurP soP durp l pF.auf dorP Welt,

ha.ben un9 noch Die be^tellt, cs
skikJrvd al- drig Urvc og Bud, men ri:r-dvnsO(tug « r sPi - dun ml,

m ^
m mk *

*):{f,, I I I "1
w
Figure 2.20 Harmonic rhythm in phrase three

The chord progressions in this piece follow the circle of fifths almost

entirely. Grieg primarily uses a tonic-dominant progression in several segments

of the song. He uses the I-V-I progression in the first phrases of both the first and

third stanzas.

i h » H i j j., i, J> 11 j j'i J j

^
Das
rt
Liifttheu
I : . * £ ( . 1.
mit
m!4
der
J A B
Ro-sespielt,
O n Ca Cnintt
es
A«2

I Li.f-tvus Leg med Ro.srn vj d/T

Figure 2.21 I-V-I progression of the first phrase

The fourth song in the cycle is Die verschwiegene Nachtigall, or The

Discreet Nightingale. This song is based on a poem by Walther von Vogelweide

(c. 1170-1230), a German poet and Meistersinger from the Middle Ages

(Stolba, 1998). This is one of his best loved poems about a courtier and his illicit

love affair with a common lady (Jarrett, 2003). The text is set in a combination of
 22

trochaic duple and dactylic meters. The form of this piece is a simple strophic

form with the exact same melody and accompaniment for each of the three verses

(Jarrett, 2003).

The musical meter fits well with the poetic meter. The dactylic meter with

its one stressed syllable followed by two unstressed syllables accentuates the

triple musical meter. Grieg begins the piece with 4/4 time changing to 3/4 time

when the voice enters as shown in Figure 2.22. This is unusual for Grieg, but it

fits the poetic meter and imparts a medieval feel (Jarrett, 2003).

Figure 2.22 Meter change at vocal entrance

The melody of this piece, like the others, is simple. It consists of

descending five-note phrases with the second note having a "folk like ornament"

attached to it (Jarrett, 2003).

ArM flr%|.i rli^,iH

Icta karri ge - gan - pen in der Au - e, mem Lieb-ster
0 • vcr det bio - it Gron - stx'r gik jeg, min Hjcr-ti-ns-

Figure 2.23 Ornament on second beat

 23

The third and forth lines of the piece are written as one long musical

phrase, as this makes the piece more challenging than it appears. The difficulty m

this piece is breathing, for the phrasing Grieg writes leaves little room for breaths,

thereby adding to the challenge of the piece (Jarrett, 2003), shown below
in
Figure 2.24.

Figure 2.24 Phrasing

The dynamics of this piece add interest to what could easily become a dull

and repetitive mood. The opening dynamics arepta/io and remain/wano

throughout. There are, however, several crescendo/decrescendo moments

throughout the song that add to the drama of the text. Grieg's marking at the

beginning of sempre con mezza voce and the dolce in the piano adds to the

illusion of secrecy and whispering (Jarrett, 2003), shown below in Figure 2.25.
 24

AU«grotto^sempi
fe
±4r

^ ,« > f X f f P ^

Figure 2.25 Opening expression mark

The crescendo/decrescendos occur at times moments where Grieg

elongates rhythmically. One such place is "dass ich noch immer selig bin" (fills

me with bliss), referring to being received by her love. Another moment is on the

word "NachtigalF (nightingale). These create an illusion of sighing with delight.

sang im Thai die Nach-ti - gall, / ^ ~ '

smtg en ti-den Nat- tcr - gut. f^jijj.

Figure 2.26 Dynamic expressions of the text "NachtigalF

The texture of this piece is homophonic, and the accompaniment doubles

the voice most of the time. There is little independence between the vocal line

and the piano, and the piano supports the vocal line. The song, therefore, sounds

simple. The text is the most important feature in this piece. By keeping the piano

accompaniment simple and supportive to the voice, using the strophic form, and
 25

avoiding difficult intervals and melismas, Grieg keeps the focus on the
poetry.

