Carnaval op. 9
Schumann’s turbulent love-affair with the barely eighteen-year-old Ernestine von Fricken, though strong enough to lead to a secret engagement, lasted only a few months. Nevertheless, it managed to give rise to one of his most frequently played compositions: Carnaval. Some of these twenty-one character pieces are named after figures from the commedia dell’arte, others after such fictitious creations as Florestan and Eusebius, in which Schumann acknowledges his own split personality. The mysterious way that these figures relate to specific people in Schumann’s surroundings – and the deeper significance of the recurring motifs Ab-C-B and A-Eb-C-B – are explained in the editor’s detailed commentary in this revised new edition.
Die vorliegende vorbildliche Henle-Neuausgabe geht auf die deutsche Breitkopf & Härtel-Erstausgabe von 1837 zurück, benutzt jedoch zum Abgleich die bereits vorher erschienene französische Erstausgabe aus dem gleichen Jahr.
[Neue Musikzeitung, 2005]
In any case, Ernst Herttrich, Henle’s consummate editor, will unravel all these extramusical implications in his excellent Preface, quite apart from clearing up any variant readings in his closing Comments.
[EPTA Piano Journal, 2005]
… I turn to Henle Urtext and pick up Schumann’s … Carnaval Op 9 … You can always rely on Henle to produce erudite, elegant Urtext editions with interesting prefaces and fingering … and these are definitively fine, as always.
[Piano Magazine, 2005]