Symphony No. 3 (Schumann)

The Symphony No. 3 in E flat major, Op 97 ( Rhenish Symphony ) by Robert Schumann was written between November 7 and 9 December 1850. Chronologically Thus it is in Schumann's last symphony he had completed the 1851 published in revised form Symphony in D minor op 120, which is counted as his fourth, was composed in 1841. The term Rhenish Symphony points out that the work was written shortly after the move of the Schumann from Dresden to Dusseldorf. The euphoric atmosphere in which the move had put the composer, is reflected in the joyful mood of the work, which is often used as a mirror " Rhenish cheerfulness " interpreted. The nickname of the symphony is not from Schumann himself, but goes back among other things, his statement that the work was inspired by the impression that the cathedral had made ​​on him.

• 5.1 sheet music
• 5.2 Introductions and Biographical Background

• 6.1 Introductions
• 6.2 notes
• 6.3 Samples

Formation

In September 1850 Robert and Clara Schumann moved with her children to Dusseldorf. After Robert Schumann had been denied a permanent position in Saxony, he was able to take a post as municipal music director in succession of Ferdinand Hiller. While it is little recognition was given to become in Leipzig and Dresden, Düsseldorf gave him a warm welcome: On his arrival he was by the choir, the pieces had learned from him, greeted with a serenade and welcomed with an official ceremony the next day.

This friendly reception and the joy of his new field of activity offset Schumann in a euphoric mood, so he immediately implemented the impressions of the new environment in music: In October, he devoted himself to his first Cello Concerto in A minor, Opus 129, from 7 November, he began work on a new symphony. It is recorded a statement of the composer that the sight of the Cologne Cathedral 've had an inspiring effect on the development of the work. Schumann had at that time still unfinished building visited on 29 September for the first time on 5 and 6 November, he held a second time in Cologne. The symphony was then in a very short time: The sketch of the first movement Schumann wrote in a two -day creative frenzy down. After the preparations had for a subscription concert on 21 November forced him to suspend the work on the symphony, he composed and orchestrated the remaining sets each within a few days, so that the whole work was completed on 9th of December.

Aside from the revision of 1841, premiered Symphony in D minor, the third Schumann was last symphony: The initial euphoria soon turned into dissatisfaction with the unreliability of the choir and orchestra. The audience was more critical of Schumann and added a severe health problems, probably as a result of the early syphilis infection. In 1854, a good three years after the premiere of the Third Symphony, Schumann attempted to take his own life by jumping into the Rhine, he died two years later in a nursing home.

About the Music

Although the influence of the new environment can be considered to Schumann's third symphony as secured and the designation as Rheinische is therefore justified, it would not in the sense of Schumann, to regard them programmatically: The music does not describe tonmalerisch the Rhine or the Duomo, but that reflects associated moods resist. 1835 Schumann wrote to that effect to Wilhelm Taubert:

"In what way images are created, does not really matter. Most do not know that the composer himself. Often initiates an outward image further, often calls a sequence of notes again that out. The main thing is that good music comes out, which always satisfy even purely as music. "

Musically Schumann had set itself the goal at his Third, to achieve easier to understand, as they offered his previous symphonic works. This intention may be, the fact goes back that Schumann first German instead of Italian set names selected here. Some sentences contributed in the manuscript and in the program of the first performance even headers, pointing to the desired effect, the Schumann, however remote the time of printing. In 1842 he wrote:

" One does not bode well for a music it is always when they need a heading; it is then not unswollen the inner depth, but stimulated only by some external agency. "

Compared to the usual four-movement form, the symphony is extended to a fifth set, without thereby however, be unusually long: in particular, the third sentence is short, so that the performance period is a total of about 35 minutes. The cast calls for a symphony orchestra with strings, each doubly occupied flutes, oboes, clarinets, bassoons, horns valve, french horns and trumpets, three trombones and timpani.

First sentence: " Vivid"

The first movement begins immediately with its striking, sweeping main theme. Although it is listed in the 3/4-time, the topic is first emphasized hemiolisch in groups of two. Only in bar 7 it ​​goes into a proper rhythm clock to return to clock 14 back to the hemiolas. Together with the busy interval jumps contributes significantly to this rhythm energetic character of the movement.

