Who were Eusebius and Florestan?

In it, Schumann creates imaginary characters who discuss Chopin’s work: Florestan (the embodiment of Schumann’s passionate, voluble side) and Eusebius (his dreamy, introspective side)—the counterparts of Vult and Walt in Flegeljahre. They call on a third, Meister Raro, for his opinion.

Are there any living descendants of Robert Schumann?

Julie died three years after the marriage when she gave birth to her third child. Nowadays there are still direct descendants of this family, grandchildren and great-grandchildren of Robert and Clara Schumann.

Who is the composer of Carnaval Op 9?

Robert Schumann
Carnaval/Composers

Why did Schumann write Carnaval?

Schumann had a keen interest in ciphers, number symbolism and musical/word puzzles, as did many other Romantic Era composers. Carnaval originated from Schumann’s discovery that Ernestine von Fricken’s hometown Asch (now Aš in the Czech Republic),was a musical word, that also contained the composer’s own name in it.

What is the meaning of Robert Schumann’s Carnaval?

Carnaval (Schumann) Carnaval, Op. 9, is a work by Robert Schumann for piano solo, written in 1834–1835 and subtitled Scènes mignonnes sur quatre notes (Little Scenes on Four Notes). It consists of 21 short pieces representing masked revelers at Carnival, a festival before Lent. Schumann gives musical expression to himself,…

Why did Robert Schumann use Florestan and Eusebius?

For Schumann, everything was in a name, and his own was legion. Most famous of all are Florestan and Eusebius, the active and the passive aspects of his own personality. No very compelling reason for this notion, let alone those names, has ever been suggested. A useful device for the writing of music criticism, perhaps?

Why was Eusebius obsessed with the idea of musical letters?

There is far-reaching evidence of his obsession with the idea of musical letters, and the symbolic union of names. It seems likely that Ambrosia, Beda, Clara, David, Eusebius, and so on, exemplify just such an idea in its initial stages. If so, the egregious fancy of Eusebius and Florestan would have been born plain E and F.

When did Robert Schumann start working on variations on a Schubert poem?

Schumann felt that Schuncke’s heroic treatment was an inappropriate reflection of the tender nature of the Schubert piece, so he set out to approach his variations in a more intimate way, working on them in 1833 and 1834.

https://www.youtube.com/watch?v=LNo2aiKV-a0