Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann

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1 Nineteenth- and Twentieth-Century Theories of Metrical Conflict
2 Metrical Consonance and Dissonance--Definitions and Taxonomy
3 Intermezzo I: Influences on Schumann's Metrical Style
4 Metrical Progressions and Processes
5 Intermezzo II: Metrical Revisions
6 Interactions of Metrical Dissonance with Pitch Structure, Form, and Extramusical Elements
7 Intermezzo III: Performing Metrical Dissonances
8 Carnaval des analyses
Epilogue: Morning Song

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Fantasy Pieces examines from several vantage points a vital life-force of Robert Schumann's music, namely metrical conflict. Harald Krebs's imaginative yet rigorous study makes use of Schumann's fascinating projections of his own personality--the characters Florestan and Eusebius--as one means of addressing the biographical and aesthetic context of the music. In counterpoint with the remarks of these personae, Krebs develops an original theory of metrical conflict by adapting the concepts of consonance and dissonance to metrical analysis. He investigates how states of metrical dissonance arise, and shows how they are manipulated and resolved in the course of compositions. He offers new methods for understanding the metrical progressions of entire works or movements, and studies the interaction of metrical conflict with form, with pitch structure, and with the texts of Schumann's vocal works. Krebs includes a wealth of illustrations from the whole range of Schumann's work and offers numerous insights important for performance. In the final chapter, he provides richly detailed studies of pieces by Schumann in various genres, interspersing them with shorter discussions of music by Berlioz, Chopin, Clara Schumann, Ives, and Schoenberg. This is a book that will appeal not only to students and scholars of music theory, but to all musicians interested in the life, work, and unique personality of Robert Schumann.

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[an] excellent book....Krebs unravels the musical subtleties that performers sense but do not always fully understand; performers have much to gain by applying Krebs's analytical approach to their interpretations of Schumann's music....This is analysis at its best: it is sensitively placed in a valid historical context, and solidly based on the real and heard elements in the score. The author supplies ample examples. Highly recommended for upper-level undergraduates through performers

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