The set is based on the sonata form, differs in certain respects, however, from its traditional form: Thus, the second subject is usually in the dominant key, which would be B flat here. Schumann decides against it for it to be in tact 95 of the oboes a lyrical theme to introduce, which is in G minor, the relative major of B flat major. The contrast of character to the main theme is reinforced by the different scale type. The secondary theme is initially in episodic, already in 111 clock sought the original theme again. The exposure eventually ends but in B flat major, but - unlike traditional practice - not repeated.

The implementation from bar 185 takes up more space than any other form part of the sentence. Your opening is characterized by distinct dynamic differences and engages eighth motif for the first time in bars 26 and 27 are used again. In measures 201-272 now first wins the second subject in importance, however, is not decomposed in the sense of classical thematic- motivic work into its component parts, but placed in different harmonic contexts. Twice continues the theme this piano one (bars 201 and 239) and marked in both cases, the start of a increase process should occur in the course of which elements of the main theme: the forward pressing motive of bars 26 and 27 on the one hand, distinctive octave leaps the other. In bar 273 the main theme finally returns initially but adapted to the character of the secondary theme: behavior and mysterious it is presented in A flat minor bassoon and low strings, starting at As. From bar 281, it is getting forte, in B major and started by the violins now at h2 its original radiant effect. A similar transformation is experiencing the issue at bar 311 a second time, now of it major to F major. In both cases, however, lacks the triumphant upward None from clock 14, the momentum of the topic at this point is instead slowed with a three times repeated chromatic downward motion. From bar 337 again returns to the page topic before in measure 367 the horns in the original E-flat major signal like a stretched version of the main theme to announce the end of the implementation. Here Schumann takes the beginning of the recapitulation quasi already anticipated and thus blur the boundaries of traditional moldings.

From bar 411 the actual recapitulation, in which the main theme for the first time appears in its original form begins. The secondary theme, which is in this part usually in the home key ( tonic), C minor appears in measure 457 in its relative minor. The recapitulation falls with 117 cycles rather briefly after the implementation has already dealt extensively with the base material of the first movement: the elan full, the set of dominant main topic, the pressing quaver figure out the cycles 26 and 27, and the subdued theme in a minor key. The coda from bar 528 is kept short compared to the first movements in Schumann's other symphonies. It is supported by rhythm and melody from the head of the main theme, confirming close by once again its dominance.

Second sentence: " Scherzo: Very moderate"

The name of the second sentence is contradictory: on the one hand, it is overwritten with " Scherzo ", which usually indicates a brisk pace, on the other hand, Schumann sets the statement " very moderate" added. In fact, the rate is more leisurely, and has more the character of a ländler. He is determined largely returns from a cozy, folkloric theme, which is introduced at the beginning and resistant. It has often been associated with the waves of the Rhine, but should not make this association in view of Schumann skepticism about programmatic music overstate.

The set has a seemingly simple three -part form (AB -A '), the individual parts are, however, in a complex relationship to each other. In measures 1-16, the C major theme is first repeated several times and varied, but already in cycle 17 enters him as a counterpart a restless, plucked semiquaver figure in the strings over which is initially combined at measure 29 with the main theme. The following from bar 33 form part B has the character of a trio: It begins with a leisurely horns quartet in the relative key of A minor and is characterized by the different tones alternating brass instruments. From the beginning, make eighth note triplets a recurring rhythmic element dar. contrast, the pianissimo in the background out of the strings sixteenth figures bring a moving moment in this part and connect to form part A here. In bar 50 returns four bars long the opening theme returns, but is here in A- flat major and is accompanied by the characteristic of the B- part eighth note triplets. Following this, rhythmic and motivic elements from the B- part are first taken up again until at bar 77 finally used the suction to the recapitulation, to in part A ' from bar 79 again follows the opening theme, now back in its original key and known from the A- part variations. From bar 100 Schumann prepares the climax of the movement: first, the brass play pianissimo only fragments of the theme, from bar 104 build moving string figures tension. In the subsequent Crescendo is the upward movement of clock 1 three times in ascending keys repeatedly ( F major, B flat major, G major ), is to clock 108 arrived again in C major and returns the theme fortissimo in full length. The ensuing brief coda is initiated by signal-like brass, finally the opening theme piano appears one last time and dissolves, always becoming quieter, in an ascending C major triad.

