3rd Symphony (Schumann)

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Title page of the first edition of the score, donated to Franz Liszt .

The 3rd Symphony in E flat major op. 97 ( Rhenish Symphony ) by Robert Schumann was written between November 7th and December 9th, 1850. Chronologically, it is Schumann's last symphony , since he published the symphony in D minor, which was published in 1851 in a revised form op. 120 , which is counted as his fourth, had already composed in 1841. The name Rheinische Sinfonie refers to the fact that the work was written shortly after the Schumanns moved from Dresden to Düsseldorf . The euphoric mood in which the move had put the composer is reflected in the cheerful mood of the work, which is often interpreted as a mirror of Rhenish happiness. The epithet of the symphony does not come from Schumann himself, but goes back, among other things, to his statement that the work was inspired by the impression that Cologne Cathedral made on him.

Emergence

Rhine panorama with Cologne Cathedral (right) around 1856, six years after the symphony was written.

In September 1850 Robert and Clara Schumann moved to Düsseldorf with their children . After Robert Schumann was denied a permanent position in Saxony , he was now able to take up a position as municipal music director, succeeding Ferdinand Hiller . While he had received little recognition in Leipzig and Dresden , the people of Düsseldorf gave him a warm welcome: On arrival he was serenaded by the choir, which had rehearsed his pieces, and welcomed with an official ceremony the next day.

This friendly reception and the joy of his new field of activity put Schumann in a euphoric mood, so that he immediately translated the impressions of the new surroundings into music: In October he first devoted himself to his Cello Concerto in A minor, Op. 129, from the 7th November he began work on a new symphony. There is a record of the composer saying that the sight of Cologne Cathedral was inspiring when the work was created. Schumann visited the building, which was still unfinished at the time, on September 29th, and on November 5th and 6th he was in Cologne a second time. The symphony was then written in a very short time: Schumann wrote the sketch of the first movement in a creative frenzy that lasted two days. After preparations for a subscription concert on November 21st had forced him to stop working on the symphony, he composed and orchestrated the remaining movements within a few days, so that the entire work was completed by December 9th.

Apart from the revision of the symphony in D minor , which was premiered in 1841 , the third Schumann's last symphony remained: The initial euphoria soon turned into dissatisfaction with the unreliability of the choir and orchestra. The audience also became more critical of Schumann, and there were also serious health problems, probably as a result of an early syphilis infection. At the beginning of 1854, a good three years after the premiere of the third symphony, Schumann tried to commit suicide by jumping into the Rhine ; he died two years later in a nursing home.

To the music

Even if the influence of the new environment on Schumann's Third Symphony can be regarded as certain and the designation as Rhenish is thus justified, it would not be in Schumann's sense to take it programmatically : the music does not describe the Rhine or the cathedral in terms of sound , but rather reflects what is associated with it Moods. In 1835 Schumann wrote to Wilhelm Taubert with this in mind :

“The way in which compositions are created doesn't really matter. Most of the time the composers themselves don't know. Often an external image transmits, and often a sequence of tones evokes that again. The main thing remains that good music comes out that always satisfies purely as music. "

Musically, Schumann had set himself the goal of making his third work easier to understand than what his previous symphonic works offered. The fact that Schumann chose German instead of Italian sentence names for the first time goes back to this intention. Some movements in the manuscript and in the program booklet even had headings that indicated the intended effect, but which Schumann removed for printing. In 1842 he wrote:

“It always remains a bad sign for a piece of music when it needs a heading; then it has not flowed out of the inner depths, but only stimulated by some external mediation. "

Compared to the usual four-movement form, the symphony has been extended by a fifth movement , but without becoming unusually long: the third movement in particular is short, so that the overall performance is around 35 minutes. The line-up calls for a symphony orchestra with strings, flutes, oboes, clarinets, bassoons, valve horns, French horns and trumpets, three trombones and timpani.

First movement: "Lively"

Even in the first bars of the main theme, the notation clearly shows the change between two and three accented accents, as well as the large leaps in intervals.

