Faschingsschwank aus Wien
Encyclopedia
Faschingsschwank aus Wien ("Carnival Scenes from Vienna" or "Carnival Jest from Vienna") is a solo piano work by Robert Schumann
, his Op. 26. Schumann began composition of the work in 1839 in Vienna
. He wrote the first four movements in Vienna, and the last on his return to Leipzig
.
Eric Sams
has noted that the word "Faschingschwank" contains the letters ASCH SCHA
in that order of appearance, and that Schumann used these notes in sequence as melodic material for this work. Robert Morgan has noted Schumann's use of Ludwig van Beethoven
's Op. 26
as a model in this work, and also Schumann's use of musical symmetry. David Neumeyer has noted the similarity of the first section to the Valse Noble, Op. 77, No. 7 (D. 969) of Franz Schubert
.
:
The longest and one of the more virtuosic movements, this piece is notable for its innovative rhythms and its brief quote of "La Marseillaise
." Of all the pieces of Faschingsschwank, this one is the least single-minded in its structure, introducing entirely new themes occasionally, only to be brought back repeatedly to two repeated motifs from the beginning. The piece comes to a crashing close with almost dissonant seven-on-three arpeggios.
Probably the least virtuosic of the works, taking only a page of music. Despite its shortness and apparent ease, this is undoubtedly the saddest piece in the set. Despite the fact that most of the work is in G minor, the final measure brings a resolution into G major.
Much as the title suggests, this work is a playful respite between two somber movements. A syncopated rhythm, with a melody based almost entirely on notes of the major chord, keeps the movement light and bouncing throughout, with the possible exception of the last run, a progression of octaves into a quick and bright cadence.
The Intermezzo is marked by its flowing sound, created by keeping a steady stream of right-hand notes in the background, interspersed with melody notes. The piece, almost entirely based on transpositions, appears difficult at first due to its speed (some musicologists have remarked that Schumann's metronome was calibrated such that it went faster than it should have, due to extreme tempi such as this one). While the background notes in the right hand do indeed move extremely fast, the melody is more singing. The background notes are mostly suited to the shape and position of the hand, despite a few leaps of the melody; in the end, the left hand takes a modified, E-flat major version of the E-flat minor melody, under the right hand. The work is a melancholy and emotionally charged display of a pianist's capability of conveying feeling.
The Finale begins with triumphant announcements in B-flat octaves, interspersed with brilliant moving thirds. This section is the second longest, lasting about half the length of the first movement. The patterns seen in the Finale are somewhat reminiscent of Beethoven's compositional style, using a melody that moves in both hands, while both hands also play unchanging notes beneath the melody. The energetic runs of the final bars bring the set to a dramatic close.
Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era....
, his Op. 26. Schumann began composition of the work in 1839 in Vienna
Vienna
Vienna is the capital and largest city of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million , and is by far the largest city in Austria, as well as its cultural, economic, and political centre...
. He wrote the first four movements in Vienna, and the last on his return to Leipzig
Leipzig
Leipzig Leipzig has always been a trade city, situated during the time of the Holy Roman Empire at the intersection of the Via Regia and Via Imperii, two important trade routes. At one time, Leipzig was one of the major European centres of learning and culture in fields such as music and publishing...
.
Eric Sams
Eric Sams
Eric Sams was a British musicologist and Shakespeare scholar.Born in London, he was raised in Essex; his early brilliance in school earned him a scholarship to Corpus Christi College, Cambridge at the age of sixteen. His life-long passion for puzzles and ciphers stood him in good stead in his...
has noted that the word "Faschingschwank" contains the letters ASCH SCHA
Musical cryptogram
A musical cryptogram is a cryptogrammatic sequence of musical notes, a sequence which can be taken to refer to an extra-musical text by some 'logical' relationship, usually between note names and letters. The most common and best known examples result from composers using ciphered versions of their...
in that order of appearance, and that Schumann used these notes in sequence as melodic material for this work. Robert Morgan has noted Schumann's use of Ludwig van Beethoven
Ludwig van Beethoven
Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time.Born in Bonn, then the capital of the Electorate of Cologne and part of...
's Op. 26
Piano Sonata No. 12 (Beethoven)
Ludwig van Beethoven composed his Piano Sonata No. 12 in A-flat major, Op. 26 in 1800–1801, around the same time as he completed his First Symphony...
as a model in this work, and also Schumann's use of musical symmetry. David Neumeyer has noted the similarity of the first section to the Valse Noble, Op. 77, No. 7 (D. 969) of Franz Schubert
Franz Schubert
Franz Peter Schubert was an Austrian composer.Although he died at an early age, Schubert was tremendously prolific. He wrote some 600 Lieder, nine symphonies , liturgical music, operas, some incidental music, and a large body of chamber and solo piano music...
.
Form
The work is in five movementsMovement (music)
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately, a performance of the complete work requires all the movements to be performed in succession...
:
- Allegro (), B-flat major
The longest and one of the more virtuosic movements, this piece is notable for its innovative rhythms and its brief quote of "La Marseillaise
La Marseillaise
"La Marseillaise" is the national anthem of France. The song, originally titled "Chant de guerre pour l'Armée du Rhin" was written and composed by Claude Joseph Rouget de Lisle in 1792. The French National Convention adopted it as the Republic's anthem in 1795...
." Of all the pieces of Faschingsschwank, this one is the least single-minded in its structure, introducing entirely new themes occasionally, only to be brought back repeatedly to two repeated motifs from the beginning. The piece comes to a crashing close with almost dissonant seven-on-three arpeggios.
- Romanze (), G minor
Probably the least virtuosic of the works, taking only a page of music. Despite its shortness and apparent ease, this is undoubtedly the saddest piece in the set. Despite the fact that most of the work is in G minor, the final measure brings a resolution into G major.
- Scherzino, B flat major
Much as the title suggests, this work is a playful respite between two somber movements. A syncopated rhythm, with a melody based almost entirely on notes of the major chord, keeps the movement light and bouncing throughout, with the possible exception of the last run, a progression of octaves into a quick and bright cadence.
- Intermezzo (), E-flat minor
The Intermezzo is marked by its flowing sound, created by keeping a steady stream of right-hand notes in the background, interspersed with melody notes. The piece, almost entirely based on transpositions, appears difficult at first due to its speed (some musicologists have remarked that Schumann's metronome was calibrated such that it went faster than it should have, due to extreme tempi such as this one). While the background notes in the right hand do indeed move extremely fast, the melody is more singing. The background notes are mostly suited to the shape and position of the hand, despite a few leaps of the melody; in the end, the left hand takes a modified, E-flat major version of the E-flat minor melody, under the right hand. The work is a melancholy and emotionally charged display of a pianist's capability of conveying feeling.
- Finale (), B-flat major
The Finale begins with triumphant announcements in B-flat octaves, interspersed with brilliant moving thirds. This section is the second longest, lasting about half the length of the first movement. The patterns seen in the Finale are somewhat reminiscent of Beethoven's compositional style, using a melody that moves in both hands, while both hands also play unchanging notes beneath the melody. The energetic runs of the final bars bring the set to a dramatic close.