Carnaval, Op. 9

Composer: Schumann, Robert

Lecturer/Piano: Kocsis, Zoltan

Piano: Kozhukhin, Denis

Date of Production: March 2007

Venue: Escuela Superior de Musica Reina Sofia, Madrid

Playing Time: 00:45:10

Catalogue Number: RSS10457_1

Professor Kocsis advises the student on the use of another score edition. He makes some general indications about the technique of both pedals in Schumann (it is not sure whether the left pedal should be used when playing his compositions), sound, chords, rhythm, balance (outstanding voices) and dynamics.

The professor also focuses on some specific corrections of almost every piece in the Carnaval piece:

III. Arlequin: character, clarity, use of pedal.
IV. Valse noble: long phrasing, appassionato, differences in dynamics.
V. Eusebius: no pedal, character in sotto voce, tender.
VI. Florestan: more serious and ritenuto, annotations on the score without playing. 'Papillon motif'.
VIII. Replique - Sphinxes: rhythm and character at the beginning and then more contrast. The link between the two parts is like in Rachmaninov's music.
IX. Papillons: rhythm, articulation, and fingerings.
X. A.S.C.H. - S.C.H.A. (Lettres dansantes): recommendation about repetitions.
XI. Chiarina: rhythm, octaves, passionate character, articulation.
XII. Chopin: attention to the melody.
XIV. Reconnaissance: tempo, editions, and authorship (Robert or Clara).
XV. Pantalon et Colombine: articulation, melody, harmony.
XVI. Valse allemande: pedal and staccato.
XIX. Promenade: too intellectual, articulation, attention to left hand. The presence of Robert and not Clara's is clear in this piece.
XXI. Marche des Davidsbundler contre les Philistins: use of pedal, agogics.