Robert Schumann, ?Grillen? from Fantasiestucke, Opus 12

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Music in the nineteenth century saw the creation and evolution of new music genres such as the piano miniature, short expressive piano pieces. During this time raw emotion and expressionism prevailed as the focus of music during this described “Romantic” movement. Robert Schumann’s “Grillen”, from Fantasiestucke, Opus 12 was written in July 1837 contains several virtues of music during his time period. Schumann’s uses various qualities in his music such as form, pitch, rhythm and meter, and texture so express different attitudes within his music. These qualities convey music that characterizes romanticism as very emotional, expressional, and dramatic. Schumann’s piano miniature remains a supreme example of the Romantic style in its uses…show more content…
This transition creates a large contrast in not only meter and rhythm, but also emotion. Section C is different in that its meter is the least definite. Its meter starts out very slow, clearly slower than all other sections. Slowing the meter here feeds to a more solemn expression, which is a stark contrast from the faster, fuller, and more excited state of section A. A conveys a forceful, strong expression with its fast meter and strong harmonic chords whereas B has a softer tone and slower, patient rhythm. Contrasting rhythm and meter changes help lead to an emotionally charged piece, typifying music during the Romantic Era.      Composers use varied pitch ranges to clearly show changes in emotion, whether it be higher pitches to depict an excited state or low pitches to possible depict a somber, sullen state. In the first section of “Grillen,” the first sub-section has a very low and small pitch range and in the second sub-section the higher line moves to a higher octave. Most notable, in the phrases of section A the pitch continually moves up, whether starting at a lower or higher octave. This rise in pitch is also accompanied by a sleek rise in volume as the phrase moves to the final chord. These dynamics greatly reinforce the expression in section A as the forceful accents on the ending chords of these phrases add to the excited state of the section. As the piece moves to section B and C the mood and emotion is lightened by the more

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