舒曼《克萊斯勒魂》與虛擬人物「克萊斯勒」之關聯暨樂曲分析與詮釋

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(1)An Analysis and Interpretation of Schumann’s Kreisleriana and The Relation between the Fictional Character “Kreisler”. 109. 8.

(2) 〉. i.

(3) ii.

(4) Abstract Robert Schumann is considered as one of the most significant composers and music critics in Romantic era. He created many fictional figures to reveal his various and contrast thought in his music and literature works. Among the figures he created, Florestan and Eusebius are two most representative figures. In Schumann’s own founded magazine Neue Zeitschirft für Musik and his music, Florestan and Eusebius represent contrast site of him. Schumann is also fascinated by literature and be inspired to compose his music. Papillons and Kreisleriana are the most renowned works which are inspired by Jean Paul and E. T. A. Hoffamnn. This thesis is about the analysis and interpretation of Schumann’s piano work Kreisleriana and how the fictional character Kreisler who created by E. T. A. Hoffamnn inspired Schumann. Before the analysis on Kreisleriana, this thesis will talk about the literature which is relevant to Kreisler, E. T. A. Hoffamnn’s Kreisleriana and LebensAnsichten des Katers Murr nebst fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern, to understand how the structure, context and the characters of these works influence Schumann to transported the literary inspiration of Kreisler in his music. In the first part of the thesis will focus on Kreisler and the literature which is relevant to him, and also the music background of Schumann’s Kreisleriana. In the following chapter, this thesis will discuss the differences of use of fictional characters between Schumann and E. T. A. Hoffmann. The last part of the thesis is about the analysis of Kreisleriana. It consists of structure of the piece and discussion of interpretation.. iii.

(5) .................................................................................................................... 1 ......................................................................................................... 1 ..................................................................................... 1 ........................................................................ 3 ................................................................................. 3 ......................................................................................... 8 ................................................................................................... 14 .................................................................................................. 17 ................................................................... 18 ................................................................................... 22 .................................................................. 30 ............................................................................................................... 31 ........................................................................................................... 33 ........................................................................................................... 39 ........................................................................................................... 52 ........................................................................................................... 59 ........................................................................................................... 66 ........................................................................................................... 72 ........................................................................................................... 78 ........................................................................................................... 86 .................................................................................................................. 93 iv.

(6) ........................................................................................................................ 95. v.

(7) 4-2-1. .............................................................................. 33. 4-3-1. .............................................................................. 39. 4-4-1. .............................................................................. 52. 4-5-1. .............................................................................. 59. 4-6-1. .............................................................................. 66. 4-7-1. .............................................................................. 72. 4-8-1. .............................................................................. 78. 4-9-1. .............................................................................. 86. vi.

(8) 4-2-1. 1. 8. .......................................................... 35. vii.

(9) 2-1-1. (AH! VOUS DIRAI-JE, MAMAN) ......... 6. 2-1-2. 1. 3-1-1. ........................ 6. 73. ...................... 23. 66. 4. 3-1-2. 1. 3-1-3. 1. 3-1-4. 8. 5. ...... 23. .......................... 24. (SPHINXES) ....................................... 25. 3-1-5. 1. 11. 3-1-6. 1. 3-1-7. 1. 3-1-8. 1. 4-2-1. 1. 2. 4-2-2. 25. 5. ................................ 26 12. 5. ............................ 26 .................................. 27. ........................................................ 27. ........................................................................ 34 26. .................................................................... 36. 4-2-3. 29. .................................................. 37. 4-2-4. 31. 32. .................................................................. 37. 4-2-5. 31. 42. .................................................................. 38. 4-3-1. 9. 12. .................................................................... 41. 4-3-2. 13. 16. ................................................................... 42. 4-3-3. 22. 27. .................................................................. 42. 4-3-4. 28. 32. .................................................................. 43. 4-3-5. 38. 41. ................................................................... 44. 4-3-6. 46. 50. .................................................................. 44. 4-3-7. 93. 94. .................................................................. 46. 4-3-8. 94. 99. .................................................................. 46. 4-3-9. 100. 102. .............................................................. 47. 4-3-10. 107. 112. ............................................................ 48. 4-3-11. 113. 118. ............................................................ 48. 4-3-12. 119. 123. ............................................................ 49. 4-3-13. 130. 134. ............................................................ 50. 4-3-14. 162. 164. ............................................................ 51. 4-3-15. 36 viii. 45. .............................. 51.

