The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-02-12

harmonic and rhythmic figures, whose
variety In comparison with the insignificant
motif at the beginning. proves rich'
elastic and inventive faculty.
In short, IL ia q true Schumann com
position full Of his traits Much Of It ia
perfectly charming, sweet. graceful. ele-
CANT, but the development Of the finale
is thoroughly humorous and comic TO the
last degree. The composer attained this
effect by skilful combination Of the
Groasrdtert1nz with tho steady marked
rhythm Of the Davdsbundler march, which
strides along solemnly. as IL conscious of
victory, in three-fourths tempo. The two
motifs, when compared, AFFORD n most de-
lightful contrast. Their opposing direction
Is evidently meant TO illustrate the spiritual
contest between youthful aims and the
Philistines Of art; but we can easily guess
which is VICTOR
This contains much that is clearly de-
soriptive Of the merits and nature Of this
charming work. but it is written in a con-
descending tone. That can hardly be won
dered at, since the author intimates that
in his time 1t was customary 10 play the
numbers OF the work separately. No
impression OF their value could possibly be
in tho middle of Broadway and from him
try to picture the ball, No. we must hear
the whole thing through to conceive it as
it was. bright fanciful, whimsical, yet
not unfeeling picture OF carnival OF cher
shed images that whirled through the COM
poser's mind
Behold In the first bold chords Of the pre-
ambule the invitation to the brilliant ball
room. the flinging wide OF the portals OF
a splendid chamber. followed Immediately
by gay roulade Of gallantry and merTi-
mont a perfect piano picture OF the move
ment glitter and sparkle OF a masquerade.
! That concluded. we are introduced at once
to the elementary typical figure OF all
masks-Perrot. with A 8. c. in the very
outset of his harmonic foundation.
Then fits in the gay and lifting Harle-
quin, with the first bar OF his theme made
out of A. 8 c. H. Now dance, the Valse
Noble. and the character Of the ball IS
Established. But what strange figure IA
this that comes gliding upon the scene?
Listen to the gentle. meditative strains.
Eusebius, the dreamer; Schumann in his
interpretive mood! Treading eagerly upon
his heels comes the passionate Florestan
depicted in a rushing, storming little piece.
whose mood is broken only by the remon-
STRANGE of the opposing nature of Eusebius
voiced in that bewitohing frament Of the
"Papilons" The first notes Of this Florestan
theme are again A. s. c. II.
Then comes the tripping elusive Coquette,
NJ figure for masquerade. and she too
sings frat he mystic letters. Next comes
"Papillons,' the butterflies OF the social
sunlight, with the same four letters in
the same order at the beginning of the mel
ody. The next number ia clear enough
for il ia called .Lettres Dansantes.'
The splendid breadth OF the Inelodio and
rhythmic character of the next number,
the "Chiarna,' shows that SchumAnn
had q profound belief in the nobility OF
Clara's character The energy and sorority
Of this number prepare us eroellently
for the contrast Of the ensuing number
Chopin the composer whom Schumann
discovered and adored. Now Estrella
gldes into our line OF sight, an Estrella
OF quaint rhythm piquant melody and
feetins swiftness, an elusive and puz2ling
Estrella.
Next follows the Reconnaissance, with
it's refreshing meditation from fat into
B. limiting at new views Plantation ct
Colombine" is a movement Offering In its
brisky contrary movement a pretty sketch
of these perennial opponents OF panto-
mime.
Another waltz-for we must not forget
the dance-and then the eerie figure Of
Paganini floats through the ballroom
Now comes the declaration Of love (aveu)
the promenade, that brilliant piece of pas
sage work called pause and finally the
crashing march OF the artistic brethren
OF David against the SNUG Philistines
Always we find in some order the letters
A s c. H. as food for themaic matter.
Sometimes A. and s. are combined in
AS. the German c fiat.
The Carnival IL a more enduring work
than its CREATOR believed II to be. 1t is to-
day a living, breathing thing, not majestic
masterpiece, but the puintessence OF mel
low fancy. amiable vision, tender senu-
ment and airy humor. It's purely musical
qualities are captivating to a pianist, and
its great intimacy with the actualiues of
Sohumann's life ought to make it most
interesting to every adnirer of lovable
character. w. j. hENDEhhON'