Robert Schumann, "Grillen" from Fantasiestucke, Opus 12

1068 WordsDec 9, 20025 Pages
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…show more content…
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 gentle volume and pitch. The light melody in section B stays in somewhat high range for the duration of the section. Schumann conveys a somewhat happy and content aura by his high and gentle pitch with less forceful dynamics as the melody progresses in sections B. Section C has the largest pitch range, varying from low moving chords to higher moving chords as the pitch progresses. Once again Schumann sneaks in section A after section C and the forceful bombardment of its dynamics ensue to show the contrasting emotions between the sections. Varying lines of texture display the individualistic attitude of the Romantic Era, as composers strove to develop more natural sounds after the structured formats of the Classic Era. The opening line begins briefly monophonic in section A but then lower chords begin the homophony. In the second sub-section of A this homophonic break is clear as the higher line breaks off from the lower accompaniment chords. Section B, as stated, begins with a typical homophonic line with a high-pitched melody and lower accompaniment. Section C brings all three textures into the piece as the section varies from slow monophonic chords in rhythmic unison to short
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