(10) 4-4-1. 6. 16. .................................................................... 53. 4-4-2. 37. 41. .................................................................. 54. 4-4-3. 41. 48. .................................................................. 55. 4-4-4. 49. 60. .................................................................. 56. 4-4-5. 77. 84. .................................................................. 57. 4-4-6. 129. 135. .............................................................. 58. 4-4-7. 144. 147. .............................................................. 58. 4-5-1. 1. 4. ...................................................................... 61. 4-5-2. 1. 2. ...................................................................... 61. 4-5-3. 9. 11. .................................................................... 62. 4-5-4. 12. 14. .................................................................. 63. 4-5-5. 18. 20. .................................................................. 63. 4-5-6. .................................................. 64. 4-5-7. ...................................... 65. 4-6-1. 1. 13. 4-6-2. 14. 36. .................................................................. 68. 4-6-3. 51. 57. .................................................................. 69. 4-6-4. 62. 76. .................................................................. 70. 4-6-5. 84. 97. .................................................................. 71. 4-6-6. 137. 4-7-1. 1. 2. ...................................................................... 73. 4-7-2. 4. 6. ...................................................................... 73. 4-7-3. 4. 6. ...................................................................... 74. 4-7-4. 11. 4-7-5. .................................................................... 67. 141. 13 12. .............................................................. 71. .................................................................. 74 1. 8. 4-7-6. ............................................ 75 22. 30. ........ 75. 4-7-7. 19. 22. .................................................................. 76. 4-7-8. 26. 30. .................................................................. 76. 4-7-9. 32. 35. .................................................................. 77. 4-7-10 4-8-1. 36 1. 39 4. ................................................................ 77 ...................................................................... 79. 4-8-2. 111 ix. 17. 24. ... 79.

(11) 4-8-3. 5. 22. .................................................................... 80. 4-8-4. 9. 14. .................................................................... 81. 4-8-5 4-8-6. G. K 550 40. 42. 1. 3. .................................. 81. .................................................................. 82. 4-8-7. 111. 21. 24. ... 82. 4-8-8. 58. 68. .................................................................. 83. 4-8-9. 89. 97. .................................................................. 84. 4-8-10 4-8-11. 76 107. 6. 116. 13 1. 4. 8. ....... 84. ............................................................ 85. 4-8-12 4-9-1. 1. ................................................ 85. ...................................................................... 87. 4-9-2. 30. 1. .............................. 87. 4-9-3. 5. 8. ...................................................................... 88. 4-9-4. 9. 11. .................................................................... 89. 4-9-5. 25. 29. .................................................................. 89. 4-9-6. 73. 80. .................................................................. 90. 4-9-7. 81. 84. .................................................................. 91. 4-9-8. 93. 102. ................................................................ 91. 4-9-9. 140. 145. .............................................................. 92. x.

(12) . 1.

(13) 2.

(14) . (Kapellmeister Johannes Kreisler) (Ernst Theodor Wilhelm Hoffmann) 1. 」 (Johann Sebastian Bach, 1685-1750) 2. (Ludwig van Beethoven, 1770-1827). (Johannes Brahms, 1833-1897). (Variations on a Theme of Robert. Schumann, Op.9, 1854). B. (Kreisler). 〉. (György Kurtág, 1926 b.) 15d, 1990). (Brahms). Kr. 3. (Hommage à R. Sch., Op. (merkwurdige Pirouetten des. Kapellmeisters Johannes Kreisler). 1. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 80. 2. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 142. 3. Calum MacDonald, program note for “Variations on theme by R. Schumann Op. 9”, https://www.hyperion-records.co.uk/dw.asp?dc=W13117_GBAJY1077706 3.

(15) 〉 (Kreisleriana)4 (Johannes Kreisler's, des Kapellmeisters musikalische Leiden)5 (Nägeli) 6. 〉. (Goldberg-Variationen)7 8. (Philistine). 9. ? ’ Nel cor mi non più sneto’. ’ Ah vous dirai-je, maman’. (Miss Röderleins) …10. 4. 5. 6. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 81. 7. (Goldberg-Variationen, BWV 988) Sebastien Bach, 1685-1750) 1741. ・. (Johann. 8. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 150. 9. (Philistine). (Palestine). 10. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 84. 4.

(16) 11. 2-1-2. (Ah! vous dirai-je, maman) 2-1-1. 12. 13. 〉 (Ich bin so lang bei dir nicht g’ west) (Kraut und Rüben haben mich vertrieben). (Aria). 11. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 85. 12. (W. A. Mozart, 1756-1791) A. Mozart, 12 Variations on Ah, vous dirais-je, Maman, K. 265). 13. (W.. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 151. 5.