The harmony of this piece is relatively simple. The key is C major, and it

remains in C major throughout. The chord qualities are basic and do not deviate

from the tonality of the piece. There are however a few special moments when

Grieg uses a unique chord for his time. The piano introduction and the piano

chords under the text of the nightingale's song are thirteenth chords which sound

rather jazzy to the modern ear (Jarrett, 2003).

pp
\)k\ \i J M ^
3#
Tun-da-ra-dei! das wirdttohlver-sthwie-gen se n
i -
Ttiii-da-ra-dei! Mil - tor - git - leu, tier eel.
M.

iJS
m m
Y
gfE

Figure 2.27 The thirteenth chord

The basic harmonic rhythm of the piece is one chord per beat, and the

chord quality changes on each beat throughout most of the song. The exceptions

to this are the nightingale's song, where the harmonic rhythm is once per

measure.

The fifth song of the cycle, Zur Rosenzeit {At the time of Roses), was

written by one of the leading German Romantic poets, Johann Goethe (1749-

1832). The poetic meter of the piece is trochaic tetrameter, and this uncluttered

meter is reinforced by the simple end rhyme ABAB (Jarrett, 2003). This meter
 26

works to reinforce the text by creating an illusion of being dragged down by

despair with its stressed syllable relaxing into an unstressed syllable. Goethe

limits his metaphors to gathering flowers from his garden (Jarrett, 2003), and the

text refers to the roses that cannot bear bis love. This reference to both nature and

the metaphors of flowers represent the ideals of Romanticism.

The musical form Grieg chooses for this piece is ABCA, and it appears to

be through-composed until the very end when the A section reappears, bringing

the poet back to the reality of having lost his love.

The musical meter Grieg chooses is 3/4, and his choice creates the illusion

of the text extremely well. Grieg deliberately writes the vocal entrance on the

second (weaker) beat, thus creating a feeling of gasping through the pain of a lost

love. The picture created is one of excruciating pain, the performer is gasping for

air and fighting to control their heart-rate as the pain is so unbearable. The 3/4

meter and the syncopations help to create this jagged loss of control.

The melody of this piece is far more intricate than the melodies of the

previous songs, featuring rather angular lines with intervallic leaps of sixths,

sevenths, and augmented fourths. Despite this, the melody is extremely lyrical

(Jarrett, 2003). The first phrase is broken in half by quarter-rests shown in Figure

2.28. Otherwise the phrasing is basic four-bar phrases, with each phrase

separated by rests.
 27

Figure 2.28 Quarter rests dividing first phrase

The accompaniment of this piece is a partnership with the vocal line. It

opens with syncopated chords for two measures before the voice enters on the

second beat of the third measure, and, according to Jarrett, this creates a rhythmic

and harmonic tension reflective of the emotional turmoil of the poem (Jarrett,

2003).

Figure 2.29 Syncopated chords of the accompaniment

This syncopation continues through the right hand while the left hand

begins to play heartfelt melody (Jarrett, 2003) in measure three (see above Figure

2.28). The accompaniment works in tandem with the vocal line to evoke the deep

emotional response to the text.

 28

The harmonic rhythm of this piece is quite regular, with changes once per

measure. While this is slower than other songs in the set, it fits this piece

beautifully, creating an atmosphere of drawn out pain.

Allegretto serioso. _<^

"® Ihrver -
Mi- ne

Figure 2.30 Harmonic rhythm

Grieg writes this song in b-flat minor, it moves to the relative major for

the joyous memories, and then returns to b-flat minor for the return of the A

section. As Jarrett points out, there is a certain blurring of tonality in this song

with its use of chromaticism. The harmonic rhythm of the piece is one chord per

measure.

Grieg does not follow the circle of fifths for this composition except in a

rather vague way. He sometimes substitutes the minor five chord for the major

five chord, and in the B and C sections he shifts tonalities through chromaticism.

The listener is not sure where the tonality is heading-they only know that the

intensity is building.
 29

ffifrt—m *f r IT
l.iu - ernil, frilh zu mei -
r I'O' r I'r
- aem Gar - - ten gingj
=
Mor - gait, da den Jor - - sle K'liop blcv din.

Figure 2.31 Chromatic blurring of harmonies

The chord progressions of the A section appear fairly standard. Grieg uses

basic progressions like ii-V-I and vi-vii-I. There is nothing unusual about these

progressions, they fit into any musical period, and would be considered standard;

however, his substitution with altered chords make the basic progressions more

complex. It is only in the B section that the harmonies become more obscure.

