Intonational and thematic process in Schumann’s “Genoveva”.
Background.In recent years there has been an increasing interest in not well known or controversial works of classical music heritage, including “Genoveva” by R. Schumann. Since its premiere in 1850 scholars have been arguing about merits and demerits of this opera. As every opinion on this work seems to be polemical, this calls for new efforts to comprehend an artistic meaning of it. In this research, the main key used to decipher Schumann’s intention in “Genoveva” is a hypothesis of S. Slonymskiy. He states that this opera uses method of opera-vocal symphonism as well as unique leit-motive system – because ways of organization of intonational and thematic process in this work are similar to ones Schumann uses in his instrumental works. Objectives.The aim of this research is to find out methods providing perpetual development of music material in “Genoveva”. Methods. For that purpose compositional-dramaturgical and intonational methods are used. We chose an Ouverture to this opera and its First Act to be the musical mate-rial of this research, as they are examples of Schumann’s instrumental and stage music. Main text.As it usually is, Ouverture contains themes that will be present in forth-coming drama. Although there is no use in looking for direct correlations between dra-maturgy of Ouverture and the plot of the opera. If it had been that way, the opera would have ended in favor of the character, which scholars identify with the main theme of Ouverture, that is Golo. That means that Schumann considers the Ouverture as concert, independent work, reflecting not the plot, but generalized idea of personal drama, fight of passions in soul, causing unbearable sufferings to people’s souls. It results into two different variants of incarnation of this idea, even with polar outcomes: instrumental and theatrical. Technique of Schumann’s work with music themes can be seen even in the Ouverture. Initial music phrase, the mottoof both Ouverture and First Act of the opera, undergoes different mutations in the introduction of sonata-allegro and its exposition, and is sub-jected to semantic transfigurations in development and Coda. The mottotakes different forms, such as a melody accompanied by chords; imitation with changes of intervals in consequent; simultaneously played different variants of the motto; a melody accompanied by chromatic runs; almost dissolves in ornamentation. And all these modifications can be found already in introduction, in one structure. In this very place ominous derived motive appears, that anticipates conflict collisions in the Development. In the exposition, the mo-tive derived from the mottocontains both thematic and background material, and is, in its turn, subjected to transformations, resulting in independent musical ideas. During the whole Ouverture the mottocan be seen as a lyrical outburst, becomes an ominous march with a little bit of heroic features, set as a melody to the triumphant chorale, opposed by its radiant C major to the principal key of Ouverture, E minor. As a result, two levels of thematic transformations are created: external, where the mottokeeps its recognizability and is relatively wholesome, and internal, where the motto becomes a starting point for further transfigurations, made by principle “variation on variation”. The same patterns can be observed in organization of intonational and thematic pro-cess in the First Act of “Genoveva”. The mottoappears in four semantic variants: cho-rale in the Choir ¹1, lyrical phrase in Genoveva’s part (¹3), dramatically intense and expressive exclamations of Golo (¹6), mocking and scherzo-like melody of Margaretha (¹7). Episodic appearances of the mottomake musical structure of the First Act look rondo-like; variant renewal brings features of diffused variations, different genre and semantic transformations also make it similar to a dissolved suite; and all stated traits match Schumann’s principles of creating the music form in his instrumental works. At the internal level of intonational and thematic process derivation of musical ideas can be observed. These ideas, in their turn, become a starting point for the further modi-fications, including even radical changes of semantic. It results in creation of perpetual variant development, characterized as “chain” or “progressive” variations, but we must assert that its origin is not leit-motive, operatic, but immanent musical. This leads to two conclusions. First one is an obvious analogy between Schumann’s ways of creating musical themes and forms in his opera and instrumental works; second one, as a result of a first one, is that Schumann created a new opera form in “Genoveva”. The composer does not renounce numeral structure, but provides the continuity of composition by using harmonic bindings between separate episodes and wandering of intonational and thematic ideas through the whole First Act. That proves that Schumann uses principle of opera dramaturgy that is modern for his time. Conclusions.The results of research support the idea that R. Schumann, while ap-plying methods he developed in instrumental genres to opera, that is stage work, uses them not only in instrumental, but also in the vocal parts, according to demands and specifics of opera. Before applying these methods to his opera, Schumann had an op-portunity to try them in his chamber vocal pieces, created in 1840, also known as “The Song Year”. Thus, it is safe to say that “Genoveva” is a generalization of composer’s achievements both in instrumental and vocal spheres of music.