Robert Schumann - Symphonies Nos. 3 ‘Rhenish’ and 4 (re-orchestrated by Gustav Mahler)

Robert SCHUMANN (1810–1856)

Symphony No. 3 in E-Flat Major, Op. 97, "Rhenish" (re-orchestrated by G. Mahler)

Symphony No. 4 in D Minor, Op. 120 (re-orchestrated by G. Mahler

Bergen Philharmonic Orchestra

Aldo Ceccato

Recorded:  1987-09-04/5, 1988-01-29/30 at the Grieg Hall, Bergen

Musicians in Saxony during the late 1830s might have known of Robert Schumann more as a music critic and editor of the Neue Leipziger Zeitschrift für Musik than as a composer. With wide interests, Schumann energetically threw himself into composing and literature, finally producing a broad range of more than 150 compositions over his tragically short 46-year life.

From the 1840s Schumann’s profile as a composer was definitely established, with Lieder cycles such as Liederkreis and Frauenliebe und -leben acknowledged as works of genius. His piano music, too, was highly regarded, with famous compositions such as the Fantasie in C, Carnaval and the Piano Concerto in A minor.

After Schumann’s death, with Wagner’s influence prevailing, there was a shift in opinion concerning Schumann’s longer and larger works, including his four symphonies premiered in 1841, 1846, 1851 and 1853 respectively. Critics found limitations in Schumann’s ability to hold bigger canvasses together, in his orchestration and in a certain unevenness of creative content.

Undoubtedly health issues affected Schumann’s reliability in professional life and to some this mirrored an unevenness in his output. Nevertheless, most agree that Schumann’s mastery of the Lied is peerless, and his love affair and marriage to Clara Wieck constitutes one of music’s great romances. These twin themes have assured him a special place in many listeners’ hearts. And despite what the critics said the four symphonies always had eminent admirers, Brahms and Mahler among them.

Schumann’s third and fourth symphonies were both written in a relatively settled state of mind and favourable social surroundings. In 1841 Schumann’s Symphony No. 1 had been well received and his marriage to Clara Wieck was proving a source of stability and comfort.

What was to become his Symphony No. 4 was originally conceived shortly afterwards in June 1841. With works by Liszt, Chopin, Berlioz and others in circulation this was a time to step forward, and Schumann planned a revolutionary and dramatic single movement symphony in

D minor with four sections and multiple connections. Unfortunately, its premiere by the Leipzig Gewandhaus Orchestra proved disappointing, with listeners confused at its continuous and elaborate structure. Schumann abandoned publication, only returning to the score ten years later in 1851. Following a substantial re-write involving re-orchestration and greater formal clarity the work had a successful premiere in 1853 with the Düsseldorf Orchestra under Schumann’s baton.

Schumann had obtained the salaried position of Düsseldorf municipal music director in 1850 and had celebrated moving from Leipzig to this Rhineland city, complete with his wife and five children, premiering his Symphony No. 3 ‘Rhenish’ in 1851, with the Düsseldorf Orchestra under his direction. Nearby the immense Cologne Cathedral was taking shape and sufficiently advanced for him to add a fifth movement to the usual four reflecting its gothic majesty. Otherwise, this joyous effervescent work seems to draw upon the good humour of Rhinelanders and warm beauty of Schumann’s new surroundings, in similar vein to Beethoven’s Symphony No. 6 ‘Pastoral’.

Gustav Mahler’s editions of all four Schumann symphonies lovingly and gently modify some of Schumann’s orchestration to better suit modern symphony orchestras of 90 or more players, rather than the 40 to 50 of Schumann’s time. However, Mahler couldn’t resist restoring some features of the Fourth Symphony’s original (1841) version, including omitting exposition repeats in the first and fourth movements. Neither could Brahms resist publishing the complete original (1841) score in 1891 despite Clara’s protests.