(17) 2-1-1. (Ah! vous dirai-je, maman). 2-1-2. 1. 4. 〉 (Lebens-Ansichten des Katers Murr nebst fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern). 14. 〉. 14. 6.

(18) (Bamberg). 15. 1808. 1811 (Julia Marc). (Julia Benzon). 16. (Prince Ignatius). 15. 16. (Bamberg). E. T. A. Hoffmann, Lebens-Ansichten des Katers Murr nebst fragmentarischer Biogrsphie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern (Köln: Anaconda Verlag GmbH, 2011), 92. 7.

(19) . (Kreisleriana). (Lebens-Ansichten des Katers Murr nebst. fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern ). (Kreisleriana). (Kreisleriana) 1814 (Fantasiestücke in Collot’s Manier, 1814-1815) (Part I). 1.. (Johannes Kreisler's, des Kapellmeisters musikalische. Leiden)(I-1) 2. 3. 4. 5. 6.. (Ombra adorata)(I-2) (Gedanken über den hohen Wert der Musik)(I-3) (Beethovens Instrumental-Musik)(I-4) (Höchst zerstreute Gedanken)(I-5) (Der vollkommene Maschinist)(I-6) 8.

(20) (Part II). 1.. (Brief des Baron Wallborn an den Kapellmeister Kreisler) (II-1). 2.. (Brief des Kapellmeisters Kreisler an den Baron Wallborn) (II-2). 3.. (Kreislers musikalisch-poetischer Clubb) (II-3). 4.. (Nachricht von einem gebildeten jungen Mann) (II4). 5.. (Der Musikfeind) (II-5). 6.. (Über einen Ausspruch Sachini's, und über den sogenannten Effekt in der Musik) (II-6). 7.. (Johannes Kreislers Lehrbrief) (II-7). ・. (Kreisler) Kreisler. Kreis. Kreis. (Kreisleriana) 17. 17. 2002. (E. T. A. Hoffmann) 179 9.

(21) (der letzte Akt) (Ouvertüre). (das Finale) (Prologus). 18. (double cycle) 19. (I-2) (II-3). (I-4) (II-6). (II-4). (I-3) (Duality). 20. (Lebens-Ansichten des Katers Murr nebst fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern). 18. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 114. 19. Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 9. 20. (E. T. A. Hoffmann) 2002 10.

(22) 1820. 1822. Kreis (Kreisler) 21. (double novel structure). (Bildungsroman)22. (waste paper) 23. 21. Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 49. 22. 23. (der Bildungsroman). Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 4. 11.

(23) … Blatt, Abbrev. Mak. Bl). (Makulatur(Murr fährt fort, Abbrev. M. f. f.). 24. (Master Abraham). (Fugue). (Stretto). 25. 24. E. T. A. Hoffmann, Lebens-Ansichten des Katers Murr nebst fragmentarischer Biogrsphie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern (Köln: Anaconda Verlag GmbH, 2011), 10. 25. Fuga. (subject). (answer). (countersubject) 12. (episode).

(24) (Miesmies) (Julia) (subject). (answer). 13.

(25) . (Ernst Theodor Wilhelm Hoffmann) E T W T. A.. E. 26. (E. T. A. Hoffmann) (Amadeus). (Wilhelm). (Ernst. Theodor Amadeus Hoffmann) 1776. 1. 24. (Königsberg). Kaliningrad. (Christoph Ludwig. Hoffmann, 1736-1797). (Lovisa. Albertina Doerffer, 1748-1796). 1778. 〉. 1792. 」. 1804. 26. 1806. (Wolfgang Amadeus Mozart, 1756-1791) 14.

(26) 1799 (Die Maske). 1804. (Die lustigen Musikanten) (Das Kreuz an der Ostsee). 、. 1808. 4. (Bamberg). 1809. 2. (Allgemeine musikalische Zeitung)27 Gluck)28. 1805. (Ritter. 〉 (Doppelgänger)29. 1810. (William Shakespeare, 1564-1616)30 1600-1681)31. 27. 〉. (Pedro Calderón de la Barca,. 1812. 19. 28. (Christoph Willibald. Gluck, 1714-1787) 29. 30. (Macbeth) (Hamlet) 31. Siebenkäs. (William Shakespeare, 1564-1616) (Othello: The Moor of Venice) (Romeo and Juliet). (King Lear) (The Tempest). (Pedro Calderón de la Barca, 1600-1681) (La vida es sueno) 15.

