The published numbering of the symphonies is not chronological because his Fourth Symphony of 1841 was not well received at its Leipzig premiere; Schumann withdrew the score and revised it ten years later in Düsseldorf. "Schumann, Robert, §11: The symphonic year, 1841" In Grove Music Online.
One of the most obvious relationships is that there are five movements in each of the symphonies. 61, although it was the third symphony he had completed, counting the B-flat major symphony published as No.
The opening theme is based on the ländler, a German folk dance.
This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. The thematic construction uses long beautiful themes that are constantly being pushed along by this friendly little motif of four chromatically ascending sixteenth notes, often on the fourth beat of a measure. As too, in his more opulent manner, does Daniel Barenboim. Happily, the location and issuing of an earlier performance from New York allows Enescu’s interpretative instincts free rein, in a spellbinding account whose finale builds to a culmination of majestic fervour. Antonio Pappano (10/16) secures a generous response from his Santa Cecilia forces (strings especially) yet there are no revelations here, nor with Michael Tilson Thomas’s stylish traversal (11/17) in San Francisco, akin to David Zinman and the Zurich Tonhalle (5/04) in impressing more as the result of a fruitful long-term association than for genuine insight. A primary factor in this was the tendency in the early and mid-Romantic eras to conflate abstract evolution with evocative or illustrative elements. [11] Brown's opinion, and a more likely explanation of the fifth movement's function, is that it is used as an extreme contrast to the preceding movement as was the case in Beethoven's symphony. Some examples from each movement illustrate this: in the first, his emphasis on the Un poco più vivace transition (1'54") as it prepares for then motivates the ensuing Allegro; in the Scherzo, his consistency of pulse which integrates the Trios (1'39" and 4'15") and underlies the (relative) acceleration into the coda (6'24"); in the Adagio, his handling of the spectral interlude (3'57") that links each half while emotionally heightening the latter; and, at 4'00" in the finale, after the movement has reached near-stasis, his winsome underlining of the quotation from Beethoven’s song ‘Nimm sie hin denn, diese Lieder’ (the last of the cycle An die ferne Geliebte) which then makes possible the ultimate affirmation. "[9] Schumann also once said that "we must not show our heart to the world: a general impression of a work of art is better; at least, no preposterous comparisons can then be made. This is supported by the following quote from Schumann: "If the eye is once directed to a certain point, the ear can no longer judge independently.
97, also known as the Rhenish, is the last symphony composed by Robert Schumann (1810–1856), although not the last published. While the meter returns to a duple meter, the brass and winds play interwoven contrapuntal lines of the most expansive form of the theme while the strings push forward with constant 16th notes. A live reading from October 1968, however, reinforces Klemperer’s view of recording as a preparation for performance: the outer movements generate a magnetic intensity which could only result from that unanimity of purpose born of shared conviction. If his Schumann is less striking, this surely lies in the nature of the music rather than any interpretative shortcomings. Although, as explained in the message Robert Schumann: Symphony No.4, D minor, Op.120 it was the fourth of his Symphonies, it is known as Number III. This is played out first in the lower strings and bassoons, and then is repeated and varied.
This ‘dark horse’ among Schumann cycles has become an acknowledged classic. One version from this period that stands as a notable marker is that by Leonard Bernstein, here conducting the Stadium Concerts Symphony Orchestra of New York – actually the New York Philharmonic during late-night sessions for American Decca, where a need for minimal retakes saw him curb his spontaneous instincts. The Symphony No. Without radically altering approach, his remake with the Berlin Staatskapelle brings an appreciably more sensitive response, the richness of its strings offset by limpid woodwind and sonorous brass in a reading which is the highlight of his second cycle: a timely reminder that ‘big band’ need not equate with blowsy or insensitive. Although as was mentioned earlier, the key of E♭ major is known to have religious associations, this tonality is also generally perceived as heroic due to Beethoven's Third Symphony "Eroica". Not all conductors have tackled Schumann’s Second successfully a further time.
One of the clearest differences between Beethoven's and Schumann's approaches to using programmatic elements in their symphonies is that Beethoven actually left a title to his second movement: "Szene am Bach" (Scene at the Brook). Outer movements lack nothing in formal control or cumulative impetus, making for a thrilling close to Szell’s final European concert and one that should be on any shortlist. 97, also known as the Rhenish, is the last symphony composed by Robert Schumann (1810–1856), although not the last published. His impulsive if rarely too interventionist manner is better captured in a post-war performance from Vienna: the Philharmonic are a little inert in the opening Allegro, then stumble in the Scherzo, but the impulsive surges at the Adagio’s climaxes elicit as ecstatic a response as does the final surge towards the light.
A composer who had hitherto focused on piano cycles of a more or less illustrative nature was unlikely to jettison this approach when tackling the symphonic genre.
By comparison, the refinement Claudio Abbado (A/13) gets from Orchestra Mozart cannot avoid that encroaching blandness common to other of his late recordings. Reissued over five decades later (7/00), its virtues are self-evident – witness the Scherzo’s pert insouciance and the Adagio’s easeful yet never indulgent eloquence. 2, Op.
The Symphony No.
Here the lithe energy generated in the outer movements is complemented by the deftness of the Scherzo’s Trios and harmonic lambency of the Adagio; Dausgaard’s handling of momentum in the finale is an object lesson in resourcefulness. Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting "hurrah!".
Gürzenich-Orchester Köln, François-Xavier Roth, Schumann: Symphony No. In the fifth movement, the piece returns to E♭ major in duple meter with the spirited feeling of a Finale.
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By the end of his career Schumann had composed a total of four symphonies. Such unity is not absent from Simon Rattle’s version (7/14), yet his self-conscious approach, with its over-attention to detail and polished if low-key response by the Berlin Philharmonic, offsets a firmer recommendation.
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