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Revue de Musicologie
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Damien EHRHARDT
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290 Revue de Musicologie, 78/2 (1992)
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Damien Ehrhardt : Les Eltudes symphoniques de Schumann 291
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292 Revue de Musicologie, 78/2 (1992)
Page 1, titre : << Fantaisies et Finale sur un theme de Mr. le Baron de Fricken
composees p.[our] 1.[e] Pfte [piano-forte] et dedices A Madame la
Baronne de Fricken, nee Comtesse de Zedtivitz, par R. Schumann.
(Euvre 9 ?.
<<Fantaisies et Finale? remplace l'indication < Variations pathe-
tiques>> qui a 6te barree.
systemes 1-3 : Theme << Adagio ,. Signe < ? )) a la fin.
systemes 4-7 : << Variat. 1 )) barree, remplacee par < N0 2 ?.
= 0 Var. JI du manuscrit G
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Damien Ehrhardt : Les Etudes symphoniques de Schumann 293
Cette piece est franchement barree, cependant, l'indication << Gilt >>
qui apparait a droite montre que cette piece a 6te reintroduite.
= Variation 4 de G
systeme 7: Vide. On lit
a Platz zu zwei Linien )
Page 8, systime 1 : Vide. Comme le montre l'indication precedente, Schumann
a reserve cette place pour finir la piece precedente, restee inachevee.
systemes 2-6 : Variation 8 >> barree, a la place, < N' 9 >>.
Cette pi&ce n'apparait pas dans G
systeme 7 : <<Variat. 9 >> barree, remplacee par < N0 10 >>.
= ( Var. I > de G
Le finale qui a une pagination propre (p. 1-6) se termine par la mention : <<
18 Januar 1835>>
= esquisse" dans G (p. 3 et 4).
No 1 No 1
Variation 1 ) No 2 ) No 2
Variation 2 No 3 No 3
NO 4
Variation 3 No 4' NO 5
Variation 4 \ NO 5 \ No 6
Variation 5 N0o3 6 No 7
Variation 6 No 7
Variation 8 - No 9 ) No 9
Variation 9 ) No 10 NO 10
Finale Finale
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294 Revue de Musicologie, 78/2 (1992)
MANUSCRIT G MANUSCRIT B
1er agenc. 2e agenc. 3e agenc.
> No 1 N N 1
Var . I Var. 1 - No 2 - No 2
Var . 2 NO 3 No 3
esq---------
esq. N N 4
Vara. 3 N 4 NO 5
Var . - Var. 4 - N 5 - N 6
Var. 3 -)Var. 5 CN0] 6
/ Var. 6 NO 7 - N 7
Var. 6'
Var. 7
Var . 8
Var. 9
Var . 8 No 9 No 9
F ina le
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Damien Ehrhardt : Les Etudes symphoniques de Schumann 295
Etude 4 (Variation 3)
NO 5 ) Etude 5 (Variation 4)
Etude 6 (Variation 5)
Etude 7 (Variation 6)
Etude 8 (Variation 7)
Etude 9
MANUSCRIT B
EDITION POSTHUME
Dernier agencement
NO 3 > Variation 1
NO 4 Variation 2
NO 6 Variation 3
NO 7 Variation 4
(Partie mediane)
NO 10 Variation 5
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296 Revue de Musicologie, 78/2 (1992)
Etude I Finale 1 1
Etude II 10 1 2 2
Etude IV - 8 9 9
Etude v 6 2 4 5
Etude x 3 5 7 7
Esquisse 7
Esquisse 9
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Damien Ehrhardt : Les Eltudes symphoniques de Schumann 297
16. Selon Wolfgang Boetticher (op. cit., II, p. 262), ce fragment est A
de l')tude VI (edition de 1837). 11 est donc probable que cette vari
prevue avec l'arp6ge thematique aux deux mains.
17. Dans l'Etude I (edition de 1837), I'arpege du theme apparait A
droite.
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298 Revue de Musicologie, 78/2 (1992)
etc.