(27) (Julia Marc). 1811 1812. 1813. 1822. 6. 25. 16.

(28) . (Neue Zeitschrift für Musik) (Allgemeine musikalische Zeitung)32 (Kreisleriana) (Florestan) (Eusebius). (Meister Raro). (Kapellmeister Johannes Kreisler). (Master Abraham) (Davidbündler). (Kreislers musikalisch-poetischer Clubb). 32. 1798 1882 (Georg August von Griesinger, 1769-1845) (Ferenc Liszt, 1811-1886) 17.

(29) . (Florestan). (Eusebius). 33. (idea about. the “Wunderkinder”). (Frederick Wiek). (Meister Raro) (Zilia). (Charitas) (F. Meritis) (Davinbündler). (Philistine). 33. 1835. (Neue Zeitschrift für Musik). Judith Chernaik, “Schumann’s Doppelgänger: Florestan and Eusebius revisited.” The Musical Times, Vol. 152, No. 1917(Winter 2011): 45. 18.

(30) 34. 」. (Meister. 〉 Raro). 〉 ClaraRobert 「 (Master Abraham) (Duality) (Jean Paul, 1763-1825,. Friedrich Richter). Johann Paul. (Flegeljahre, 1804-1805) (Walt). (Vult). (Papillons) (masquerade). (Kater Murr). (Master. Abraham). 34. Judith Chernaik, “Schumann’s Doppelgänger: Florestan and Eusebius revisited.” The Musical Times, Vol. 152, No. 1917(Winter 2011): 45. 19.

(31) 35. ! 36. 35. Tomcat Murr ). (The Life and Opinions of the 2014. 426. 2014 20. 406. 36. Tomcat Murr ). (The Life and Opinions of the.

(32) (Podbileski). (James M.. McVlathery). 37. (Steven Paul Scher, 1936-2004) … 38. 37. Alison Elizabeth Redman, “ Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 31. 38. Steven Paul Scher, “Hoffmann and Sterne: Unmediated Parallels in Narrative Method.” Comparative Literatur, Vol. 28, No. 4 (Autumn, 1976): 322. 21.

(33) . (Davinbündler) (Kreislers musikalisch-poetischer Clubb). (Davinbündler). (Davinbündlertänze op. 6, 1837). (Carnival op. 9,. 1835). (Davinbündlertänze, 1837). 1837. 1837 (tänze). 1850 (Die Davidbündler). 18. 9 22.

(34) F (Florestan). E. E. F. (Eusebius). F. E. 3-1-1 〉 (Soirées Musicales, Op. 6). (Mazurka). 3-1-2 3-1-3. 3-1-1. 66. 3-1-2. 73. 1. 23. 5.

(35) 3-1-3. 1. 8. (Carnival, 1835). 1834. (Ernestine von Fricken, 1816-. 1844). 」 (Henriette Voigt, 1808-1839). 39. 1833 1816). (Schensuchtwalzer, (Szenen) (Asch). 39. 1991 24. 39.

(36) (Fasching: Schwänke auf vier Noten für Klavier von Florestan) (Carnaval: Scènes mignonnes sur quatre notes) A. S. C H. (Sphinxes) 3-1-4. 3-1-4. (Sphinxes). 40. (Eusebius) (Florestan). (Chiarina). (Marche des Davidsbündler contre les Philistins). 40. 1997. John Chissell, 68. (Schumann Piano Music) 25. :.

(37) 3-1-5. 3-1-6 3-1-7. 3-1-8. 3-1-5. 1. 3-1-6. 1. 〉 26. 11. 12.

(38) 3-1-7. 1. 3-1-8. 1. 5. 5. (Kreislers musikalisch-poetischer Clubb). (Davidbündler) (true. 〉 friend) (indifferent one). (cautious one). (jovial one) (dissatisfied one) 27.

(39) (travelling enthusiast) 41. 》. E. E. 42. 43. 〉. c. c. ?. 41. 42. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 113. 43. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 133. 28.

(40) 44. c. 」. 45. (harmless melody) (basso ostinato). (Das Bässe durchaus leicht und frei). 44. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 135. 45. Ibid 29.

(41) . 1838. 46. 47. 1839. (Simonin de Sire). 48. 1838. 46. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 141. 47. Ibid.. 48. Robert Schumann, The Letters of Robert Schumann, (New York: Blom, 1971):128 30.

(42) 49. 50. 〉. B-flat. g. B-flat. g 51. g. 49. Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 6-7. 50 51. Ibid. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 153. 31.

