Byron’s “Manfred” was very popular in Germany in the Romantic Aera. Great Poets, novel writers and composers were inspired by its dark, sinister power. Goethe wrote that in this poem “we find the quintessence of the attitudes and passions of a remarkable talent born to suffer” (Tunbridge 548). Especially Schumann, the German Romantic composer, was interested in Byron’s poetry. As Manfred is a complex, melancholic character, Schumann was also seen as suffering from a “melancholy fate” (Tunbridge 560) and later madness; he was often even compared to the character of Manfred (Tunbridge 546). This connection between Schumann’s life and his work is arguable but seems to include at least a little truth.
As I cannot analyze every single piece of Schumann’s „Manfred“ (it would be far too much), I will concentrate on important moments in the overture and the last piece. I try to not writing too complicated by avoiding technical musical terms wherever possible and put more emphasis on the created mood.
The whole piece is loosely bound together, it even seems fragmented. It consists of an overture (half of the complete music), alternate dialogue and short instrumental parts, ensembles and vocal solos, a melodrama (Number 9), and interludes. The fragmented character of the piece symbolizes Manfred’s inner instability. Everything he longs for will not be fulfilled: he cannot die (except at the very end), he cannot forget, and Astarte neither forgives nor condemns him (cf. Byron I, 105). So he is incomplete, in a constant struggle to achieve what is missing.
From the very beginning, the overture presents this fragmentation and inner conflict. Contrary to former, classical overtures, this overture does not present (contrasting) themes but “a web of motivic particles brought into ever new relationships through the dual workings of developing variation” (Daverio 357). Again instability and incoherence.
The overture opens with three syncopated forward-pestering chords on a crescendo. However, as there is nothing before, any defining metre or term, the listener gets confused and hears the chords as on-beat: at this early moment, the confusion and ‘otherness’ is still hidden, not audible. The chords, two dominant-seventh framing a tonic harmony, also fulfil a special function: Dominant seventh always have a very open character and almost force a dissolution. But Schumann refuses this solution, he thus already in the first measure emphasizes that there will not be an easy solution. The non-solution of the chord creates a ‘floating’ atmosphere; the listener is stuck in the middle of nowhere as he/she does not know what will happen, in which direction the musical piece will go further. This feeling of insecurity, instability is even more cemented by the following fermata: instead of dissolution there is a silence full of suspense, an anticipation of the silence Manfred has to deal with when he meets the ghost of Astarte.
Suddenly, the tempo changes, and after a short movement upwards, a new motive is alternate presented by the violins and celli: a “painfully slow chromatic ascent” (Daverio 357), again off-beat. This motive has is more searching and insecure. At the same time, the woodwinds present another, even slower ascent on another part of the scale, working against the strings. The orchestra, often seen as a whole/ one body, is now departed and works contrapuntal. Thus the two different and yet similar motives present Manfred’s situation: he calls the spirits that they shall fulfil his wishes. He thinks that they have to follow him and sees himself as equal (“the lightning of my being, is as bright,/ Pervading, and far-darting as your own,” Byron I, 155f.), disregarding the fact that he is still human and mortal whereas the Spirits emphasize their immortality. Manfred so gets the feeling that the Spirits work against him.
The first ‘real’ theme (mm. 6-8, I call it theme as it again and again is presented through variations and development) shows up. It is quite vivid and this time clearly recognizable syncopated. The volume increases, finals in a forte and fast sixteenth-movement in the strings. Here, Manfred’s behaviour is presented: first calm, sad and desperate, he becomes angry and outraged when he realizes that the Spirits will not bring oblivion.
The next motive is often described as the “Astarte’s theme” (cf. Tunbridge 554). However, it is not a real theme, rather fragmentary elements, repeated and slightly altered. It develops and more and more loses its reference point. It is hard to define and assign musical centres; there is not really a clear indicator the listener could trust. Everything blurs. This motive indicates Astarte’s image twice: first, it emphasizes her ghostly character, clarifies that she is not really there but an illusion. The constant blurring refers to her anew disappearance. In number 2, the “appearance of a magic image”, this blurring is even more emphasized by ending this musical piece with a diminished dominant-seventh plus additional ninth. This chord is even more opened than the dominant-seventh from the beginning of the overture. As the chord lacks its basic tone, it is impossible to dissolve it without remembering or finding out its origin, its ‘past’. Manfred's past is also not accessable/ identifiable to the reader, the reader only gets indications on what has happened. He/she will never find it out completely. Manfred's present is coined by his former deeds, such as the dissolution of the chord can only be done by considering what has happened before. Presenting Astarte’s disappearance with this diminished chord '(remember: it is called diminished because of the missed basis tone), it also becomes clear that Manfred has lost his last bound to the earth/society after Astarte's death. Tunbridge mentions that at the moment of Astarte’s disappearance the timpani “beat out a funereal triplet rhythm” (Tunbridge 555). As a result, Manfred falls senseless, a condition almost death-like. In this part, Schumann presents one of the Romantic inventions, the removal from a clearly musical centre to broader harmonies, to present and comments on his character's situation and feeling.
