슈만의 즉흥곡 Op. 5, “새로운 형식의 변주곡”

Abstract

Schumann’s Impromptus sur une Romance de Clara Wieck, Op. 5 has received relatively less attention than his character pieces. His Op. 5 has not been considered as a character piece because although he named it as “Impromptus”, it is actually a variation and because it lacks a program. I believe, however, this view results from inappropriate observations. In this study, I will reveal that this work is one of Schumann’s most poetic works by investigating Schumann’s concept of variation and by providing a new interpretation of this piece. First, it will be argued that Schumann thought that variation is an adequate genre to express his poetic ideas. To substantiate this, his attitude toward Schubert will be investigated, who elevated a variation into a romantic form. An important clue is found in Schumann’s review of Schubert’s third impromptu of D. 935. Then, I will provide a new interpretation of this piece in a similar way with his character pieces. In this piece, Schumann’s use of metrical contrast between duple and triple meters reveals that each meter may be related to Eusebius and Florestan respectively, as in his Carnaval, Op. 9. In addition, the interplay between duple and triple meters may provide an example of “mobility” of identities between Eusebius and Florestan, which is suggested by Lawrence Kramer concerning the Carnaval. This interpretation will clarify the reason why Schumann called this piece as “a new form of variation.”