Death in Winterreise by Suurpaa Lauri;

Author:Suurpaa, Lauri;
Language: eng
Format: epub
Publisher: Indiana University Press
Published: 2014-01-15T00:00:00+00:00

8.3. “Täuschung”

“Täuschung” makes a strong contrast with “Der stürmische Morgen,” whose tragic rage is now replaced by mostly joyful nostalgia. The song is in ternary form, preceded by an introduction (mm. 1–5) and followed by a coda (mm. 40–43) (example 8.3). The introduction and the A sections include almost literal repetitions of material: they are made solely of phrases that, in the bass, consist of a descending fourth A–E followed by the return of A (I–V–I) and, in an inner voice (or the top voice in the introduction), an ascending fourth E–A (–). The structural top voice of each of the A section phrases, in turn, consists of –– progressions, the last of which constitutes the Urlinie. Even though the bass keeps repeating the descending A–E motion, it is subdivided differently (see the separate staff in example 8.3). In mm. 6–12, the repetition in mm. 14–20 (not shown in the example), and in mm. 31–37, the fourth is subdivided into a second and a third. In other words, the G supports the dominant in the first inversion, thus functioning as the upper third of the forthcoming V. The F, in turn, is a passing tone within the prolonged dominant. In mm. 1–5 and 37–40, on the other hand, the G supports a V of VI, so G functions as a passing tone. As a result, the descending fourth is subdivided into a third and a second, and the F is an incomplete neighbor. The juxtaposition of the two subdivisions creates a subtle difference between the two versions of the same contrapuntal framework. The emphasis on F and VI has darker undertones not heard in the phrases stressing G and V.

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