(43) d. 〉 d. g. B-flat B. 〉 D. B-flat 1838. D B-flat. 52. g. d B-flat. g. 53. 52. Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 21. 53. Lora Deahl, “Robert Schumann's "Kreisleriana" and Double Novel Structure.” International Journal of Musicology. Vol. 5 (1996), 133, 136, 141. 32.

(44) . 4-2-1 (Äußerst bewegt). a(1-8) A (1-24). d (Äußerst bewegt). b(9-16) a’(17-24). B (25-48). A’ (49-72). c(24-32). B-flat. d(33-40). c. c’(41-48). B-flat. a(49-56). d. b(57-64) a’(65-72). d. (Äußerst bewegt). (Compound Ternary) rounded binary). A. 1. d a. A. B. A’. (Sectional. (Continuous rounded binary). 24. a. 1. 8. d. V 4-2-1 33.

(45) 4-2-1. d. 1. 2. V. a 4-2-1. 《 4-2-1 flat F. C-sharp. G. E-flat C. 34. B-flat E B-.

(46) 4-2-1. b. 9. 1. 54. 8. 16. ff. a. a 11 (sf). 13. a’. 54. a’. 17. 24. a. 21. 24. Norman Carey, “An improbable intertwining: An analysis of Schumann’s Kreisleriana I and II, with recommendations for piano practice.” Theory and Practice. Vol. 32 (2007), 25. 35.

(47) B. 25. B. 48. B-flat 4-2-2. 4-2-2. 〉. 25. 26. B. (J. S.. Bach, Goldberg Variations). 29. 4-2-3. 55. 55. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 155. 36.

(48) 4-2-3. c. 25. 29. 32 c 4-2-4 《. 4-2-4. d. 33. 31. 32. 48. c. c B-flat flat. 4-2-5. (IV). Bc A’. 37.

(49) 4-2-5. B-flat Major:. A’. 49. 72. 31. V7. 42. I. A A. 38.

(50) . 4-3-1 (Sehr innig und nicht zu rasch). a(1-8) A (1-37). 3/4. B-flat. (Sehr innig und nicht zu rasch). b(9-20) a’(21-38) c(39-45). B(Intermezzo I) (38-54). 2/4. F. (Sehr lebhaft). d(46-50) c’(51-54) a(55-62). A (55-91). 3/4. B-flat. (Sehr innig und nicht zu rasch). b(63-74) a’(75-91). e(92-99) C(Intermezzo II) (92-118) f(100-110). 3/4. g. (Etwas bewegter). e’(111-118) g(119-126) (119-142). 3/4 (Langsamer)(erstes. h(127-134). Tempo). i(135-142) b(143-146) A’ (143-164). 3/4. B-flat. (Erstes Tempo). a’(147-164). 39.

(51) (Rondo). B C. (Intermezzo). A. A. (Story-. 〉 within-a-story). A. 1. 37. B-flat. 〉 (Sehr innig und nicht zu rasch). b. 9. 20. a. b. B-flat E-flat. B-flat B-flat C D (tr.). 12. E-flat. 4-3-1 40. I. B-flat.

(52) 4-3-1. 9. 12. E-flat Major: V7. B-flat. E-flat Major. 13. (f) 13. 4-3-2. 16. 17 a B-flat. 41. V64. a’.

(53) 4-3-2. a’. 21. 13. 38. 16. a. 24. 4-3-3. 4-3-3. 22. 28. 27. 〉 4-3-4. 42. B-flat.

(54) b-flat B-flat. A. 4-3-4. B. (Intermezzo I). B. c. 38. 28. 32. 54. 2/4. 39. ii7. F. 45. A. 39. 40 40 A 4-3-5 43.

(55) 4-3-5. 38. 41. d d. 46. 50. p. e’. 4-3-6. 4-3-6. c’. 51. 54. 46. c. 54. A. 44. 50. B-flat. V65.

(56) A. 55. 91. 1838 A. C. A. 75. 1850. (Intermezzo II). 92. 118. 3/4 (Rounded Binary). e f. e’. e. 91. g e’. e. f. 93. 99. E-flat d2. 4-3-7. 45.

(57) 4-3-7. 3 1. 1 2. 93. 2 3. 3 1. 94. 1 2. 2 3. 95. g. V. e. 4-3-8. 4-3-8. f. 100. 110. 94. e 46. 99. 3 1.

(58) 4-3-9 105 107. 108. 2/4 109. 3/4 e’. 4-3-10. 4-3-9. 3. 1. 2. 100. 3. 1. 47. 2. 102. 3. 1. 2. 3.