The final song of the cycle, Ein Traum (A Dream), features a poem by

Friedrich Bodenstedt (1819-92). It is written is iambic tetrameter, illustrating an

erotic dream that ends by becoming reality (Jarrett, 2003). The poetic meter

illustrates the text by creating a rocking motion with its unstressed/stressed

syllables. This aids in the illustration of a dreamlike lullaby. The text is complete

with detailed descriptions of nature, specifically a forest glade (Jarrett, 2003).

The form Grieg chooses for this piece is through-composition, with the piece

divided into three sections, each with a decidedly different sound. The first

section is quiet and dream-like, the second section builds in anticipation of the

joyous dream, and the piece ends in joyous declamation as the dream is realized.
 30

The melody of this piece is somewhat angular with its upward sixth

motions at the end of phrases (Jarrett, 2003).

Andante.
ife
^ hJ)J)J)J) &gr 1
^ ^
Mir traumte einxtein icho-nerTraOm: m'ich Uebte ei-iie
Jog sS en-gang i Urommesyn en dijligMosh

Figure 2.32 Upward sixth leaps

The opening melodic material of the eighth-notes ending with the leap of the sixth

gives this song forward motion, and, the eighth-note rests that begin each phrase

create an illusion of breathless anticipation (Jarrett, 2003). Grieg also makes use

of the Romantic trait of duples against triples that Brahms standardized. See

Figure 2.33.

The basic musical phrases are two bars long, however there is a feel of four-bar

phrasing.
 31

Andante. i—
&m v i i }i J) J) J > f i ^
Mir trDumte ein«t ein xoho-nerTroUm:
wrn^
mien Iiebte ei-ne
Jog sa en-gang i Urommosyn vu dij'tigMosS

blon-dcMaid, es waramftrunen Waldesr-.ium, cswnrzurwnrmen Fruhlingszeit:

fin ogskjwTj ri sadi Skogcns fy-sel/ry/i i-mellem Fa mis un- go Trier.

Figure 2.33 2 and 4 bar phrases, duple/triple opposition

Dynamically speaking it is also the most diverse and expressive. The

piece begins piano with crescendos building out of the last phrases of the first

section.

W-T^-P^B » i r waren panzer Von - ne voll,

HHE-HEg
?=rr. i£
ver- sunken£anzin
ind til os i tor Ldv - sal Hang, hvor vi sadgjemt i

Figure 2.34 Crescendo building out of last phrase

The second section begins dolce with a crescendo/decrescendo ending the first

phrase.
 32

riTtt poco inoxxo

crmc.
i'b~U
t: m
I'nd scho-ner
Men rxo-gi'l
aoch
mar
^~JH^
als einst der Traum,
end Divmme . si/n
¥&±*j

ifjfX

Figure 2.35 Dynamic markings of second section

The song returns to piano until the third phrase of the second section

where the instructions poco a poco stringendo e crescendo appears.

% ^
frp'^ US J K^Tr- &
der Wald - bach sthwoll, die Knos - pe sprung,
#£• AV - tun surane, Off h'nnp - pen trust,

Figure 2.36 Dynamic marking beginning the third section

The piece continues to build through the end of the song with a. fortissimo

and an increase in tempo on the last line of the piece.

 33

Figure 2.37 Fortissimo and tempo marking the last phr;

ase

In this song, more than in any of the other songs, the pianist and vocalist

are complete equals. The accompaniment consists of triplets against the vocalists

duples (as shown previously in Figure 2.33). The accompaniment propels the

voice forward, and there is an interplay between the pianists line and the vocal

line, especially in the dynamics and the melodic material.