Third sentence: " Not fast "

The third set was originally described by Schumann as " Intermezzo ". His tempo indication " not fast " is usually defined as andantino or allegretto executed. The short sentence is in A flat major and has quiet, chamber music character. Schumann waived him in the use of percussion and brass.

The form of the sentence is in three parts: First, the topics that provide the set of the musical material, presented in sequence ( see note example). Each of them receives an additional by a change in the orchestration with a different sound: prevails at the beginning nor the sound of the clarinet before, so already take in measure 4, the violins, the guide and present from cycle 6, the second topic, the violas play from bar 18 accompanied by the cellos the third theme. The following clock from 22 middle part uses the fact that the issues are partly harmoniously compatible: You will now be modified and in varying linked together. The section starts with the second topic on which from bar 28 in the interplay occurs the third added, followed by a combination of the first two topics from measure 36 The final part from bar 45 is characterized by an As- G pedal point. To first go to him from fragments of the third and the first theme, to clock in 52, already pianissimo, again the beginning of the second theme appears and the set even more quietly becoming decays by increasingly economical orchestration.

Fourth sentence: " Solemnly "

The fourth set of Schumann had originally entitled " On the character of the accompaniment of a solemn ceremony ", this name is deleted later. He is often associated with the consecration of John Geissels cardinal in conjunction, which took place on November 12, 1850 in Cologne Cathedral. From Schumann's diaries, however it is known that he did not stop on this day in Cologne; thus could at most have played a role in his vision of this ceremony.

The sentence surprised the audience in several ways. In a four-movement symphony, one would expect a fast final movement in his place; instead uses a wide, chorale-like theme that is reminiscent of a religious ceremony in a prestigious building and its pathetic character stands out from the rest of the symphony. An additional tonal accent creates Schumann by the trumpets throughout the symphony starts for the first time, which are traditionally associated with church music. This exceptional sentence was often perceived as in need of explanation, as quoted Clara Schumann:

" Which of the 5 sets me the dearest, I can not say ... The fourth, however, is that which is least clear to me yet; he is very artful, I hear, but I can not quite follow while I probably was not clear to the other sentences hardly a clock at all even for the novice, the second and third movement is the symphony, especially very easy to access. "

Often, the sentence is interpreted as an attempt Schumann to have hinted " Rhenish Catholicism " by resorting to old, strict set of techniques to.

After a sforzato - blow that breaks the silence of the third sentence, the subject initially developed pianissimo in the winds, accompanied by plucked strings. It consists mainly of fourths and reminiscent of the 3rd movement ( Grave ) of the Concerto Grosso Op 6 No 3 by Arcangelo Corelli and to the C-sharp minor fugue from the first, and to the dis -minor fugue from the second band of Bach's Well-Tempered Clavier. It is in E flat minor, the home key of the sentence that is not immediately apparent from the score, as Schumann listed only three sign. The topics exposition ends in 6 clock with a striking interlude of strings that is derived from the main theme.

These two figures provide the basic material for the elaborate polyphonic through-composed sentence, which is sometimes interpreted as a triple conducted joint. The main theme appears initially in the canon at the fifth, which leads to a raised, accompanied by the strings quaver figure enhancement process in clock 22/23 to a climax and conclusion of the first mold part. The second part (bars 23-44 ) moves from 4/4- to a livelier 3/2-Takt. In it, the issue will turn out in triplicate closely, but in a louder and more pressing tone that is supported by the now frequent contrapuntal used minor character. The final part from bar 45 is available in 4 / second Up to 51 clock it contains the fließendsten due by running eighth section of the sentence in which the main theme now appears prolonged. B major wind signals terminate in bars 52 and 56 at the end of the sentence, the last living entirely of dynamic contrasts and forte, but closes in a very relaxed pace.

