The secret world of R. Schumann in "Carnival"
Robert Schumann is one of the most interesting composers, whose life at the same time delights, evokes sympathy and amazes. His musical works fascinate beauty, vivid images, and the personality is full of mysteries. What was he really like? The researchers note that Schumann was in two states: insanely happy that he could not even speak, or unusually depressed, in which he could not even speak a word. In addition, he was constantly immersed in his world of dreams. The composer also transferred this unreal world to his musical works. So, in the "Carnival" Schumann reflected all his amazing qualities, all controversial and emotional nature.
Composer's Piano Works
Almost the first ten years of his career, Robert Schumann dedicated it to piano music. These were years filled with unprecedented enthusiasm and hope. It is in piano music that the composer’s individual style is revealed, and the characteristic features of his work as a whole are manifested. Many of these works, which are true masterpieces (Fantasia C dur, Kreislerian, and others), arose literally several years after Schumann first began to compose music.
It was a special time for the composer, because he fought for his love. Hence, in many essays there are personal emotions, experiences, and also biography. Often these or other works appeared under the influence of literary plots. Most often, the main character in them acts as a narrator, revealing to the listeners a picture of what is happening, presented in the form of a whole string of images or vivid pictures, replacing each other. That is why the suite cycle of miniatures has become a truly favorite form of the composer.
History of creation
"Carnival" R. Schumann very clearly embodied the ideological and aesthetic concept of the composer. Her main and primary goal was to fight against routine and petty bourgeois in life and in art. It is worth noting that such a journalistic attachment, which can be observed in the piano cycle, was an innovation in the field of composition.
The concept of the work is very closely intertwined with the main content of the essay "Report by Zhankiri from Augsburg on the latest artistic and historical ball of the editor", published in 1937. It tells about what actually happened at the festival, arranged by the editor of the Novaya Musical Gazette. The original idea of the celebration was somewhat different, it was planned to acquaint everyone with the novelties of the season, but during the holiday there was some conflict between the Davidians and philistines. After that, one of the philistines present there attacked Carnival with sharp criticism, writing a devastating article.
The piano cycle is rather a festive picture where davidsbündlers face philistines. Bright is the very atmosphere of the holiday, with flashing carnival masks. They can be divided into the traditional ones: "Pantalone and Columbine", "Pierrot" and "Harlequin"; original: "Coquette" and "Butterflies"; fantastic: "Dancing letters". In addition to them, in the crowd appear davidsbündlery: "Florestan", Evsebi, as well as "Paganini" and "Chopin." In addition, Clara and Ernestina appear before the audience, only they appear under the guise of "Chiarina" and "Estrella". There are also plays representing household sketches - “Walk”, “Meeting”, “Recognition”, and also a big part is given to the dances.
Interesting Facts
- “Carnival” is a cycle of small plays that draw bright pictures - guests of the holiday and the atmosphere itself. It would seem that holiday, fun and nothing else should be reflected in it, but everything is not so simple ... By the way, ironically, the theme of carnival is connected with the tragic events in the composer’s life that took place several years later. After an unsuccessful suicide attempt, when he threw himself into the river at night, and the fishermen pulled him out of the icy water, the rescuers led the distraught Schumann through the carnival crowd. As it is known, after that he decided to send him to a psychiatric hospital, from where he never returned ...
- In the play "Chiarina" shows the image of Clara Wieck, at that time a student and friend of the composer. It is she who, after a while, will become a famous pianist and wife of Schumann.
- In the play "Estrella" the composer embodied the image of Ernestina von Frikken. Schumann was in love with her and the young people were even engaged, but soon Ernestina was forced to leave for Leipzig and eventually their feelings cooled and the engagement was terminated.
- The piano cycle is united not only by one common idea, but also by grouping plays. All of them are located on the principle of pairing and complementary contrast of heroes. In addition, there is also a tonal unity of the cycle, in which mainly flat key tonalities prevail, and the leading role is played by the tonality of A flat major. Another sign contributing to the unity of the cycle is a periodic return to waltz intonations. It can be assumed that in this case the waltz genre acts as a refrain.