 34

p^t' r y ^ f , up- Hji

be - gab es sii-b in Wirk- - liohkeit:
ffpg
as war am grii-
hlee Li - rrt si-lp at drj- - tig Vug.
v I

s$^ ?B^ ltp3s

^M
n vj/j p ^ pJp="ip p ' i V ^ J ' 1
nun Wal-des - rauin, ea w;ir zur warmen Friih - lingszcit:
. gwts ly - sc M/y/i t/ir H'l-dir k'ti-rens /if . ti: Tug.

l^'V'tE^
w EEe
r
^s*rrW p,F>±JT jr.fr == gj-jr jrr
^
^ , p pocci a poco xiringmuio n rir.sv. ^

*TH T
jrP
der Wald - bach schwull, die KnuH . pe sprang,
* ^
U« - lliiil' er-siholl voni
Og El - ten sprang, <y Knnp . pea brunt, c/Jf «// mrjj'ernt.kun

/ ? //*tw « pocu strt/igrndo e crr.ic

•»••«»•»•• •»•*'
Sesl
P P
Figure 2.38 Melodic, dynamic interplay between voice and piano

The tonality of this piece is D-flat major. There is a modulation to the

dominant A-flat major before it returns to the tonic D-flat. There are, however,

sections where Grieg uses chromaticism to move between tonalities.

The harmonic rhythm is one chord per measure, until the chromatic

section where the rhythm increases to twice a measure. It returns to once per

measure once the tonic key is reestablished.

 35

&hKȣl > P P p p p iP'Ju iy P n p n p

Mon-dcMaid, e.s warampriincn Waldcsr.uim, cswTirzurwTirmeil
fin ogsi/ttrj ri sad i Skogcns ty -se /frj/n i-metlem F3nris\
tfc
££

%*£ imr &£$\ Mm

r
$ddi
r
F/gwre 2. JP Harmonic rhythm, one chord per measure

This song is enhanced by its rich harmonic structure. In the second

section, Grieg begins a chromatic descent in the bass with chords following. The

bass travels from b-natural to b-flat to a-natural continuing downward with

corresponding chords built above.

Und scho-ner nocb als einst der Traum,

Mil iHv-gvl mar and DiSmme . si/n _^_
*ii
^

jfTFff
fc-n "b b!
Figure 2.40 Chromatic harmonies

The chord progressions are somewhat unusual. Grieg generally follows

the standard formats of chord progressions laid out centuries before; however, in

places he adds altered chords. For example in Figure 2.41 Grieg moves from the

V chord to the augmented V before returning to the I.

 36

m dolce ilieKnospesprun&ile
OgfuiOf/pun bmut og

m i
&

m, ^
±L ^ il
VT+
3T ITT.
Figure 2.41 Augmented V chord

Harmonically, Grieg uses standard progressions; however, unlike

Classical composers he adds altered chords and chromatic harmonies to create

tension and suspense while building the interest of the song.

 37

CHAPTER 3

DISCUSSION

The form of Gruss is through-composition. This form becomes more

prominent in the Romantic era most likely in part due to the setting of more

complex poetry. The use of this form for the first of Grieg's songs is just one of

the several aspects that make this song Romantic.

Examining the first song, Gruss, we find a melody that, while tuneful, is

not as compact and thematic as most Classical melodies. This melody is far more

simplistic than others even within this set, yet it is constructed with intervals and

chromaticism that are more complex than any found in Mozart's songs.

The dynamics of Gruss are not as simplistic as the dynamics written for

songs of the Classical era. Romantic music encompasses the ideal of expression,

and composers began pushing the boundaries previously established in an effort

to express their texts more fully. In Mozart, the dynamics are consistent

throughout the piece, and there are neither numerous dynamic changes nor the use

of expressive markings. Grieg, however, makes use of a fairly wide range of

dynamics and techniques such as the crescendo/deerescendo and the sforzando.

These ensure a more Romantic sound for Gruss. Figure 3.1 shows the simplistic

dynamics of Mozart in comparison to Figure 3.2 which shows Grieg's Gruss.

 38

5
^ ^
n u ir-
Wean die Lieb &us dei-nen
^E
blau - en,
# *£

^rTf?

Figure 3.1 Mozart's dynamic markings

Figure 3.2 Grieg's dynamic markings

The piano accompaniment of Gruss is yet another example of the

Romantic nature of the song, for as in the majority of Romantic music, the pianist

and the vocalist are treated as equals. This varies drastically from the Mozart

songs, in which the accompanying line is merely there to support the vocalist and

is not independent. In neither of the two Mozart songs used as comparison in this

project is the accompaniment anything more that homophonic and subservient to

the vocal line. While the piano is not completely independent in Gruss, it is not

nearly as subservient as in Mozart.