Fifth set: "Live "

After the three slower movements of the final movement is lively again and emphasizes cheerful. Its accessible structure and a repertoire of catchy melodies make the fourth set initially supported a sudden contrast here, but adapted to the pace and character designs are taken from this set in development and coda. Schumann's first biographer, Wilhelm Joseph von Wasielewski, brings the conclusion of the third symphony with the cheerful bustle of Rhinelander at the gates of the cathedral in conjunction.

As the first sentence is based and the fifth at a freely interpreted sonata form. He starts immediately with a distinctive, lively theme, the light-footed and playful acts by upbeats and accents and thus defines the character of the complete set. In a further development of the melody ( from bar 17) syncope added as another rhythmic element. A-flat major suspensions and longer note values ​​in bar 27 slow down the momentum for the first time. In the following it continuously increases again and culminates in a brass fanfare (measure 47), which is imitated by the strings. These represent then in measure 57, the staccato theme in B- flat major before. As the main theme, it acts carefree, though less forward urgently.

In the following implementation dive clock 99 abruptly and at a brisk pace, the short interlude, whose constant repetition had dominated the fourth set. It is first solo played by the upper strings and is incorporated in the further course in the accompaniment. The implementation is only briefly here, culminating in a new, emerging motif, reminiscent of the wind signals that had been initiated by the end of the fourth set. It appears in measure 130 for the first time in B major and in the lower register and is indicated in 134 and 138 respectively at h d1 starting twice. After a distance -enhancing emotion and volume occurs in measure 150 in E Flat Major forth radiant, forte, full-length, and thus takes the highlight anticipated, which normally means the return of the first theme in the tonic key in the sonata movement (bar 154).

The coda quotes from bar 271 to a triplet accompaniment in the cellos the main theme of the fourth movement in bewegterer form and then aimed at the climax of the movement to the instruction " faster " in measure 299 leads a furious Stretta, which ended up with two sforzato - shock ends the symphony.

Effect

The Third Symphony was premiered on February 5, 1851 as part of a colorful evening concert under Schumann's line in Dusseldorf. The premiere was interrupted by spontaneous applause between movements, there was a second performance at the request of enthusiastic audience already more than a month later, on March 13. In October 1851, the score was published by Nikolaus Simrock in pressure. Even today, Schumann's Third counts due to their accessibility and optimism in mind, together with the "Spring Symphony" to his most popular symphonic works.

In the Rhineland, the beginning of the first sentence above, it is known here and now of the West German Broadcasting a wide audience due to its use as the theme song of the television program produced since 1957, although since 1998, instead of the beginning of the symphony only a reduced to 16 seconds Arrangement of the head topic for used. The produced since 1950 radio broadcast between the Rhine and Weser sometimes used in addition, a portion of the second set. Because of their high visibility of the symphony is sometimes referred to as " the unofficial anthem of the Rhineland ".

After the death of Schumann 's Third Symphony has also found an enthusiastic audience outside Germany: The first performance in England took place on December 4, 1865 held at the Covent Garden Theatre, it was quickly followed by concerts in other cities. George Grove ruled in 1909 in the journal The Musical Times published article on the first movement of the symphony:

From colleagues Symphony in individual aspects but was also criticized: So thought about Edvard Grieg and Hans von Bülow, in the work ideas Felix Mendelssohn recover, and Tchaikovsky expressed in terms of the symphony, in Schumann's late works were " in undiminished force the substance of" the " outer form defects always noticeable ." By this he alludes mainly to weaknesses in the orchestration that were Schumann always blamed. However, many other authors take the work prior to this criticism in protection: How Spies holds the related criticism is exaggerated, Schlüren sees the third symphony in a few places of balance problems in the orchestra affected and Dannenberg points out that just the " Rhenish " within Schumann late work is to be regarded as casual composition not, but has gained lasting importance.

Trivia

The leitmotif of the Rhenish Symphony is December 1, 1957 the date of the first shipment, to date, the signature tune of the newscast here and now of the WDR temporarily. Different edits So this piece has been present for generations, the audience for this station.