Classical Music | Piano Music

Robert Schumann

Faschingsschwank aus Wien, Op. 26 (Carnival of Vienna)  Play

Anastasia Seifetdinova Piano

Recorded on 12/03/2008, uploaded on 03/16/2009

Musician's or Publisher's Notes

Schumann's Faschingsschwank aus Wien ("Carnival Scenes from Vienna") for solo piano is a rather unusual work falling somewhere in between a suite and a sonata. It consists of five movements that nearly fulfill the usual movements of a sonata, though they are arranged in a different order.

The first movement is a vast Allegro in triple time. One of the more technically challenging movements, it begins with a waltz tune which then alternates with six different episodes. The episodes vary greatly, from the lyrical to the off-kilter and even the militant. The movement comes to an impressive close with sweeping arpeggios and full chords. Following is a lyrical Romanze in G minor. Simple and concise, it presents a mournful melody interrupted only by a brief section in C major.

A Scherzino follows the gloomy second movement and offers a welcome lighthearted contrast. Constructed on a rather simple two measure motif, its characteristic rhythm permeates much of the movement. The motif is consistently passed between treble and bass and the only substantial break in the pattern is the octave run that leads to the close of the movement. The following Intermezzo returns to the melancholy of the Romanze. The melody appears in the right hand over an undulating arpeggio accompaniment and octave bass notes in the left hand. The Finale, however, dispels the gloomy atmosphere with triumphant octave B-flats and arpeggios. It is cast in a conventional sonata form and is the perhaps the most technically demanding part of the work. Constantly alternating between accompanimental sixteenth-note and triplets, the energetic movement comes to a magnificent close with colossal chords in both hands.      Joseph DuBose

Listeners' Comments        (You have to be logged in to leave comments)

Marvelous playing, very intelligently thought out interpretation. To be sure, I do necessarily agree with everything I'm hearing. But the important thing is that she does much more with the music than simply play the notes;
there is much shaping and molding of a conception.

I have heard Ms. Seifetdinova live in Weill Hall at Carnegie Hall several years ago. This particular performance was quite memorable for me, and I actually found myself more satisfied by it than by a performance by many a professional pianist.

Submitted by alger3041 on Fri, 08/03/2012 - 10:43. Report abuse