Harmonically, Grieg's first song is Romantic in nature as well. Grieg uses

 39

a much broader use of chords with a modulation through multiple keys before

returning to the tonic (Jarrett, 2003). He also uses the major seventh chord (VII)

and major three chord (III) in a major tonality to color his song. While this is not

unusual for a Romantic composer, is not commonly found in a Classical

composer such as Mozart. Mozart uses primarily the circle of fifths in his two

songs, and if he modulates at all it is only to the dominant before retoning to the

tonic. When considering all of these aspects it can only be determined that Gruss

is consistent with the Romantic era.

Moving to Grieg's second song of the cycle, one finds the traditional

strophic form,-a form that dates back centuries to the ancient Greeks (Stolba,

1998). Commonly found in the Classical era, possibly due to the previously

stated opinion of song composers of the day (Radcliffe, 1960), it is one of the

most basic forms in song and was used often. This form continues into the

Romantic era as well, and Grieg makes use of it here as a foundation on which to

build his harmonies. The harmonic make up of this piece is by far its greatest

point of interest. Strophic form is used in an effort to avoid distracting the listener

from the harmonic structure of the piece. The drawn out chords of the piano

under the moving lines of the voice accentuate the text, as the slow movement of

chords and notes throughout the accompaniment work to create an atmosphere of

drifting off to sleep.

In Dereinst, Gedanke rnein it is clear that the text is paramount. All

aspects of this song are molded to illustrate the text, in keeping with Romantic

ideals. The melody is simple, not unlike a Classical melody; however, the
 40

expressive instructions throughout the song ensure its Romantic nature.

The techniques noted in Chapter 2 are not often found in Classicism.

Mozart kept the dynamics of his pieces simple, there were no gradual changes or

even shifting between dynamics, there was only one dynamic per section of each

song. The expressiveness and specific indications of dynamics found in Grieg's

second song are indicative of Romanticism.

The accompaniment ofDereinst, Gedanke mein, as in Mozart, is primarily

supportive of the vocal line; however, unlike Mozart, it aids in creating the

atmosphere of the piece. While it is not as intricate as some Romantic

accompaniments, it still has more depth than the accompaniments of Mozart. In

An Chide and Abendempfindung the accompaniment strictly provides harmonic

support for the vocalist.

Figure 3.3 Accompaniment of An Chide

In Dereinst, Gedanke mein the accompaniment also creates and

atmosphere for the text.
 41

Figure 3.4 Accompaniment of Dereinst, Gedanke mein

The true interest of Dereinst, Gedanke mein lies in the harmony. Grieg's

disregard for clearly defined tonal areas is characteristic of the Romantic era, as

harmonies of Romanticism become less defined. There are an increased use of

chromaticism, modulations, and unusual key relationships (Klaus, 1970).

In addition to the ambiguous tonal regions Grieg also uses unusual chord

progressions. For example the progression VII-iv-v-I in the second phrase,

measures 5-9, of example 3.5a, while not necessarily unusual for the Romantic

era, would be considered highly unusual for the Classical era. As mentioned

earlier the two Mozart pieces primary chord progressions are I-V-I.
 42

M i J 3Tjii J^Pf
H-irst ru . hig scin. Lasst
du ska! fa Fn-d! Fit

Figure 3.5a VII-iv-v-I chord progression of Grieg

m
off - nenAu-gen sieht, undfiir Lust,]

1M Jf£ x
Figure 3.5b Mozart tonic-dominant chord progressions

The third of Grieg's songs, Laufder Welt, stands apart from the others, as

this is the only song which can be considered more Classical than the rest. The

form is ABA, a form found in both the Classical and Romantic eras; however, it

lends itself to the simplistic settings often found in the Classical era.

The melody of this piece is simple, more in keeping with a Classical song.

With its diatonic melody and small consonant intervals, it is actually very similar

to Mozart's songs in its simplicity.