(59) 4-3-10. e. 111. 118. 107. 112. 113. 118. 115. 4-3-11. 4-3-11. 48.

(60) A’ (Langsamer). g. 119. 119. 134. 126. C. C (liner texture) 4-3-12 〉 56. C. 4-3-12. 56. 119. 123. Mary Hunter Arnsdorf, Schumann's Kreisleriana, opus 16: Analysis and Performance.(New York: Columbia University , 1976) , 62. 49.

(61) 126. h. 127. 134 130 A. sharp. F-. 132. G-flat. 4-. 〉 3-13. 4-3-13. i. 135. 142. 130. A. B-flat B-flat. G-flat A’. A’. b. 143. 134. A g. b. 164. 150 50.

(62) (Liederkreis Vol.1, Op.24). (Morgens Steh. Ich auf und Frage). 4-3-14. 4-3-14. 4-3-15. 57. 162. 4-3-15. 57. 164. 36. 45. Mary Hunter Arnsdorf, Schumann's Kreisleriana, Opus 16 Analysis and Performance (Columbia, Columbia University, 1977) , 66. 51.

(63) . 4-4-1 (Sehr aufgeregt). a(1-10) A (1-32). 2/4. g. (Sehr aufgeregt). b(11-22) a’(23-32) c(33-48). B (33-84). B-flat. 2/4. g. 3/4. d(49-68). (Etwas langsamer). c’(69-84) a(85-94) A’ (85-115). (Sehr aufgeregt). b(95-106) a’(107-115) e(116-135). Coda (116-156). 3/4. g. schneller). f(136-156). g B-flat. (Compound ternary) g. g. A. 1. (Noch. 32. A 52.

(64) I. V b. (f). 11 4-4-1. 22 23. A. 4-4-1. B. 33. B. A. 6. 84. B-flat. 53. 16.

(65) c. 33. 48. c. 36. G 39 40. 4-4-2. 4-4-2. 37. 41. 41. B-flat. V. 4-4-3. 54.

(66) 4-4-3. d. 49. 68. 41. B-flat 51. 48. V. c. IV7. V7. 54. D-flat. b-flat G-flat. 56. I. G-flat. 55. 4-4-4. D VI.

(67) 4-4-4. 49. 60. 61 G-flat c’. 69. V9/vii. 84. B-flat. c’. B-flat. 77. g. V. 56. A’. 4-4-5.

(68) 4-4-5. 77. 84. g minor: V. A’. 85. 115. A. Coda. 116. 156. A. (Noch schneller). e. 116. 135. 6+4+4+6. 125 136 57. f. 4-4-6. 122.

(69) 4-4-6. f. 136. 129. 156. 135. e. g. vii7. 4-4-7. 4-4-7. 144. 58. 147. I.

(70) . 4-5-1 (Sehr langsam). a(1-4) A (1-11). 2/2. B-flat. (Sehr langsam). b(5-7) a’(8-11) c(12-17). B (12-23). 2/2. g. (Etwas bewegter). c’(18-23) 2/2. B-flat. (Erstest Tempo). A (24-28). B-flat. (Conflation). 59. g.

(71) 〉 58. B-flat. A. 1. (Rounded Binary). 2/2. 11. (arioso)59. B-flat. V A. B-flat. I. 4-5-1. 4-5-2. 58. Alison Elizabeth Redman, “ Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 29. 59. Mary Hunter Arnsdorf, Schumann's Kreisleriana, opus 16 : Analysis and Performance.(New York: Columbia University Press, 1976) , 80. 60.

(72) 4-5-1. 1. 4. E-flat Major Ab. B-flat Major. Eb. F. B-flat Major: V43. c minor. G. 4-5-2. 9 B-flat. 1. g. V7. 4-5-3. 61. 2. g.

(73) 4-5-3. 9. 11. g minor: V65. B. 12. B. B-flat. 23. g. g g. c c. 12. B. c’. 17 12 VI. 〉《. 4-5-4. 62. g.

(74) 4-5-4. g minor:. V7. c’. 18. 12. 14. VI. 23. c. 20. A-flat. B. (pp). A. 4-5-. 5. 4-5-5. g. A. 24. 18. :V. vii7/iv. iv. V7/VI. VI. 28. B-flat 〉. 20. g g. g 63. V V.

(75) 4-5-6. 60. (Conflation). 4-5-6. g minor: V. g minor: i. 1838. 〉. 1850. V V. 1850. V. 4-5-7. 60. Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 29. 64.

(76) 4-5-7. 65.