The first movement begins immediately with its distinctive, lively main theme. Although it is notated in 3/4 time , the theme is first emphasized hemioli in groups of two. Only in bar 7 does it change to a rhythm according to the beat, only to return to the hemioli in bar 14. Together with the lively leaps in intervals, this rhythmization contributes significantly to the energetic character of the movement.

The secondary theme has a lyrical character and is in a minor key.

The movement is based on the main sonata form , but deviates in some points from its traditional form: The secondary theme is usually in the dominant key, which would be B major here. Schumann, on the other hand, decides to have the oboes introduce a lyrical theme in bar 95 , which is in G minor, the parallel key of B flat major. The character contrast to the main theme is reinforced by the different tone sex . The secondary theme seems episodic at first, already in bar 111 the original theme revives. The exposition finally ends in B flat major, but - contrary to traditional practice - it is not repeated.

The execution from bar 185 takes up more space than any other part of the movement. Its opening is characterized by pronounced dynamic differences and takes up an eighth-note motif that was used for the first time in bars 26 and 27. In bars 201–272, the secondary theme gains importance, but is not broken down into its individual parts in the sense of the classic thematic-motivic work , but placed in different harmonic contexts. The theme starts piano twice here (bars 201 and 239) and in both cases marks the beginning of a process of improvement, in the course of which elements of the main theme are added: the motive pushing forward from bars 26 and 27 on the one hand, striking octave leaps on the other. In bar 273 the main theme finally returns, but initially adapted to the character of the secondary theme: it is presented in a cautious and mysterious manner in A flat minor by bassoon and low strings, starting with A flat . From bar 281 forte, in B major and started by the violins at b 2 , it gains its original radiant effect. The theme experiences a similar change from bar 311 onwards, now from E flat minor to F sharp major. In both cases, however, the triumphant upward ninth from bar 14 is missing , instead the momentum of the theme is slowed down at this point with a three-fold repeated chromatic downward movement. From bar 337 the secondary theme returns again, before in bar 367 the horns in the original E flat major signal like a stretched version of the main theme announcing the end of the development. Here Schumann almost anticipates the beginning of the recapitulation and thus blurs the boundaries of traditional molded parts.

From bar 411 the actual recapitulation begins , in which the main theme reappears in its original form for the first time. The secondary theme, which is usually in the main key ( tonic ) in this part , appears in measure 457 in its minor parallel, C minor. The recapitulation is rather short with 117 bars, after the development has already dealt extensively with the basic material of the first movement: the elan, the main theme dominating the movement, the urgent eighth-note figure from bars 26 and 27, as well as the subdued secondary theme in minor. The coda from bar 528 is also kept short compared to the opening movements in Schumann's other symphonies. It is carried by the rhythm and melody from the head of the main theme and thus confirms its predominance once again.

Second movement: "Scherzo: Very moderate"

This catchy, three-tone theme determines the second movement through its constant repetition.

The name of the second movement is contradictory: on the one hand it is headed Scherzo , which usually indicates a brisk tempo, on the other hand Schumann adds the instruction very moderately . In fact, the sentence is rather leisurely and has more of a country character . It is largely determined by a cozy, folkloric theme that is introduced right at the beginning and keeps recurring. It has often been associated with the waves of the Rhine, but one should not overestimate this association in view of Schumann's skepticism towards programmatic music.