The overture ends in its original key Eb-minor, a very uncommon key. Thus the overture keeps the tragic development of the poem and the unsatisfied feeling at the end as the reader does not know what happens to Manfred after his death. The minor-key appears as a sad, melancholic acceptance of these unanswered questions. It shows Manfred’s loneliness in its crucial-saddest beauty. The overture seems to already include Schumann’s complete interpretation of Byron’s poem. This interpretation is not far away from the ‘common’ reading of Manfred and his faith.
Before I will concentrate on the ending of the whole musical peace, I have to say a few words about Schumann’s work with Byron’s text. He retained 975 of the 1336 verses (translated into German). Most of the time, this trimming works, but a few things are missing or altered which slightly change the intensity of the original version. For example, there are only four Spirits instead of seven: earth, air, water and fire. The seventh spirit, in my opinion the most important one, is completely missing. The seventh spirit rules “the star which rules [Manfred’s] destiny”. He despises Manfred, calls him “worm” (Byron I, 125) and “Child of Clay” (Byron I, 131, I love this Blake reference!). And later, just this Spirit transforms into the shape of Astarte, thus creates an even deeper, spiritual connection between Manfred and Astarte. If Astarte really is a part of Manfred, it is not astonishing that he is now only a shadow of his self, lost in doubts, sense of guilt and yearning for knowledge. By waiving this connection, Schumann weakens the expressiveness of the poem.
The last musical piece in Schumann’s adaptation is called “Klostergesang”. A choir intonates the first line of the Requiem mass: “Requiem æternam dona eis, Domine” (Eternal rest grant unto them, O Lord). The choir stops after this, and in the complete silence, Manfred says his last words: “’tis not so difficult to die” (Byron III, 151). A fermata, silence. Then the choir continues: “et lux perpetua luceat eis” (and let perpetual light shine upon them). The last scene begins in Eb-minor, thus creates a connection to the overture, but changes after Manfred’s death to “a triumphant” (Daverio 364) Eb-major. Triumph? This is questionable. Nevertheless, it indicates Manfred’s redemption or at least the hope that he will be redeemed. The Astarte-theme arises once more, but now Manfred is already dead. Daviero argues that the crucial point is that “Manfred’s redemption of the past occurs not in the here-and-now, but in the hereafter. […] Up to the end, Mafred is denied what he desperately seeks: solace in the present” (Daviero 364).
In his musical adaptation, Schumann shows a close understanding of the poem and does very well in showing Manfred’s character through music. Especially the overture is very well thought and arouses/depicts a lof of different emotions. However, I personally disagree with Schumann's overall solution of a redeemed Manfred, which contrary to the overture. Shall this show how hard it is to define Manfred's death? In my opinion, the last scene, the Requiem, makes the story too simple, weakens it. It is interesting: when I first read Manfred, I absolutely wanted to know what happens to him. Now I have an answer – but do not like it. This answer contradicts my understanding of the text.
References
Primary literature
Byron, Lord. "Manfred." The Norton anthology of English literature: The Romantic Period. Ed. Reidhead, Julia. New York: W.W. Norton & Company, Inc. 2006. 636-69.
Schumann, Robert: Manfred, op. 115.
Secondary sources
Daviero, John. Robert Schumann: herald of a 'new poetic age.' New York, Oxford: Oxford University Press. 1997.
Tunbridge, Laura. "Schumann as Manfred." The Musical Quarterly 87.3 (2004). 546-69
Weird, my comment disappeared, so here is it again: I would like to include some music (b/c then I could identify the seconds the different motives appear), but don't know how it works, if it is possible at all. Does anyone know it? If it not possible, I will at least include videos of the overture, the quality is not the best though... The overture is also available at Naxos music library(you can find it by going to the Monroe library website and then search the terms "Schumann Manfred".
ReplyDeleteGreetings from horrible cold Germany (less than 32°fahrenheit!) but see you again next semester as I decided to come back to Loyola!
“Does Schumann change the meaning of the poem; does he add something I have not thought about before? Does his musical adaptation do justice to the rough, sinister and sublime beauty and depth of the poem?” All good questions, and a provocative start to your strong reflection on a contemporary musical interpretation of ‘Manfred.’ I think it an important opening observation that Schumann’s piece overall emits a “fragmented character,” while also realizing a totality. While I enjoyed reading your close reading of Schumann’s piece, I was most impressed by the contrast you outlined b/w Schumann’s compressed version and Byron’s original. I was particularly struck by your observation that Schumann’s choices perhaps weaken the intensity of Byron’s original; and yet Schumann’s musical interpretation nevertheless projects melancholy and instability. The success of both original and copy speaks to the Romantics’ (and perhaps our) embrace of the fragment and silence. And I say this keeping in mind your own realization that a definitive answer or voice might not bring you to comfortable conclusion (to closure). I appreciate the fact that you have challenged your own approach to the poem, using Schumann as a catalyst.
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