(77) . 4-6-1 (Sehr lebhaft). a(1-14) A (1-51). B (51-104). A’ (105-141). 3/4. g. (Sehr lebhaft). b(15-37). B-flat. a’(38-50). g. c(51-61). g. d(62-92). E-flat. c’(93-104). g. b(105-127). B-flat. a’(127-141). g. g g (Compound ternary). 66.

(78) A. 1. 51. A a. (rounded binary) 1. 14 5. (stretto). 5 b. 4-6-1. 4-6-1. 1. a 67. 13. aba’.

(79) b. 15. 37. a 30 38. a’. 4-6-2. 4-6-2. 14. 36. B-flat. F. D-flat A-flat. 68.

(80) a’. 38. 50. B. 51. 104. a. g. B. B 4-6-3. 4-6-3. c. 51 g. d. 57. 61 I. 62. 51. 92. d c 67 69. 4-6-4. 69. i.

(81) 4-6-4. 83. 62. 76. c’ 90. g. A-flat. vii7/IV. A-flat. 4-6-5. 70. c’.

(82) 4-6-5. 84. 97. A-flat. gm: vii7/iv. A’. A’. iv. 105. i. 141. b. a. 1838. g. V 1850. g. 4-6-6. 4-6-6. 137. 71. 141.

(83) . 4-7-1 (Sehr langsam). a(1-5) A (1-18). 12/8. B-flat. (Sehr lebhaft). B (19-34). b(6-10). c. a’(11-18). B-flat. c(19-26). B-flat. 6/8. (Etwas bewegter. d(27-34) a(35-39). 12/8. (Erstes Tempo). A’ (35-39). A. A. 1. b. 18. (Durchaus leise zu halten). a. 1. 5. I I 72. B-flat. V7.

(84) F. B-flat. V7. I. 4-7-1. 4-7-1. 1. B-flat Major:V7. b c. I64. 5 V. B-flat c. V43/vi b. 4-7-2. 6. V7. 10 4-7-3 73. c 4-7-2. 4. B-flat Major: V43/vi c minor: V43/V. b. 2. 6. i. V43/V.

(85) c. g. flat. B. B-. 11 17 B-flat. V7. a. B. 4-7-3. 4-7-4. 74. 4-7-4. 4. 6. 11. 13.

(86) B. 19. 34. B (Grossvater Tanz)61 12 4-7-6. 62. 4-7-5. 4-7-6. 61. 62. 4-7-5. 12. 1. 8. 22. 30. 17. Alison Elizabeth Redman, “ Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 26. 75.

(87) 4-7-7. c. 19. 19. 22. 26 B-flat. V. 2+2+1+2+1. 27. c’ c’. 27. 34. 4-7-8. 34. A’. D A’. 4-7-9. 4-7-8. 26. 76. 30.

(88) 4-7-9. A’. 35. 32. 35. 36. 39. 39. A’ I6 4-7-10. 4-7-10. 77.

(89) . 4-8-1 (Sehr rasch). A (1-40). B (41-68). a(1-8). c. b(9-32). g. a’(33-40). g. c(41-52). c. 2/4. (Sehr rasch). d(53-68) b(69-80). A’ (69-88). c. (Noch schneller). B-flat. (Etwas langsamer). a’(81-88). Coda (89-116). g. B-flat. c. g. A. 1. A. 40. (rounded binary). 78. a b. a’.

(90) a. 1. 8. 8 I a. 111 19. 4-8-1. 21. 4-8-2. 63. 4-8-1. 4-8-2. 63. 1. 111. 4. 17. 24. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 166. 79.

(91) b. 9. 32. 9. g. b. 12. 12. I D. G. V. F-sharp. 13 4-8-3. 4-8-3. 5. 22. g. 21 〉. b. g 80. K.

(92) 550 4-8-4. 4-8-5. 4-8-4. 4-8-5. a’. 33. 40. 9. g. g. 14. K 550. a. 64. 1. 3. (ff). A. B. 41. B. 64. 68. c d. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 167. 81.

(93) c. 41. 52. (fugato). 45. g. c. 〈 111. 4-8-6. 4-8-7. 65. 4-8-6. 40. 5. 4. 42. 3. 2. 1. c minor:. 4-8-7 6. 111 5432. 21. 24. 1. c minor:. 《. 65. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 166. 82.

(94) d. 53. 68 61. c. c. V42. 65. A’. 4-8-8. 4-8-8. 58. 68. c minor:V42. A’. 69. A’. 88. b. a. c. 88. (p). 〉. Coda. 89. 116. B-flat 〉. 《 83. 76. 6.

