Carnaval, Op. 9

Papillons and Carnaval (1834-35) share more than a festive masquerade backdrop. The later work actually quotes the Papillon No. 1 theme—but not, ironically, in the portion of Carnaval actually titled “Papillon.” Instead it appears as a moment of self-reflection during “Florestan.” Both compositions demonstrate Schumann’s evolving sense of artistic self, which he regarded in terms of the age-old dualism between action (which he named Florestan) and contemplation (Eusebius). These are titles for specific numbers within Carnaval, though their spirits lurk more generally behind every mask, rubbing shoulders with “Pierrot,” “Arlequin,” “Chopin,” “Paganini,” and the lot. Another thread ties these disparate pieces together. Schumann composed Carnaval while engaged to Ernestine von Fricken, who was born in the town of Asch. Asch, referring in German to ash (as in Ash Wednesday, signaling the end of carnival season), also includes the only “musical” letters in Schumann’s own last name. That coincidence was sufficient to launch him on a series of musical cryptograms involving the pitches A, E-flat (in German Es), C and B-natural (German H); by a second interpretation we have As-C-H (that is, A-flat, C and B-natural). Schumann even goes so far as to indicate permutations of the motive in three unplayed measures entitled, aptly enough, “Sphinxes.” In one form or another, sometimes hidden, these pitches ground all that transpires. If there is a key to unlocking this whirlwind romp through 22 pieces in about as many minutes, ASCH is it. Carnaval was not the first or last time that Schumann’s literary and romantic passions would fuse to create innovative musical structures. He rightly assessed it as a “higher kind of Papillons”, and its significance would not be overshadowed until the explosion of song cycles written in 1840.

(c) Jason Stell