Talk:Carnaval (Schumann)

message: Doing some research on the dedicatee Karol Lipinski, I discovered that the Op.10 Paganini dedicated to him was a piece for unaccompanied violin called "Burlesque Variations on La Carnaval de Venise".   
Schumann dedicated his "Carnaval" to Lipinski, and titled one of the sections "Paganini".  
Schumann considered Lipinski the greatest violinist of the age, but Carnaval is a piece for a pianist, not a violinist.  I've often wondered why Lipinski got the nod for a piece he could never play.  This says he could not play the piano.
Is there any connection here?  I.e. Paganini having dedicated his "Carnaval" to Lipinski, did Schumann seek to emulate the honour by having the same dedicatee for his Carnaval?  Did Schumann even know of Paganini's dedication to Lipinski?  Did Schumann know the Burlesque Variations?
I don't want to say anything about this in the article, being original research at this stage.  But I remain curious.  JackofOz 03:24, 9 February 2007 (UTC)
thread_title: Lipinski, Paganini, and Schumann - a possible "Carnaval" connection

message: What is the evidence for this?  It looks like speculation to me. Kostaki mou (talk) 03:29, 2 December 2008 (UTC)
thread_title:  Coquette . . . depicting the flirtatious servant from Friedrich Wieck's house who may have given him syphilis 

message: The new information in this edit seems quite plausible, but I've never read it anywhere else.  Can we please have a citation?  Otherwise, it's OR and it will be removed. --  JackofOz (talk) 00:23, 18 July 2009 (UTC)
thread_title: Fasching, Ash Wednesday and Schumann's name

message: Endnote 11 has a link to Ask.com.  While I haven't clicked it to see what it contains, I shouldn't have to...ask.com is not a legitimate source. I only care about scholarly integrity, so perhaps a Schumann junkie could follow the link and see what's cited and then find the reference in an appropriate scholarly source?  — Preceding unsigned comment added by 107.5.86.85 (talk) 16:01, 18 November 2011 (UTC)
thread_title:  Ask.com 

message: I’m wondering whether we should be mentioning Chopin’s opinion of Carnaval at all.  
* He was definitely not a fan or champion of Schumann
* He is not recorded as ever thanking Schumann for his Hats off, gentlemen! A genius! critique of his Variations on "Là ci darem la mano" (1831)
* They only ever met twice (1835, 1836) and Chopin made no attempt to foster a friendship
* Chopin did not respond to any of the 5 letters Schumann wrote to him, and 
* He probably dedicated his Ballade No. 2 to Schumann purely out of social obligation, in return for Schumann's dedication of Kreisleriana to Chopin and for his naming one of the section of Carnaval after Chopin.  He did not like Schumann's music, was indifferent to him personally, and this dedication was not a sign of any great respect he felt towards Schumann.  
Given all this, his opinion of Carnaval is hardly very subjective or telling.  --  Jack of Oz [Talk] 07:40, 23 October 2012 (UTC)
thread_title: Chopin's opinion: relevant?

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thread_title:  External links modified 

message: This section needs rewriting.  The notes are indeed "real" notes.  They are breves or "double whole notes," which are little used today.  (As the name "breve" indicates, they were historically short, though they are long today!)  Thus, it is not necessarily "obvious" that this section was not intended to be played (though this is very likely, as we do have Clara Schumann's word for it, as the source indicates).  As the source also indicates, they are indeed occasionally performed.  Kostaki mou (talk) 01:21, 23 October 2021 (UTC)
thread_title:  Sphinxs ("The notes , , , are written as blocks only. . . . "  "As it doesn't actually contain any real notes , , , ,was obviously not intended to be played in performance.")