The dynamics of this piece are more Classical as well-in fact there are few
 43

dynamic markings in this piece at alL another parallel to Mozart. The

accompaniment is reminiscent of Mozart. With its ostinato bass and the doubling

of the vocal line, this particular song bears a greater resemblance to Classical

songs than its Romantic contemporaries.

Harmonically, as seen in Chapter 2 in Figures 2.19 and 2.20 this piece is

simple. The chord qualities in Grieg's third song are similar to that of Mozart, for

he does not use any altered or borrowed chords, and he makes no use of

chromaticisim. All the chords in Laufder Welt are diatonic and fit within the

tonal structure. The only dissonance in this song is due to the chords lying above

a pedal bass.

With regards to Classicism, Romanticism, and Neoclassicism this piece

fits best within the realm of Classicism. In form, harmony, dynamics, and melody

it could easily be mistaken for a Mozart song.

The fourth song of the set, Die verschwiegene Nachtigall, is again set in

strophic form. Grieg seems to favor the more simple forms-possibly to not hinder

the texts of his works. The strophic form is simple and allows the listener to

focus on the text of the piece. The texts were as important to Romantic

composers as the musical elements of their works.

The melody reflects the text well. Like a true Romantic composition,

every marking and every note is deliberately placed to enhance and reflect the

text. The descending melodic phrase reflects the "conspiratorial whisper" (Jarrett,

2003) of the vocalist, while the ornaments reflect the flutter of her heart as she
 44

speaks of her lover. Everything is written to enhance the text. Classical

composers were not so concerned about such things. Their songs are simple,

reiterating their opinion that songs were a pass time (Radcliffe, 1960). Grieg's

fourth piece is quite a shift from the previous piece, it returns to the same spirit of

the first two songs of this set in its Romantic expression.

The dynamics of this song are also in keeping with the Romantic ideals.

Romanticists, in their pursuit of expression, write to encompass the entirety of

dynamic expression. Grieg is no exception and composes within this song a

variety of dynamic expression. This serves only to aid in the Romantic nature of

this piece.

The accompaniment of this song is more simplistic than some Romantic

accompaniments. The homophonic texture and the doubling of the voice, while

not as intricate as some Romantic pieces, serve to keep the listener's attention

focused on the text. This focus on the text reiterates the Romantic nature of the

song.

Harmonically, Die verschwiegene Nachtigall is Romantic as well. It

travels through most of the chords of the scale-unlike Classical composers who

remained fairly tonic-dominant oriented. Despite the homophonic texture, Grieg

uses harmonies consistent with the Romantic era. His use of the thirteenth chord

under the Nightingale's song is distinctive for even the Romantic era, as its use

does not begin to flourish until the late Romantic era ( Warrack, 1980).

The fifth song in Grieg's opus 48, Zur Rosenhiet, is written is an ABCA
 45

form. Again, Grieg plans every aspect of the music, from the notes to the

expressive markings, with deliberate precision. Everything is designed to

enhance the text. The Romanticist in Grieg once again comes to the foreground

in the deliberate planning of this piece.

The melody of this piece fits beautifully into Romanticism. The lyrical

melody is made more complex with its angular leaps (Jarrett, 2003). The use of

accidentals and chromaticism in the B section add to the Romantic nature of the

piece as well. All of this is enhanced by the use of rests and expressive markings.

The rest is used to break the first three phrases creating an almost sobbing effect

on the words as seen in Figure 2.28.

The dynamic markings add to the intensity of the melody. Grieg wrote

several crescendo/decrescendos throughout the piece. One in particular, above

the word ach, accentuates the expression and the desperation of the text in a truly

Romantic gesture. The wide range of dynamics used also points towards

Romanticism. The marking piu ritardando e diminuendo at the last phrase of the

C section helps to enhance the descending vocal line as the poet begins to

remember his despair with the words Ihr verbliihet, siisse Rosen.

The accompaniment of this piece also reflects the ideals of Romanticism.

