Ich Grolle Nicht by Robert Schumann
It is not obvious to discern the underlying tragedy of the situation from the very beginning. In fact, the entire piece is in the familiar key of C major where the two major chords (C major and F major) in the first two measures help establish the key area, conveying a rather peaceful, positive mood. There is an interesting tension, however, since the text seems to sugg est otherwise. As the phrase "Ich grolle nicht" translates to "I bear no grudge," this declarative opening phrase of the piece definitely leaves room for the tragic story to come. Indeed, it is then (m. 3) that we hear the first chromatic note Ab in the melody with the introduction of the D halfdiminished 7th chord, as opposed to D minor 7, which would be diatonic in the key. As this flatted 6th scale degree persists as a suspension until the last beat of the measure despite the change in harmony, an expressive emphasis is put on the word "Herz," or heart, prominently hinting at a shift in emotion. The next few measures (mm. 4-9) further this shift. At first glance, the chain of seventh chords seems like a quirky progression of random chords, e.g., F major 7 (m. 6, beat 1) to A minor 7 in second inversion (m. 6, beat 3), which is an unusual retrogression of the typical vi-IV progression. Nonetheless, what is noteworthy (pun intended?) is that the bass line is surprisingly smooth. In fact, we have a stepwise descending bass line from C (m. 4, beat 1) to G (m. 9, beat 1), descending more than one full C major scale. Thus, it makes sense to interpret all the chords on the 3rd beat of the measures simply as passing chords connecting those on the first beat. In other words, C major 7 (m. 5, beat 3) connects A minor and F major 7 on the downbeats and so forth. If so, the progression is really a falling-third sequence, excluding all the passing chords. This progression is very striking, not only because it allows smooth voice-leading in harmony,
but also because it well demonstrates the vortex of emotions of the narrator as he openly laments, "Ewig verlornes Lieb," or "eternally lost love," and actually lets his words and emotions just pour and "fall" out from him. Soon, the phrase "ich grolle nicht" returns (m. 9) as well as the simpler V-I progression, and a pattern emerges where the entire song is really a juxtaposition of the affirmative "ich grolle nicht," which always leads to the home key, and the narrator's laments supported by more complex, often-chromatic progressions. Evidently, this juxtaposition, both textually and musically, represents the emotional confusion of the narrator as he goes through different emotional states, trying so hard to accept the death of his lover as opposed to fiercely rebelling against the belief of it. This explains another change in harmony towards the minor side of C major from the word "Wie" (m. 12) to "deines Herzens Nacht", or "darkness of your heart" (m. 15) and the shocking tonicization of B by the F# major chord (m. 14, beat 3), which is definitely one of the least expected chords in C major - I mean, how much more chromatic can it get? This tonicization is then undone by the G dominant 7th chord (m. 16, beat 3) on the text "das weiss ich langst," or "I have long known this," which actually sounds like a calm confession and accounts for another fluctuation of emotions as C major soon returns (m. 19). As this pattern of juxtaposition prevails, hence, it is almost as if we are invited into his seesawing stream of consciousness regarding love and death, certainly enhanced by Schumann's corresponding exploration of the key of C major.
