Carnaval

Preambule: what an introduction of what is about to come. The prominent dotted rhythms of Schumann pounding the listeners' ears from the very beginning. It has it all: the regal prelude; the virtuosic Piu moto and Animato (with double dotted rhythms!), ascending octaves in half-steps on the left hand, creating harmonic tension while the right hand breaks out into rapid arpeggiated passages (very Chopinesque).

Pierrot: this is a strange beginning. It sounds so harmonically ambiguous for the first 2 measures before it makes sense again with the return of E-flat. Though noted that E-flat is served as the pedal tone here to link between the sadeness (the decending half-steps chromaticism) and the humors (the figure that follows the chromatic descend).

Arlequin: looking at the music, 3/4 meters, certainly looks like a typical waltz pattern. But the strong second beat is confusing and it becomes difficult to feel the pulse. I can't imagine dancing to this. It's as if Schumann is playing tricks on us.

Valse noble: noble waltz...named righteously so. Unlike Arlequin, we feel the big one of the three beat pattern. Feels more like a ballroom dance, like Papillons.

Eusebius: the introvert, the dreamer, the poet. The irregularity of the rhythms suggests the dreaming quality of the character; meandering and wondering about. The inflection of the phrases also shows song-like quality.

Florestan: the opposite of Eusebius, an extrovert, expressing his passion here. The waltz pattern is somewhat offset by the accented second and third beats. There are frequent tempo changes here: 8 bars of passionato, 2 bars of interlude of opening material from Papillons (in Adagio), another 8 bars of passionato, 4 bars of Adagio this time, so on...I find it interesting that there is a marking "Papillons?" under the second Adagio. I wonder if Schumann marked that or if it is an editing mark from the pirated edition I bought from Taiwan...

Coquette: flirty and fun. Infested again by dotted rhythms, with occasional non-dotted rhythms interludes.

Replique: the dotted rhythms still...short and sweet.

Papillons: taken from his Op.2, it is obsecenely fast! The melodic and rhythmic motives are similar to No.2 from Op.2, not to mention this is the only one with the 2/4 meter.

A.S.C.H-S.C.H.A.: the grace notes produce similar effect as the dotted rhythms, which give a more playful character.

Chiarina: describing the young Clara Schumann; passionate and full of youthful energy. Notice the dotted rhythms...the beginning motive with accents on the third beat becomes a bit hypnotic after awhile.

Chopin: left-hand arpeggiation and right hand melodies...doesn't get more Chopin than this.

Estrella: with affection. Written for his fiance Ernestein whom he was secretly engaged to when he was 17. Full of passionate octaves.

Reconnaissance: begins with a light-hearted, string trio like texture. The entire B section consists of duets between the soprano and the bass.

Pantalon et Colombine: like Pierrot, these are two characters from the commedia dell'arte. Pantalon was a gullible merchant, attempted to disguise his old age in order to attract women by wearing tight-fitting Turkish clothes. Schumann characterizes him in light staccatos. Columbine, a servant or wife of one of the Old Men, demonstrated wit and charm in a world of stupidity, greed, and constant misunderstanding. She is the Meno presto and more lyrical section of the piece, contrasting Pantalon's playfulness.

Valse allemande: a short waltz interlude.

Paganini: a portrait of Paganini's composing style - virtuosity.

Aveu: a short interlude

Promenade: a somewhat slower promenade than usual. The use of octaves is prominent.

Pause: the idea of calling a piece marked Vivo a "pause" is bizarre to me. It sounds more like a one-page introduction to the finale.

Marche des "Davidsbundler" contre les Philistins: the Davidsbündler or "League of David" were named after the biblical King David, who played and composed music, wrote poetry and slew the Philistines. This march takes themes from some previously heard movements and combine them all into one.