Post by erik on Aug 22, 2015 18:20:22 GMT -5
A work that is technically a symphony, but not designated by the composer as such, and missing a slow movement, is in this week's Classical Works Spotlight--a minor masterpiece from perhaps the most troubled of all composers.
Schumann: OVERTURE, SCHERZO, AND FINALE IN E MINOR/MAJOR, OP. 52
In a lifetime in which he was tortured by mental illness to the point of near-suicide and an untimely demise, Robert Schumann was nevertheless able to forge a fairly forward-looking identity when it came to writing for the orchestra. That productivity included the composition of four symphonies, each of which retains solid places in the concert repertoire. But in-between what we know to be his First Symphony (the ever-popular “Spring") and what we know to be the Second (in C Major), Schumann composed another orchestral work that is technically a symphony in all but name, and missing a slow movement. That work, known as “Overture, Scherzo, And Finale”, was originally composed in 1841, almost immediately following the completion and first performances in Leipzig of the Spring Symphony, but it was re-orchestrated by the always-doubting composer four years later. The orchestration is mostly of late Classical/early Romantic proportions, roughly equal to that of Beethoven’s Fifth and Sixth symphonies, and Schubert’s Eighth and Ninth (with three trombones), and is highly propulsive in each of the movements, displaying that Schumann’s reputation as an opaque orchestrator is not really deserved. The finale’s coda erupts with a grand gesture in the brass that is reminiscent of Handel’s Royal Fireworks Music overture. While not often heard in concerts all that much, this three-part orchestral piece has seen its share of recordings in the last fifty years, and seems especially important in shining a light on a composer whose life on Earth was often troubled, but which nevertheless produced a fair amount of music that is played well into the 21st century.
Indianapolis Symphony Orchestra/RAYMOND LEPPARD (Koss Classics)
Included:
OVERTURE TO “GENOVEVA”, OP. 81
SYMPHONY NO. 1 IN B FLAT MAJOR, OP. 38 (SPRING)
Schumann: OVERTURE, SCHERZO, AND FINALE IN E MINOR/MAJOR, OP. 52
In a lifetime in which he was tortured by mental illness to the point of near-suicide and an untimely demise, Robert Schumann was nevertheless able to forge a fairly forward-looking identity when it came to writing for the orchestra. That productivity included the composition of four symphonies, each of which retains solid places in the concert repertoire. But in-between what we know to be his First Symphony (the ever-popular “Spring") and what we know to be the Second (in C Major), Schumann composed another orchestral work that is technically a symphony in all but name, and missing a slow movement. That work, known as “Overture, Scherzo, And Finale”, was originally composed in 1841, almost immediately following the completion and first performances in Leipzig of the Spring Symphony, but it was re-orchestrated by the always-doubting composer four years later. The orchestration is mostly of late Classical/early Romantic proportions, roughly equal to that of Beethoven’s Fifth and Sixth symphonies, and Schubert’s Eighth and Ninth (with three trombones), and is highly propulsive in each of the movements, displaying that Schumann’s reputation as an opaque orchestrator is not really deserved. The finale’s coda erupts with a grand gesture in the brass that is reminiscent of Handel’s Royal Fireworks Music overture. While not often heard in concerts all that much, this three-part orchestral piece has seen its share of recordings in the last fifty years, and seems especially important in shining a light on a composer whose life on Earth was often troubled, but which nevertheless produced a fair amount of music that is played well into the 21st century.
Indianapolis Symphony Orchestra/RAYMOND LEPPARD (Koss Classics)
Included:
OVERTURE TO “GENOVEVA”, OP. 81
SYMPHONY NO. 1 IN B FLAT MAJOR, OP. 38 (SPRING)
. I enjoy those too. This year, I'm much enjoying the recordings of Schumann's violin and piano concertos coupled w. piano trios, by Isabelle Faust/Alexander Melnikov/Jean-Guiehen Queyras, and Pablo Heras-Casado conducting the Freibourg Baroque Orch. (The cello concerto is still to come in 2016). Startling interpretations with, as might be expected, more emphasis on the classical 'heart' of the works than 'Romantic emotionalism.' Very revealing of some aspects of Schumann though. He's a composer who is very backward-looking and forward-thinking all at once, cerebral and sentimental at once too (as he himself attributes to the 'Florestan' and 'Eusebius' parts of his personality). I think I've come to discover him more than any other composer the past 20 years or so, and appreciate diverse approaches too.