I had intended this post to show a later 19th century treatment of figure g in Hugo Wolf's setting of Goethe's satirical "peasant" poem "Der Schäfer." Two things happened, however. First, I realized on examining the piece more closely that figure g is not the model; instead, it is a convoluted or distorted version of figure c. More on that below. Second, I remembered that I had just written about a minor-key Brahms song in the essay
Rising Gestures, Text Expression, and the Background as Theme (published on Texas Scholar Works:
link). Then, looking at the work materials for that essay, I found another Brahms song and also one by Henri Duparc (both are mentioned in Walter Everett's article that was the starting point for my
Rising Gestures essay).
Neither Brahms song (they are, btw, Op59n1 and Op69n7) nor the Duparc "Lamento" uses figure g, so the end result is that this post may perhaps be best regarded as an excursus in the minor key series. The nineteenth-century theme will continue, however, in the following post, where I look at the opening of the Tristan Prelude in connection with figure i. After that, I'll finally introduce figures k-n, which as it happens lack examples in the repertoire, and two interesting cases—Beethoven's 32 Variations in C minor, WoO80, which
ought to have a rising line based on its harmonic plan, but doesn't—and a movement-length partimento by Durante. The last entries in the series will form a longish appendix on 17th century Dorian-mode pieces.
In brief, Goethe's poem "Der Schäfer" is about a shepherd who is lazy and neglects his work but who suddenly perks up and becomes energetic and responsible when a woman accepts him. This turn happens in the final lines, and is set by Wolf with a rising line. The first structural tone of the melody is unclear, largely because of the contortions in line and harmony—see the score below—but also because neither ^8 nor ^5 is confirmed in the subsequent passage.
At the end, on the other hand, the motion from ^5 is very clear, if also very chromatic in the voice and oddly chromatic in the harmony:
I have removed the text and isolated the harmonies in this reduction. Also note the labeling of local harmonies and functions.
A further reduction shows more plainly that the entire passage, excepting the final tonic, involves prolongation of the dominant.
The end result, then, is that "Der Schäfer" uses figure c (below), not figure g.
Brahms, op. 59n1, is another Goethe setting, "Dämmrung senkt sich von oben," a nature poem that Brahms sets in four verses, the first two in G minor, where the second is a slight variant of the first, the third is a "B-section" contrast that begins in Eb major, and the fourth in G major builds on material of the second half of verse 1. It is the last verse that concerns us here.
The ^5 I have marked at the beginning is without reference to anything earlier in the song. Whether the whole piece should be read from an abstract ^3 (Bb) or ^5 is an open question: I would favor the former in the early verses but the latter in the final two. Regardless, the motion from ^5 and the elongated dominant are unmistakable in verse 4.
Considerable attention is given the subdominant throughout the verse, including the approach to the cadence (see both IV and iv below). The close, then, uses figure c, where ^5, ^6, and ^7 are all over V -- but note that the alternatives for the voice lay bare the simple and ancient opening wedge of counterpoint where the ascent ^5-^6-^7-^8 is balanced by a descent from ^3 to ^1.
Nevertheless, Brahms does here what Schubert did in pieces we examined early in this series (
link): he actually avoids the problem of the minor key by switching at the end to the major.
Part 9 continues in the next post: Brahms, Op. 69n7, and Duparc "Lamento."
Reference: Everett, Walter. 2004. "Deep-Level Portrayals of Directed and Misdirected Motions in Nineteenth-Century Lyric Song."
Journal of Music Theory 48/1 (2004): 25-58.
