Schumann’s Symphony
No. 1 ‘Spring’ was composed
in 1841, shortly after his marriage
to Clara and sketched in a white-hot
haste of just four days. Descriptive
titles were originally given to the
four movements: ‘Spring’s Awakening’;
‘Evening’; ‘Merry Playmates’
and ‘Full Spring’. But when the
score was published the titles were
not used. Malcolm MacDonald in the booklet
notes states, "Schumann meant
it to express the longing for spring
and the burgeoning forces of nature,
and soon abandoned his programmatic
titles for the four movements."
Recorded Kingsway Hall,
Muti and his Philharmonia in the opening
movement of the ‘Spring’ Symphony
are uncompromising and highly-charged.
Spring has certainly awakened with a
bang. Muti has the Philharmonia fired
up for the occasion in an exuberant
performance bursting with joy and optimism.
I was impressed with the reading of
the Larghetto where Muti brings
out the character and heart of the music.
In the Scherzo there’s a slower
pace than I have come to prefer, then
at 3:46 he effortlessly speeds up. Muti
allows the music time to breathe in
this tautly controlled reading. In the
final movement Allegro animato e
grazioso a direct sense of forward
momentum is conveyed without losing
the character of the score’s magnificent
edifices. My ears were drawn to the
uplifting horn solo at 5:07 and the
Pan-like woodwind solo at 5:23; examples
of the impressive individual detail
of this performance.
The Symphony No.
2 was composed between 1845-46 and
is cast in four movements. Although
it is numbered as his second it was
actually the third to be written. Schumann
was badly affected by nervous problems
whilst working on this score and although
he explained that it was, "…a
souvenir of a dark period..."
he also explained, "It is music
of light and shade, sunshine and shadow."
In the opening movement
the Philharmonia provide impressive
bite and vitality. In the Scherzo
I appreciated their sharp and characterful
playing; the development towards the
climax of the movement is especially
outstanding. In the lyrical slow movement
in an affectionate interpretation the
maestro provides a natural and unforced
ebb and flow. The Finale marked
Allegro molto vivace is given
an epic reading: confident, fresh and
vital.
The five movement Symphony
No. 3, ‘Rhenish’ was actually
the last of the four to be composed.
The sights and sounds of the Rhineland,
including Cologne Cathedral, made a
significant impression on Schumann who
wrote that the symphony, "... perhaps
mirrors here and there something of
Rhenish life." The final movement
was said to be inspired by the prestigious
ceremony for the elevation of Archbishop
Geissel to the rank of Cardinal at Cologne
Cathedral and was originally entitled
‘In the Character of the Accompaniment
to a Solemn Ceremony’.
In the ‘Rhenish’
Muti and the Philharmonia provide noble
and immediate playing. There is a granite-like
ruggedness to their playing – something
of the formidable towering grandeur
of Cologne Cathedral. In the endearing
Scherzo Muti chooses a steady
and deliberate pace yet manages to sustain
dramatic interest. I loved the calm
and relaxed reading of the third movement
Intermezzo that seems to contain
a strong nocturnal feel. This is light
and thoughtful playing of the highest
quality. In the powerful and dramatic
reading of the fourth movement, Feierlich
one senses a strong current of vital
energy and splendour flowing through
the music. With its open-air character
the final Lebhaft is performed
with an unerring sense of purpose and
an astutely judged weight and precision
all expertly blended with remarkable
control. This is an outstanding performance.
Schumann wrote his
Symphony No. 4 in 1841 in the
aftermath of a nervous breakdown. The
score was the last of Schumann’s symphonies
to be published and the second to be
composed. Dissatisfied with the symphony
he revised the score ten years later
in 1851. Musicologist and composer Donald
Francis Tovey was of the opinion that
the symphony was, "…perhaps
Schumann’s highest achievement for originality
of form and concentration of material."
Schumann specified that the four movements
of the D minor score were to
be played without a break.
With incisive and bold
playing this version communicates a
dramatically mysterious opening movement,
developing the tension wonderfully.
The Romanze is Schumann’s shortest
movement in a symphony and here Muti
positions plenty of space around Schumann’s
lyrical themes to provide a feeling
of special intimacy. The Scherzo
is lovingly moulded with charm and vivid
colouring, however, I did find the chosen
pace a touch too measured for my preference.
In the finale this dramatic and intense
interpretation conveys an impressive
weight, robust spirit and ideal forward
momentum.
The Overture to
Die Braut von Messina was based
on Schiller’s classical tragedy. Schumann
uses a dominant leitmotif to represent
the grave curse that wreaks destruction
on the House of Messina. Muti and the
Philharmonia provide full-bodied and
determined playing in this exciting
score. Especially notable was the impressive
woodwind solo at 5:58-6:23 and the dramatic
climax that builds from 6:44 to 7:33.
Composed in 1851 the
Overture to ‘Hermann und Dorothea’
is an attractively melodic score based
on Goethe's epic poem. The text concerns
two lovers struggling against parental
opposition set against the background
of the French revolution. I estimate
that around fifteen percent of the overture
contains phrases from the French
national anthem La Marseillaise;
with its revolutionary associations.
The military, march-like opening is
immediately evocative of the score’s
revolutionary links. Muti and the Philharmonia
treat this score as seriously as they
would a Schumann masterwork, with tremendous
playing.
If I could have only
one set of the Schumann symphonies in
my collection it would delight me to
have these. However, I will not neglect
the fascinating and stimulating period
instrument accounts from John Eliot
Gardiner and the Orchestre Révolutionnaire
et Romantique on Deutsche Grammophon
Archiv Produktion 457 591-2. I also
have great affection for the compelling
modern instrument set from Wolfgang
Sawallisch with the Staatskapelle Dresden
on EMI 57768-2.
It is good to have
this highly impressive double set of
the Schumann symphonies from Riccardo
Muti on EMI Classics back in the catalogues.
The concise booklet notes from Malcolm
MacDonald are interesting and informative.
In addition I was extremely pleased
with the clear and well balanced sound
quality. Muti’s superb performances
and the top quality sound make this
a set that I recommend with confidence.
Michael Cookson
For quick access to the MusicWeb Schumann
symphony set reviews try the links at
the end of
http://www.musicweb-international.com/classrev/2004/Feb04/Schuman_symphonies_Barenboim.htm
New Philharmonia Orchestra/Riccardo Muti 
