Robert Schumann (1810 - 1856) Symphony No. 3 in E flat Schumann's Third Symphony, the 'Rhenish', is his last symphony (the Fourth was actually written after the First). It was written in 1850, after Schumann's appointment as conductor of the orchestra at Dusseldorf. It represents the height of Schumann's 'Classical' period which began with the Second Symphony, and continued with works such as the Konzertstuck for Four Horns and the Violin Concerto. With these works, Schumann said that he wanted to develop ideas in his head rather than on the keyboard. The result is a more intellectual and contrapuntal style of composition than in his earlier works. As its name suggests, the symphony is a celebration of the glorious Rhineland, which inspired generations of German composers, most notably Richard Wagner. Interestingly, the symphony is in five movements rather than the more usual four. The 'extra' fourth movement, originally subtitled 'In the style of an accompaniment to a solemn ceremony', was inspired by a visit to a Cologne cathedral. Scoring: 2 flutes | 2 oboes | 2 clarinets | 2 bassoons 4 horns | 2 trumpets | 3 trombones Strings Timpani FIRST MOVEMENT : Lebhaft (Lively) FORM: Sonata Form KEY: E flat Listen to this movement (RealAudio file) LIVE PERFORMANCE: The Queensland Youth Symphony Orchestra, conducted by John Curro The symphony opens with a broadly majestic principal subject, played by the violins and supported by the wind and brass sections: Ex. 1 A transitional passage is formed from two scale-like motifs (Exs. 2 and 3), both of which play a major role in the development of the movement: Ex. 2 Ex. 3 These motifs are combined with fragments from the principal subject, and modulate into G minor for the wistful secondary subject, played by the woodwind: Ex. 4 This melody is immediately followed by a closing section, mainly consisting of a modified version of the principal subject: Ex. 5 There is a brief restatement of the secondary subject by the strings, followed by the scale motifs, and finally the modified principal subject. The exposition ends joyfully in B flat major. A varied and resourceful development section follows, utilising all of the thematic material introduced in the exposition. The recapitulation is announced in a grand manner by the four horns, followed by a recapitulation, with a shorter, modified transitional passage. The secondary subject returns in C minor, and the movement ends in the home key of E flat with a short, declamatory coda. SECOND MOVEMENT: Scherzo (Sehr maessig) FORM: Synthesis of sonata form, ternary form, and variations KEY: C Click here to listen to this movement (RealAudio file) LIVE PERFORMANCE: The Queensland Youth Symphony Orchestra, conducted by John Curro This Scherzo is one of Schumann's most masterly and innovative symphonic creations. The melodies are based on the Landler, which is a German folk-dance. Structurally it is a fascinating synthesis of ABA Scherzo form, Variation form, and Sonata form. The movement opens with a rustic tune in C major, first stated by the violas, cellos, and bassoons, with the rest of the orchestra joining in later on: Ex. 6 This is followed by something akin to a variation of the main theme, using ascending staccato figures: Ex. 7 A new theme is then introduced in A minor by the horns, then continued by the wind: Ex. 8 A brief development section follows, using both of the main themes. Eventually we end up back in C major for the return of the main theme. There is coda utilising the full brass section, and the movement gradually winds down, ending with a soft pizzicato note in the strings. THIRD MOVEMENT: Nicht Schnell (Not fast) FORM: Ternary form KEY: A flat The slow movement opens with a gentle, lilting melody for the woodwind (the main theme of the movement): Ex. 9 This is continued by the strings. Note the two important motifs - a chromatically ascending semiquaver figuration, and a quaver motif: Ex. 10 The violas and bassoons begin the central development section with a new theme: Ex. 11 The development uses this theme in combination with the two motifs mentioned earlier. The main theme returns, and the movement ends peacefully in A flat major. FOURTH MOVEMENT: Feierlich (Solemnly) FORM: Free contrapuntal fantasia on two subjects KEY: E flat minor The mood of the symphony changes abruptly with this dark, sinister slow movement in E flat minor. The movement is another astounding creation, rich in contrapuntal invention. It is basically built on two subjects, one broad and imposing (Ex. 12), the other short and pointed (Ex. 13): Ex. 12 Ex. 13 The movement is too complex to go into great detail here, but the style of development is much like that of Bach's fugues. The full brass and wind burst forth near the end of the movement with a triumphant chorale in B major: Ex. 14 The movement returns to E flat major, and concludes sombrely. FIFTH MOVEMENT: Lebhaft (Lively) FORM: Modified sonata form KEY: E flat Schumann's natural optimism returns in this bright, jaunty movement. It is again formally unusual - it is a kind of Sonata form movement without a development section. The movement consists of several themes that are stated and recapitulated in a fairly free manner. The first of these themes (the principal subject) is played by the strings, then repeated: Ex. 15 This is followed by another theme, a little lighter in feel: Ex. 16 Another theme follows, with important implications for the scheme of the movement: Ex. 17 A transition leads to a theme in B flat major, stated by the woodwind: Ex. 18 Ex. 17 returns in a modified guise, forming what could be called the secondary subject. A series of fascinating modulations eventually lead into F sharp minor, where material from the fourth movement returns: Ex. 19 The exposition ends with a chorale-like theme stated by the brass, firstly in C flat major, then in the dominant key of B flat major: Ex. 20 This theme is then stated in the home key of E flat. A free recapitulation follows, with many passages modified or shortened. The coda recalls the main theme of the fourth movement, and the symphony ends triumphantly in E flat major. Back to top of page