Variation 2
Variation 5
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Damien Ehrhardt : Les Etudes symphoniques de Schumann 299
Variation 1 : I ut m
Variation 2 : 1 ut m
Variation 3 : ( ut # m
Variation
8 4 : 12 ut m
-Variation 5 : ut 4 m
-Variation 6": Re b M
-Variation 7:12 8 ut m
SVariation 8 : ut m
4 8
-Variation 9": 4 12 dans G) ut
Variation 10 : ut m (prevue)18
18. La construction << en arche >> laisse supposer que la Variation 10 etait
destin6e au finale des Variations pathetiques. Ii s'agissait probablement de la
Finale Marcia du manuscrit G.
19. Si les fragments des p. 3 et 4 du manuscrit G constituent deji l'essenti
du mat6riau th6matique destine6 ce mouvement, l'id~e initiale n'y est pas
encore esquissee.
20. La Fantaisie << N I >> est construite A partir du motif destine ia la Fin
Marcia de G.
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300 Revue de Musicologie, 78/2 (1992)
Var. i I NOE 2 1
Var. 2 1 contraste No 3 (peu rythmique) 41
.aii
41
Var.?4 NO 5
0
Var. 5 icontraste No 6 (rythme souple) U
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Damien Ehrhardt : Les Etudes symphoniques de Schumann 301
<<L'objet [le theme] doit certes rester inchang6, mais il doit se voir
transforme par un verre d'une couleur diffrente a chaque fois, comme c'est
le cas de ces vitres multicolores, qui font apparaitre le paysage baigne
tant6t de la lumiere rouge du couchant tant6t de la lumiere dorbe du soleil
matinal. >> 22
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302 Revue de Musicologie, 78/2 (1992)
NO 8 - mesure 12 [l]
, etc
24. I1 s'agit du theme qui est intitul6 Tema quasi marcia funebre dans G.
25. Schumann trouve le chant triomphal en question dans une romance avec
choeur de l'opera d'Heinrich August Marschner, Der Templer und die Jzidin : d6s
lors le compositeur saura exploiter les fragments destines au finale de G.
26. Cf. supra, note 6.
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Damien Ehrhardt : Les Ltudes symphoniques de Schumann 303
Var. pos th . IV
Etude XII
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304 Revue de Musicologie, 78/2 (1992)
SUMMARY
Until now, only the modern editions are used for the integration
posthumous variations in the set of the Etudes symphoniques opus
Schumann. The present article attempts to find in the autogra
sketches and the manuscript of the Muske Royal de Mariemont - a
of the work, which contains the posthumous variations. Contrar
assumptions, a classification of the pieces of these two manusc
established. With the analysis of the different versions of the au
can understand the fluctuations which occur in the genesis of t
results of the analysis are verified by comparison with two letters w
baron von Fricken. Three solutions for the integration of the
variations in the set of opus 13 are finally found in the m
Mariemont. Only the third solution can be used for the integration
of the posthumous variations. An edition of this version seems to b
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Damien Ehrhardt : Les Etudes symphoniques de Schumann 305
PLANCHE I
Gilt.
4 .1 ,U.. I ?
,-,c -- --... --. ..... ..
_ _ _ _ _ _ _ i _I IF
Lf--- ar ' -
sIVI,. , ,,N-,'
a dt .?-r If , , .,
Qg.
I . " '"1"" - . . J ..1
S',~- 4 LjL , ".
,,.,, j . L- f ,__ _ _
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306 Revue de Musicologie, 78/2 (1992)
PLANCHE II
Variation 4 des esquisses
legatissimo
_ _ _ _ _ _t =_ _- - - - --_ _- - - - --
! _- " _ I_ _ _ -.__ _ _ _ _ _ _ _ _
f , r i "
n.,A
4L.1 4-. 1. . I. I -
p4, , r.. -- L , -L
" " _ _ _ __"_ _ _ _ __.-_________ __"_____________"__"___"_"i_______-' "____- ___"_"
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