The sentence has a seemingly simple three-part form (AB-A '), but the individual parts have a complex relationship to one another. In bars 1–16 the C major theme is initially repeated and varied several times, but as early as bar 17 it is contrasted by a restless, plucked sixteenth note figure in the strings, which is initially combined with the main theme from bar 29 . Form B, which follows from bar 33, has the character of a trio : It begins with a leisurely horn quartet in the parallel key of A minor and is characterized by the different timbres of changing brass instruments . Right from the start, eighth triplets are a recurring rhythmic element. The sixteenth-note figures continued pianissimo in the background by the strings, on the other hand, bring a moving moment to this part and create a connection to form A. In bar 50, the opening theme returns for four bars, but here it is in A major and is accompanied by the eighth note triplets characteristic of the B part. Following this, rhythmic and motivic elements from the B part are first taken up again until the pull of the recapitulation finally sets in in bar 77, which is followed by the opening theme again in part A 'from bar 79, now in its original key and the variations known from the A section. From bar 100, Schumann prepares the climax of the movement: At first the brass players play only fragments of the theme pianissimo, from bar 104 moving string figures build up tension. In the crescendo that now follows, the upward movement from bar 1 is repeated three times in ascending keys (F major, B major, G major) until bar 108 has returned to C major and the fortissimo theme returns in full. The short coda that now follows is introduced by signal-like brass, finally the opening theme piano appears one last time and dissolves, becoming quieter and quieter, into an ascending C major triad.

Third sentence: "Not fast"

In bars 1, 6 and 18, the three themes that provide the material for the third movement appear for the first time.

Schumann originally referred to the third movement as the Intermezzo . His tempo indication not fast is usually performed as andantino or allegretto. The short movement is in A flat major and has a contemplative, chamber music character. Schumann renounces the use of percussion and brass .

The form of the movement consists of three parts: First, the themes that provide the musical material for the movement are presented one after the other (see example of the score). Each of them also receives its own timbre through a change in the orchestration: If the sound of the clarinets still predominates at the beginning, the violins take the lead in bar 4 and present the second theme from bar 6, the violas play from bar 18 accompanied by the cellos, the third theme. The middle section that follows from bar 22 uses the fact that the themes are partly harmoniously compatible: They are now modified and linked with one another in alternating ways. The part begins with the second theme, to which the third is added from bar 28, followed by a combination of the first two themes from bar 36. The final part from bar 45 is marked by an A-G organ point. In it, fragments of the third and the first theme alternate until in bar 52, already pianissimo, the beginning of the second theme appears again and the movement fades out even more quietly due to the ever more economical orchestration.

Fourth movement: "Solemn"

Schumann had originally headed the fourth sentence with "In the character of the accompaniment of a solemn ceremony", but later deleted this name again. It is often associated with the consecration of Johannes von Geissel as cardinal , which took place on November 12, 1850 in Cologne Cathedral. However, it is known from Schumann's diaries that he was not in Cologne that day; thus, at most, his idea of ​​this ceremony could have played a role.

The theme of the fourth movement is sacred. Like the main theme of the first movement, it develops from quart intervals.

The sentence surprises the listener in several ways. In a four-movement symphony one would expect a quick final movement in its place; Instead, a broad, chorale-like theme sets in , which is reminiscent of a church ceremony in a representative building and whose pathetic character stands out from the other parts of the symphony. Schumann creates an additional tonal accent by using the trombones traditionally associated with church music for the first time in the entire symphony . This extraordinary sentence was often felt to be in need of explanation, as Clara Schumann also noted :

“I can't say which of the 5 sentences I like most… The fourth, however, is the one that is still the least clear to me; it is extremely artistic, I hear that, but I can't quite follow it, while hardly any measure remained unclear to me in the other movements, and the symphony, especially the second and third movements, is also very easily accessible to the layman. "

Often the sentence is interpreted as an attempt by Schumann to suggest Rhenish Catholicism by using old, strict sentence techniques .

This interlude in bars 6–8 recurs in the first part of the movement.

After a sforzato beat that breaks the silence of the third movement, the theme first develops pianissimo in the wind instruments, accompanied by plucked strings. It consists mainly of fourths and is reminiscent of the 3rd movement (Grave) of the Concerto grosso op. 6 No. 3 by Arcangelo Corelli as well as the C sharp minor fugue from the first and the D flat minor fugue from the second Volume of Bach's Well-Tempered Clavier . It is in E flat minor , the main key of the movement, which is not immediately apparent from the score, since Schumann only notices three accidentals. The theme exposure ends in bar 6 with a striking interlude of the strings that is derived from the main theme.