(95) 4-89. 4-8-10. 66. 4-8-9. 89. 4-8-10. 76. B-flat E-flat. E-flat. 6. 97. 6. 1. 8. I64. 4-8-11 13. 4-8-12. 67. 66. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 169. 67. John MacAuslan, Schumann’s Music and E. T. A. Hoffmann’s Fiction (Cambridge: Cambridge University Press, 2016), 167. 84.

(96) 4-8-11. 107. 116. E-flat: 4-8-12. 13. 85. I64.

(97) . 4-9-1 (Schnell und spielend). a(1-8) A (1-24). 6/8. g. (Schnell und spielend). b(9-16) a’(17-24) c(25-48). B-flat. a’(49-56). c. 2/4. 6/8. B (25-48) A’ (49-72). 6/8. b’(57-64) a’’(65-72) d(73-80). C (73-112). d. (Mit aller Kraft). e(81-88) d’(89-112) a(113-124). A’’ (113-145). g. b(125-130) a’(131-145). g A. 1. (Rondo). 24. A 86.

(98) 4-9-1 2. 4-9-. 68. 4-9-1. 1. 4-9-2. 4. 30. 1. (Das Bässe durchaus leicht und frei). 68. 2005 87.

(99) … 69. A 5. g. V. 4-9-3 G. G. 11. I 10. D. c. 4-9-4. A. 4-9-3. 5. 〉. 8. g minor: V - I. 69. David Charlton, E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism (Cambridge: Cambridge University Press, 1989), 135-6. 88.

(100) 4-9-4. B. 25. 9. 11. 48. B-flat. 6/8. A 2/4. B 4-9-5. 4-9-5. A’. 49. 25. 72 89. 29.

(101) c. C. A. 73. g. 112. (Mit aller Kraft) (f). d. C d. 73. 80. 77. D. A 4-9-6. 4-9-6. 73. A. D 90. 80.

(102) e. 81. 88. C. 【】. d 4-9-7. 4-9-7. d’. 89. 81. 84. 93. 102. 112. 97 4-9-8. 4-9-8. 91.

(103) 99 C. a 〉. (p). V. I. G. 」. A’’. (ppp). g. 4-9-9. ! 70. 4-9-9. 70. 140. 145. Alison Elizabeth Redman, “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017, 46. 92.

(104) . 《. 93.

(105) 〈. 94.

(106) . 1991 (E. T. A. Hoffmann) 2002 E. T. A. Hoffmann 2002. 2010. 2011 16. 。. 2014. 2005 。 2016 E. T. A. Hoffmann. Life and Opinions of the Tomcat Murr) 2014 John Chissell.. (The. (Schumann Piano Music) 1997. Arnsdorf, Mary Hunter. Schumann's Kreisleriana, opus 16 : Analysis and Performance. New York: Columbia University Press, 1976. 95.

(107) Carey, Norman. “An improbable intertwining: An analysis of Schumann’s Kreisleriana I and II, with recommendations for piano practice.” Theory and Practice. Vol. 32 (2007). Charlton, David. E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism. Cambridge: Cambridge University Press, 1989. Chernaik, Judith. “Schumann’s Doppelgänger: Florestan and Eusebius revisited.” The Musical Times. Vol. 152, No. 1917(Winter, 2011). Fisk, Charles. “Performance, Analysis and Musical Imagining Part II: Schuman's “Kreisleriana”, No. 2.” College Music Symposium. Vol. 37 (1997). Hoffmann, E. T. A. Lebens-Ansichten des Katers Murr nebst fragmentarischer Biogrsphie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern Köln: Anaconda Verlag GmbH, 2011. MacAuslan, John. Schumann’s Music and E. T. A. Hoffmann’s Fiction. Cambridge: Cambridge University Press, 2016. Perrey, Beate. ed. The Cambridge Companion to Schumann. Cambridge: Cambridge University Press, 2017. Redman, Alison Elizabeth. “Magical and Mysterious Resonances: Structural Principles in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana.” Graduate Studies, University of Denver, 2017. Scher, Steven Paul. “Hoffmann and Sterne: Unmediated Parallels in Narrative Method.” Comparative Literature. Vol. 28. No. 4(Autumn, 1976).. -. Cross. Over. http://www.muzikstudy.com/periodical/muzik/2010/39/1535 MacDonald, Calum, program note for “Variations on theme by R. Schumann Op. 9”, https://www.hyperion-records.co.uk/dw.asp?dc=W13117_GBAJY1077706. 96.

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