name was probably suggested by the fact that a carnival was taking place at the time of the work's completion in Leipzig). The work has a subtitle, "Scènes mignonnes sur quatre notes," or "Delicate scenes upon four notes." Even more than Kinderszenen, Carnaval illustrates Schumann's unusual approach to musical form and his interest in non-musical references.
Schumann began composing the work in 1834, before he had become infatuated with his piano teacher's daughter and at which time Friedrich Wieck acquired a new piano pupil who caught Robert's eye, a 17-year-old named Ernestine von Fricken. In less than five months, Robert and Ernestine were secretly betrothed. The "four letters" upon which the movements of Carnaval are based are A-S-C-H (in German, the letter S stands for E flat, while H indicates B flat; thus the letters translate musically to A-Eb-C-Bb), thereby spelling the name of Ernestine's hometown. It also was significant to Schumann that those same four letters are found in his last name.
Schumann began composing the work in 1834, before he had become infatuated with his piano teacher's daughter and at which time Friedrich Wieck acquired a new piano pupil who caught Robert's eye, a 17-year-old named Ernestine von Fricken. In less than five months, Robert and Ernestine were secretly betrothed. The "four letters" upon which the movements of Carnaval are based are A-S-C-H (in German, the letter S stands for E flat, while H indicates B flat; thus the letters translate musically to A-Eb-C-Bb), thereby spelling the name of Ernestine's hometown. It also was significant to Schumann that those same four letters are found in his last name.
A broad cast of personalities populates Carnaval, among them the stock Commedia dell'Arte characters Harlequin, Pantalone, Colombine and Pierrot; Schumann's own alter-egos, Florestan and Eusebius; Clara Wieck (under the name Chiarina); the composers Chopin and Paganini; Ernestine herself (under the name Estrella) and, in the final movement, the "League of David," the fictitious society of artists who, in Schumann's writings for the Neue Zeitschrift für Musik, fought against the "Philistines" who failed to recognize true greatness in art.
Other movements depict butterflies (Papillons), a lovers' meeting (Reconnaissance), a confession of love (Aveu) and a stroll through a ballroom with one's partner (Promenade). Most curious of all is the movement called "Sphinxes," which consists of three different arrangements of the four musical acrostic letters and is marked "not to be played." Like the famous Egyptian monument, these sphinxes apparently remain silent, keeping their secret safe.
Schumann's love affair with Ernestine was not to be. Her father, Baron von Fricken, disapproved, and Robert became disillusioned when he learned that Ernestine was illegitimate (although her father had formally adopted her at the end of 1834). The end of his infatuation was signaled in November 1835, when Robert exchanged kisses with the 16-year-old Clara for the first time.