These two figures provide the basic material for the artfully polyphonically composed movement, which is sometimes interpreted as a triple fugue . The main theme first appears in the canon in the fifth , which, after a sustained process of increase accompanied by the string eighth figure, leads to the climax and conclusion of the first part in bars 22/23. The second part (bars 23–44) changes from 4/4 to a livelier 3/2 time. In it, the issue is again three times out tight , but in a louder and more pressing tone that through the now frequent contrapuntal supports used minor character. The final part from bar 45 is in 4/2. Up to bar 51 it contains the most flowing section of the movement due to continuous eighth notes, in which the main theme now appears prolonged. B major wind signals in bars 52 and 56 herald the end of the movement, which in the end lives entirely from dynamic contrasts and continues, but closes at a very calm tempo.

Fifth movement: "Lively"

The fifth movement returns to the carefree serenity of the first movement.

After the three slower movements, the final movement is again lively and emphatically cheerful. Its easily accessible structure and a repertoire of catchy melodies initially create a sudden contrast to the sustained fourth movement, but in the development and coda motifs adapted in tempo and character are adopted from this movement. Schumann's first biographer, Wilhelm Joseph von Wasielewski, connects the end of the third symphony with the cheerful bustle of the Rhinelander at the gates of the cathedral.

The secondary theme in B flat major also has a light-footed character.

Like the first movement, the fifth is based on a freely interpreted sonata main movement form . It begins immediately with a distinctive, lively theme that appears light-footed and playful through its upbeats and accents and thus defines the character of the entire movement. In a further development of the melody (from bar 17) syncope is added as a further rhythmic element. A flat major lead and longer note values ​​in bar 27 slow down the swing for the first time. In the following it increases continuously and culminates in a wind fanfare (bar 47), which is imitated by the strings. These then introduce the secondary theme in B flat major in bar 57 staccato . Like the main theme, it appears light-hearted, if less pushy.

In the following development, from bar 99, the short interlude appears suddenly and at a brisk tempo, the constant repetition of which had characterized the fourth movement. It is initially played solo by the high strings and is then incorporated into the accompaniment. The development here is only brief and culminates in a new, emerging motif that is reminiscent of the wind signals that introduced the end of the fourth movement. It appears for the first time in bar 130 in B major and in the lower register and is indicated twice in 134 and 138, beginning with b and d 1 , respectively . After a stretch of increasing agitation and volume, it emerges in bar 150 in E flat major, radiant, forte and in full length, thus anticipating the climax, which in the sonata movement normally means the return of the first theme in the main key (bar 154).

From bar 271 the coda quotes the main theme of the fourth movement in a more agitated form for a triplet accompaniment in the cellos and then strives for the climax of the movement: The faster instruction in bar 299 introduces a furious stretta , which finally ends with two sforzato beats Symphony finished.

effect

First page of the score published by Simrock in 1851.

The third symphony was premiered on February 5, 1851 as part of a colorful concert evening under Schumann's direction in Düsseldorf. The premiere was interrupted by spontaneous applause between the movements, and at the request of the enthusiastic audience there was a second performance just over a month later, on March 13th. In October 1851 the score was published by Nikolaus Simrock in print. Even today, Schumann's Third, together with the Spring Symphony, is one of his most popular symphonic works due to its accessibility and optimistic mood .

In the Rhineland, the beginning of the first movement is also known to a wide audience due to its use as the signature melody of the television program Here and Today by Westdeutscher Rundfunk, which has been produced since 1957 , although since 1998 instead of the beginning of the symphony only an arrangement of the head theme reduced to 16 seconds Use comes. The radio program Between Rhine and Weser , which has been in production since 1950, also used part of the second movement at times. Because of its high profile, the symphony is sometimes referred to as the unofficial anthem of the Rhineland.

After Schumann's death, his third symphony also found an enthusiastic audience outside of Germany: The first performance in England took place on December 4, 1865 in the Covent Garden Theater , followed by concerts in other cities. George Grove , in an article published in The Musical Times in 1909, judged the first movement of the symphony:

"Without doubt, whenever this Vivace is heard the claims of Schumann to be a master of music in its highest form will want no other advocacy."
"Without a doubt: Whenever this Vivace sounds, Schumann's claim to be a master of music in its highest form will not require any further advocacy."

