THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

Someone Else's Textbooks: German Education 1945-2014

In the 20th century, German education repeatedly transformed as the occupying Americans, Soviets, and western-dominated reunification governments used their control of the German secondary education system to create new definitions of what it meant to be German. In each case, the dominant political force established the paradigm for a new generation of Germans. The victors altered the German education system to ensure that their versions of history would be the prevailing narrative. In the American Occupation Zones from 1945-1949, this meant democratic initiatives; for the Soviet Zone in those same years, Marxist-Leninist pedagogy; and for the Bundesrepublik after reunification, integrated East and West German narratives. In practice, this meant succeeding generations of German students learned very different versions of history depending on the temporal and geographic space they inhabited, as each new prevailing regime supplanted the previous version of “Germanness” with its own.

KNOWING THE ENEMY: NAZI FOREIGN INTELLIGENCE IN WAR, HOLOCAUST, AND POSTWAR

“Knowing the Enemy: Nazi Foreign Intelligence in War, Holocaust and Postwar,” reveals the importance of ideologically-driven foreign intelligence reporting in the wartime radicalization of the Nazi dictatorship, and the continued prominence of Nazi discourses in postwar reports from German intelligence officers working with the U.S. Army and West German Federal Intelligence Service after 1945. For this project, I conducted extensive archival research in Germany and the United States, particularly in overlooked and files pertaining to the wartime activities of the Reichssicherheitshauptamt, Abwehr, Fremde Heere Ost, Auswärtiges Amt, and German General Staff, and the recently declassified intelligence files pertaining to the postwar activities of the Gehlen Organization, Bundesnachrichtendienst, and Foreign Military Studies Program. Applying the technique of close textual analysis to the underutilized intelligence reports themselves, I discovered that wartime German intelligence officials in military, civil service, and Party institutions all lent the appearance of professional objectivity to the racist and conspiratorial foreign policy beliefs held in the highest echelons of the Nazi dictatorship. The German foreign intelligence services’ often erroneous reporting on Great Britain, the Soviet Union, the United States, and international Jewry simultaneously figured in the radicalization of the regime’s military and anti-Jewish policies and served to confirm the ideological preconceptions of Hitler and his most loyal followers. After 1945, many of these same figures found employment with the Cold War West, using their “expertise” in Soviet affairs to advise the West German Government, U.S. Military, and CIA on Russian military and political matters. I chart considerable continuities in personnel and ideas from the wartime intelligence organizations into postwar West German and American intelligence institutions, as later reporting on the Soviet Union continued to reproduce the flawed wartime tropes of innate Russian military and racial inferiority.

The Many Faces of Paul Hindemith

The purpose of this project is to present selected violin pieces by Paul Hindemith (1895-1963) against a backdrop of the diverse styles and traditions that he integrated in his music. For this dissertation project, selected violin sonatas by Hindemith were performed in three recitals alongside pieces by other German and Austro-German composers. These recitals were also recorded for archival purposes. The first recital, performed with pianist David Ballena on December 10, 2005, in Gildenhorn Recital Hall at the University of Maryland, College Park, included Violin Sonata Op.11, No. 1 (1918) by Paul Hindemith, Sonatina in D Major, Op. 137 (1816) by Franz Schubert, and Sonata in E-flat Major, Op.18 (1887) by Richard Strauss. The second recital, performed with pianist David Ballena on May 9, 2006, in Gildenhorn Recital Hall at the University of Maryland, included Sonata in E Minor, KV 304 (1778) by Wolfgang Amadeus Mozart, Sonata in E (1935) by Paul Hindemith, Romance for Violin and Orchestra No.1 in G Major (1800-1802) by Ludwig Van Beethoven, and Sonata for Violin and Piano in A minor, Op. 105 (1851) by Robert Schumann. The third recital, performed with David Ballena and Kai-Ching Chang on November 10, 2006 in Ulrich Recital Hall at the University of Maryland, included Violin Sonata Op.12 No.1 in D Major (1798) by Ludwig Van Beethoven, Sonata for Violin and Harpsichord No.4 in C Minor BWV 1017 (1720) by J.S. Bach, and Violin Sonata Op.11 No.2 (1918) by Paul Hindemith. For each of my dissertation recitals, I picked a piece by Hindemith as the core of the program then picked pieces by other composers that have similar key, similar texture, same number of movements or similar feeling to complete my program. Although his pieces used some classical methods of composition, he added his own distinct style: extension of chromaticism; his prominent use of interval of the fourth; his chromatic alteration of diatonic scale degrees; and his non-traditional cadences. Hindemith left behind a legacy of multi-dimensional, and innovative music capable of expressing both the old and the new aesthetics.