Schumann's Carnaval

[Frannymeow]

How should one begin learning this suite?

Would it be faster to take 4 or so at a time and to be moderately proficient at them, or learn hands seperately for all of them, and then put it together?

Thanks.  

[Chris]

I think that it isn`t very senseful if you play the whole piece through only with one hand. I advise you to read it first (in a tempo as you are relaxed) and watch on spots who are particular difficult (there are some). A time you have done this, you can concentrate on this spots by practising (one hand and so on ).I think it would be useful,if you begin with such pieces as "Paganini"," Reconaissance "and the last one.Last but not least you should try to make an only musical approach. There are many hidden links between the pieces and it is very important to accentuate this by playing in concert.

[mozartean]

Hi - I am now in the process of learning the Carnaval. This is how I go about it: I listen to the recording until I am very familiar with the work. Then, I learn the first 10 pieces to a reasonable degree of proficiency before going on to the next 10 pieces. Working on one piece at a time can be monotonous and boring. The only piece that you should learn hands separate is Paganini. It is the most difficult piece in Carnaval. I asked my friend, Tedd Joselson how to play Paganini and he said that it is easier to play it fast. As for Reconnaisance, keep the right thumb very light by leaning your weight on the little finger which should carry the melodic line. It doesn't matter if you miss a note or two in the repeated notes but it is important to carry the melodic line.

[stokes]

I'm also learning the Carnivals now, and I do pretty much the same way as Mozartean. I started with learning half of it. I actually don't see any problems in learning such a collection of pieces. I learn pretty much from not playing. I can't practice the same thing for too long. It makes me confusing everything, so I have to put it away for awhile. Either go away from the piano and do something else for awhile or play something different. The pieces in the Carnival are so different from each other that working on about three different ones at the same time works pretty good for me. Changing between the pieces in this group of three doesn't make my head a mess-up. When I'm ready with the first half working this way I'll keep working this way with all of it.

[mozartean]

I think that the Carnaval is a wonderful work - so full of colour and imagination. Schumann's ability to capture the different facets of his personality is just amazing - from the pensive and shy Eusebius to the extroverted and fiery Florestan.

Which recording of the Carnaval are you most impressed with? I have a very brilliant recording by the late Russian pianist, Youri Egorov.

[Frannymeow]

Currently, I have a recording played by Cecile Licad on Sony Classical (which was, incidentally, the first recording I ever heard, and the one I like the most).  Her playing is very clean, and rather fast, and mostly colorful (although her dynamic range could be wider).  All in all, it's a wonderful recording.

Thanks for the tips, guys.

Which edition do you all use?  Is urtext generally perferred, or not?

[mozartean]

Cecil Licad the Filipina pianist? Yes, I've heard of her but never heard her recordings. I am using the Universal Edition. How are you progressing with the Carnaval? Do you have any internet resources for programme notes on the Carnaval?

[geoffrey]

For Schumann's Carnaval, Rachmaninoff's version is pretty much in a class by itself.  Moiseivitch and Cortot come up second.  
Licad?  Oh, please! — Geoff

[stokes]

The Rachmaninoff recording is so good. Specially what he does with the "Sphinxes" thing (which is not supposed to be played at all.) For those who haven't heard it yet, try to get to listen to it. It's amazing.....

[mozartean]

What is the label and CD number of the Rachmaninoff version of Carnaval?

[phillipfawcett]

As with all repertoire my approach is an initial overview of the piece ... this means a sight-read as far as this is possible with such a challenging work!  Identify the most demanding sections and start work on those first, simply because they will take the longest coordination and absorbtion time. Also you will be mentally fresh and eager which helps.
I ALWAYS learn a piece hands separately! And in small logical sections .. not necessarily separate movements but sections which can be defined by a particular type of challenge or musical structure.

[thalbergmad]

Yeh, me too.

Thal

[pianisten1989]

LOL! I don't think he'll get it, though

[stevebob]

Yeh, me too.

Shouldn't that be:

yeh me to

My favorite was resurrecting the Chopin Jazz thread just to add:

i do not like