Colleagues also criticized the symphony in individual aspects: Edvard Grieg and Hans von Bülow , for example, thought that they could find Felix Mendelssohn 's ideas in the work , and Tchaikovsky commented on the symphony that Schumann's late work would have “external form defects” if the content was not weakened more and more noticeable ”. With this he alludes to weaknesses in the orchestration, which Schumann was repeatedly accused of. However, numerous other authors protect the work from this criticism: Spies considers the relevant criticism to be exaggerated, Schlüren sees the third symphony only in a few places affected by balance problems in the orchestra, and Dannenberg points out that the Rhenish in particular is not part of Schumann's late work is to be regarded as a casual composition, but has acquired lasting importance.

literature

Sheet music editions

Introductions and Biographical Background

  • Arnfried Edler : Robert Schumann and his time . Laaber, new edition 2002, pages 200ff, ISBN 3-89007-530-4
  • Reinhard Kapp: Robert Schumann, Symphony No. 3 in E flat major, op.97, Rheinische. Introduction and analysis [and revision of the score], (Schott / Goldmann) 1981. Score pp. 7–164, text pp. 165–235
  • Irmgard Knechtges-Obrecht: Schumann's Symphony No. 3 . In: Wulf Kunold (Ed.): Lexicon Orchestermusik Romantik . Piper, 1989, pp. 753-756.
  • Klaus Schweizer and Arnold Werner-Jensen: Reclam's concert guide for orchestral music . Reclam, 17th edition 2001, pages 343 ff., ISBN 3-15-010500-5
  • Günther Spies: Reclam's music guide Robert Schumann . Reclam, 1997, pp. 270 ff., ISBN 3-15-010435-1
  • Karl H. Wörner: Robert Schumann . Piper series, 1987, pages 277 ff., ISBN 3-492-10829-6

Web links

Factory introductions

grades

Audio samples

Individual evidence

  1. ↑ Thomas Pehlken: Robert Schumann. Symphony No. 3, "The Rhenish" (see above)
  2. ↑ Klaus Schweizer and Arnold Werner-Jensen: Reclam's concert guide for orchestral music (see above)
  3. ↑ Quoted from: Wörner, Robert Schumann (see above), page 264
  4. ↑ Quoted from: Wörner, Robert Schumann (see above), pages 264/265
  5. ↑ Günther Spies: Reclam's music guide Robert Schumann (see above), page 273
  6. ↑ George Grove: Schumann's Symphony in E Flat. The Rhenish, Op. 97 In: The Musical Times , Vol. 50, No. 802, 1909, pp. 789-792. Page 791.
  7. ↑ Quoted from: Knechtges-Obrecht, Schumanns Symphony No. 3 (see above), page 755
  8. ^ Edler, Robert Schumann und seine Zeit (see above), page 202
  9. ↑ Günther Spies: Reclam's music guide Robert Schumann (see above), page 274
  10. ^ Reprinted from George Grove, page 791.
  11. ↑ History of the program "Hier und heute", website of Westdeutscher Rundfunk ( Memento from January 4, 2014 in the Internet Archive )
  12. ^ Collection of radio jingles from WDR 2
  13. ↑ George Grove: Schumann's Symphony in E Flat. The Rhenish, Op. 97 In: The Musical Times , Vol. 50, No. 802, 1909, pp. 789-792. Quote on page 790.
  14. ↑ Christoph Hahn (Ed.): The great concert guide. Bassermann, 2000, page 473.
  15. ↑ a b Peter Dannenberg: The Little Schumann Book. Residenz-Verlag, 1979, page 103.
  16. ↑ Günther Spies: Reclam's music guide Robert Schumann (see above)
  17. ↑ Christoph Schlüren: The Schumann Eroica? (see above)
This version was added to the list of articles worth reading on May 22, 2008 .