It is an entity unto itself, yet it compliments the vocal line while at the same time

adding to the atmosphere of the piece. The syncopated chords in the right hand

aid in pushing the voice forward in desperation. The left hand enters mimicking

the voice, reinforcing the intervals that so elegantly depict sobbing as shown in
 46

Figure 3.6. The accompaniment works in tandem with the vocal line to evoke the

deep emotional response to the text in keeping with the Romantic ideals of music.

demder
emder Grain die See - le brie lit!
[/& en en - som, no - gen lij-

y i - M H i W ###if
*
Siyn *
*
f
fij-

F/gwre 5.(5 Accompaniment reinforcing the text-"sobbing"

Harmonically this piece can only be placed in the category of

Romanticism. The complexity of the harmonic structure is too advanced for

Classical composers. Mozart makes little use of chromaticism in his songs;

however, this expanded use of harmonies is common place in the Romantic era.

The drawn out harmonic rhythm seen in Figure 2.30 and shown below in

Figure 3.7 reflects the mood of the text. This rhythm is comparable to Mozart's

Abendemfindung whose harmonic rhythm is once per measure as well.

 47

Allegretto serioso.
m
s £
* I g

I h r v e r - blii
Hi-ne Bo -
- het,
scr

Figure 3.7 Harmonic rhythm of Grieg

Figure 3.8 Harmonic rhythm of Mozart

While the chord progressions of this song appear fairly straight forward

for a Romantic piece, it is the use of chromatics to push through multiple

tonalities quickly that truly reflects the Romantic ideals. Chromaticism blurs the

tonality and adds to the atmosphere of the piece, and these harmonic techniques

come together to enhance the text and make this piece one of Grieg's most

Romantic of the set.

The final song of this set, Ein Traum, is through-composed. This is a form

that really found its footing in the Romantic era, and it is perfect for the text of

this final song. The introduction of new musical elements with each new stanza
 48

of text fits since the text is basically through-composed as well.

Melodically, Ein Traum, is the epitome of Romanticism. Like his

Romantic comtemporaries, Grieg expects the performer to navigate an expanded

range of dynamics, intervals, and a range expanded beyond the octave. Once

again, as in the two previous songs in the set, every musical element is

specifically planned to enhance the text. The melody is more complex and less

diatonic than the Mozart songs.

Dynamically this piece is Romantic as well. The multiple dynamic

changes and expressive markings throughout ensure that this piece fits perfectly

within the Romantic ideals of expression.

The accompaniment is extremely Romantic. In Classicism the

accompaniment is there to provide harmonic support to the voice; in Romanticism

the accompaniment is an equal partner. This is very true of Grieg's final song, for

the piano is equally important to the voice.

The harmonic rhythm is not dissimilar to Mozart, changing once per

measure until the chromatic section; however, this changing of the harmonic

rhythm serves to reinforce the Romantic nature of this song with its gradual

building of excitement. The chord progressions of this piece reinforce its

Romantic nature as well. While its progressions in certain sections are fairly

standard this song makes use of chromaticism and altered chords, a common trait

for the Romantic composers (Warrack, 1980).

 49

CHAPTER 4

CONCLUSION

Edvard Grieg is classified as a Romantic composer and for good reason.

While there may be elements in his Haugtussa cycle that point forward to

Neoclassicism, in this cycle there are no such characteristics (Horton, 2007).

Despite the Classical nature of the third song of the set, Grieg's opus 48 can only

be considered Romantic. Grieg composes these songs in 1884-1889, the very

heart of Romanticism. There are minor comparisons to Mozart which is to be

expected considering the high regard in which Grieg held him (Stevens, 1960).

Grieg embraced the Romantic sentiment to its fullest. He relied heavily on altered

and borrowed chords, chromaticism, and expressive markings to enhance the text

of his songs. Every musical element was planned with deliberate care to enhance

the texts which he, most assuredly, had picked with great care. The Six Songs for

Voice and Piano, Opus 48 were written in the traditional Romantic style, and they

are a shining example of the Romantic art song.

 50

REFERENCES

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VITA

Graduate School
Southern Illinois University

Jamie M. Mills Date of Birth: March 6, 1979

127 North Pence Street, East Alton, Illinois 62024

127 North Pence Street, East Alton, Illinois 62024

jmTnills99@hotmail.com

Southern Illinois University Edwardsville

Bachelor of Ait, Music, May 2006

Thesis Title:
Neoelassicism in Edvard Grieg's Six_Songsr Opus 48

Major Professor: Jeanine F, Wagner