- Another interesting detail lies in the characters involved in the carnival. They are all bright and original here, but Evsebi and Florestan stand out in particular. They are completely opposite, but at the same time inextricably linked with each other, and represent nothing more than the composer himself. Schubert himself admitted that they paint his dual nature: the lyrical, dreamy Eusebius and the impetuous, resolute Florentan.
Content
The maestro himself called his work "Miniature scenes on 4 notes". These notes are the sounds of ASCH. At the same time it is the name of the town in the Czech Republic and the letters taken from the name of the composer. The whole secret of the encrypted message is in the play "Sphinxes"located in the middle of the cycle, in front of number 9. The play was written by medieval notes unusual for us - breve, which enhances the effect of mystery. Surprisingly, it is usually not performed by musicians and does not have a number in the cycle, although A. Rubinstein .
All the miniatures of the cycle presented are contrasted with each other, but in this contrast of images, which are rapidly replacing each other, lies the main “secret” that helps to keep the attention of listeners throughout the entire work.
Introduction set out in free form and begins with recruiting fanfare. It is permeated with rapidly changing genre elements (a combination of different dance music), which gives the play some kind of fantasy.
"Pierrot"- the second play in the cycle, draws the image of a melancholic hero. It sharply contrasts the entry and has declamatory intonations and a certain angularity. Music accurately draws a portrait of the hero - slow, internally constrained Pierrot, who is more inclined to philosophizing, but is obliged to amuse the public.
"Harlequin"- another hero from commedia dell'arte and he represents the exact opposite of Pierrot. Harlequin is always on the move, clever and agile, which the composer in music very well conveyed through the use of sound imaging.
"Noble waltz"is an expressive genre-dance play and serves to highlight the appearance of heroes who already belong to the world of davidsbündlerov - Florestana and Evsebiya.
"Evusebius"- is a slow, lyrical improvisational piece. The main melody consists of interrogative intonations, chromatic moves, drawing the lyrical image of Evseby.
"Florestan"is the opposite of Evsebiya. He is in constant change of dynamic hues and musical material. Mood very quickly changes from a pathetic monologue to a swift waltz. Very unusual methods Schumann draws a portrait of this hero, who surprises with his realism.
The series of masks replaces Florestan, each of which is also endowed with vivid characteristic features. "Yoke"combines dance elements with a capricious rhythm."Butterflies"- attracts attention due to the light and elegant elements."Dancing letters"- is a waltz, but it is changed to such an extent that it sounds fantastic.
After a series of masks, portraits of davits again appear.
"Chiarina"and"Estrela"set off the appearance"Chopin", who appears in Carnaval as real lyricists, the author of poetic nocturnes. Schumann specifically uses a number of techniques that are very characteristic of Chopin's piano style to convey his image as vividly as possible. It is curious that in portraits of real people who appear at the carnival Schumann consciously adds some warmth and lyricism.
Masks appear again "Pantalone and Columbine“they rather serve to more clearly highlight the image presented in the next play“ The German Waltz. ”Schumann paints a portrait of Paganini, who is shown by a real romantic. In order to emphasize some fantastical image of the famous maestro, Schumann specially resorted to a dramatic exaggeration. The music contains violin techniques (jumps, moving emphasis, dynamics and texture in general.) Suddenly, all this chaotic sound stops, returning the echoes of a German waltz.
The play "Confession"sated with lyrical feeling, and following it"stroll“on the contrary, it represents a bright genre scene. Before the finale, all the representatives of the Davidov Brotherhood (in Pause) gather to oppose the Philistines. Interestingly, the musical material of this play is taken from the Entry.” Composer thus closes the chain of carnival episodes, highlighting the final scene even more clearly.
"March of David vs. Philistines"- this is the plot completion of the ball and is the brightest page of Robert Schumann's piano art. Davidsbündlers are characterized by a cheerful march with all splendor and magnificence. The Philistines are shown with the help of an old melody that personifies conservatism. Schumann himself called it" The XVII century ". In fact, this is the theme of an ancient dance called Grosfater. ”Carnival” ends with the victory of the leaders, under the pressure of which the Philistines are retreating.
"Carnival" is a brilliant piece in its design and courage of embodiment. Its special charm is that so far these miniature scenes amaze and delight listeners with the depth of their design, soulful lyricism and stunning musical material.
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