Ascending to the Summit

The concept of the recital’s title, Ascending to the Summit, reflects not only the pianist’s challenge of mastering these monumental works but also Schumann’s artistic journey as he sought to break free from heavily explored traditional forms. Faced with the towering presence of Beethoven's sonatas, Schumann abandoned the classical sonata form and invented a new, more imaginative structure in Carnaval, allowing him to explore character-driven vignettes. This program traces both the virtuosic climb for the performer and the evolutionary leap in Schumann’s compositional approach. 

Schumann’s Carnaval, Op. 9, written between 1834 and 1835, represents the culmination of his early compositional style. Faced with the formidable legacy of Beethoven’s sonatas, Schumann felt the need to depart from the classical sonata form, which had reached its apex in Beethoven’s late works, including the Hammerklavier. Instead, Schumann devised a cycle of 21 short character pieces, each a self-contained portrait of a moment or figure in a carnival. This departure from tradition allowed Schumann to create a more flexible, innovative form driven by his literary imagination and musical cryptograms.

The work is unified by a musical cipher based on the letters A-S-C-H, referring to the hometown of his then-fiancée, Ernestine von Fricken, as well as the musical letters in his name, S-C-H-(u)-(m)-A-(n)-(n), when moving the notes around. These cryptic musical motifs (“A, E-flat, C, B” or “A-flat, C, B” in English notation) provide cohesion across the diverse movements, which portray a host of carnival characters, both real and fictional.

The piece opens with Préambule, a grand and stately introduction that sets the tone for the carnival with its fanfare-like energy. Two clowns approach the stage: Pierrot, a delicate and melancholic character, is followed by the playful and mischievous Arlequin. After the graceful Valse Noble evokes the elegance of high society, Schumann introduces his two contrasting alter egos: the introspective and dreamy Eusebius and the fiery, impetuous Florestan, as parallels to the introduced clowns. Coquette flirts with her lively dance, while Réplique (reply) provides a brief moment of rejection of the flirtatious attempt.

Schumann left the performer an obvious clue with three renditions of the A-S-C-H motifs in the movement titled Sphinxes. Nevertheless, there is a tradition to hide this from the audience. Following the sphinxes’ questions, Papillons (butterflies) whisks the listener away with its light, fluttering charm. Here, the butterflies are also a metaphor for unmasking the masked characters. In German, the term “Larve” means both “mask” and “larva,” which is the butterfly’s early stage before metamorphosis. After Papillons, the A-S-C-H motif turns from the “A, E-flat, C, B” form to the “A-flat, C, B” form, starting in A.S.C.H. - S.C.H.A. (Lettres dansantes) (Dance of the letters).

Three contemporaries of Schumann unmask themselves: Chiarina, a bold portrait of Clara Wieck, is followed by the lyrical Chopin, a tribute to the Polish composer’s style. At the peak of the cycle, Estrella, a passionate depiction of Schumann’s then-fiancée Ernestine von Fricken, reveals herself. This leads to Reconnaissance (recognition), a portrayal of the lovers' recognition with heart-beating repetitions and words of tenderness exchanged in the middle section.

The lovers are interrupted by Pantalon et Colombine, another pair of Italian stock characters signifying both the lovers’ sexual tension and romantic obstacles with a comical touch. In contrast, the ballroom enchants itself with Valse Allemande (German Waltz); the dynamic, virtuosic Paganini dazzles with his violinistic shifts and jumps. The couple then finds a quiet place to confess their feelings in Aveu (Confession) before the playful Promenade, signifying the end of their dance. Pause, leading into the final, defiant Marche des Davidsbündler contre les Philistins, where Schumann’s fictional league of artists symbolically triumphs over conservative forces in art.

In Carnaval, Schumann created a new form that allowed him to break free from the sonata’s constraints, offering a more personal, theatrical vision. The work remains a cornerstone of the Romantic piano repertoire, balancing technical brilliance with rich emotional content.