#and finally idk if davidsbundler is a reference to emperor concerto or if emperor concerto is a reference to grossvatertanz

[pantalon-et-colombine]

Schumann – Carnaval

Performed by Nikita Magaloff

The twenty-one pieces grouped under the title Carnaval were composed in the years 1834-5 when Schumann was in his middle twenties. He was living at Leipzig and had recently taken over the direction of a journal, the Neue Leipziger Zeitschrift für Musik, to which various notable writers and musicians of the time contributed. Schumann used to sign his own articles with one or other of his two pen-names, Florestan and Eusebius, representing respectively the extroverted and introverted sides of his personality.

In the spring of 1834 Schumann was introduced to Ernestine von Fricken, a beautiful and accomplished girl of eighteen. For a time the two were enchanted with each other and Schumann, stimulated by his feelings, composed not only Carnaval, but also the Études symphoniques on a theme by Ernestine’s guardian. The key to Carnaval lies in the name of the lady’s birth-place, the town of Asch on the German-Bohemian frontier. If the letters of Asch are taken to represent notes, they read A flat, C, B (As being the German for A flat, and H for B natural); alternatively, if the S is taken as Es (German for E flat), they read A, E flat, C, B; finally, if the letters are taken in the order in which they occur in Schumann’s name, E flat, C, B, A are produced. These are the three groupings of notes set out in the score as “Sphinxes”

But it would be a mistake to try to listen to Carnaval as a set of orthodox variations; the work is much too light-heartedly romantic for that. The Carnival is a ball at which various of Schumann’s friends and acquaintances enjoy themselves in company with characters of the commedia dell’arte, Pierrot, Harlequin, Pantaloon and Columbine. Schumann admitted that the names of the pieces were added after their composition, so the listener should beware of excessive preoccupation with non-musical images while hearing the music, but the titles are nevertheless deliciously apt.

Préambule has an impressive opening and the ball begins with a quickish waltz which is eventually rounded off with a very coda-like presto passage. We are then introduced to two of the guests at the carnival, the doleful Pierrot, and Arlequin, a delightfully gay and frisky little fellow, whom Nijinsky impersonated so wonderfully when Schumann’s music was used for a ballet. Next there is a graceful and most engaging dance which fully deserves its title of Valse noble. Eusebius and Florestan, as mentioned above, represent two sides of Schumann’s nature. The introverted Eusebius is characterized by an adagio in 2/4 time in which an unusually elusive rhythm is achieved by the use of irregular groups of quavers, first seven in a bar, then five-plus-three. Florestan is a cheerful, bouncing figure, even more energetic, though with less grace, than Harlequin; there is a quotation from Papillons, Op. 2 in his nineteenth bar. Coquette is an engaging dancer who is answered by Réplique with a phrase of smooth crotchets alternating with a dotted falling figure similar to that in the music of the questioner. 

At this point in the score the “Sphinxes” are printed, but they are not, of course, intended to be played. Papillons, taken at a breakneck speed, is one of the most difficult pieces in the set. Lettres dansantes, a gay little presto waltz, is headed by the letters A.S.C.H.-S.C.H.A.; the former combination, if we count acclaccature, opens the pieces, but the latter is not used. The next three pieces are character-studies. Chiarina is Schumann’s future wife, Clara Wieck, who would have been about fifteen when Carnaval was written, and Estrella represents Ernestine von Fricken who, according to this portrait, must have been of a somewhat impulsive nature; the Chopin piece which comes in between is an excellent imitation with its characteristic harmonic progressions and scope offered for rubato. Reconnaissance (which means recognition and not its English namesake) is one of the most charming pieces in the set. The engaging melody in A flat major passes to the minor and then modulates into B major (C flat) for a brief development section, after which it returns in the original key and dances merrily on above its tripping semi-quaver accompaniment. In Pantalon et Colombine we watch the dainty little lady fluttering around the stage with her old curmudgeon of a father hot in pursuit. Valse allemande is another charming dance with a violent ending very much in contrast to that of Valse noble; before its final repeat an Intermezzo gives a sketch of the great virtuoso violinist Paganini whose astonishing technique is cleverly suggested by the piano. Aveu is a delightful piece of intimacy and forms, with Promenade, another waltz, and the earlier Réplique, an attractive little romantic trilogy.

Pause merely repeats a section of the opening Préambule and leads straight into the famous Marche des ‘Davidsbündler’ contre les Philistins. The Davidsbund was a fictitious society “founded” by Schumann and much referred to in his journalistic writings. Its purpose was to combat Philistinism, and amongst its members were many of Schumann’s friends and also great composers, past and contemporary, of whom he approved. In this concluding piece, we hear the members of the Davidsbund going forth to battle against the Philistines, showing their magnificent contempt for convention by marching in ¾ time. Beethoven is evidently a member of the Davidsbund, for a phrase from the finale of the ‘Emperor’ concerto soon appears. The Philistines are represented by the seventeenth century Grossvatertanz which is knocked about sadly from one key to another until music from the beginning of the carnival reappears and the festivity ends with the coda-like passage which concluded the Préambule.