Schumann- Symphony No. 3 in E-flat Major, op. 97 Part I
What we know as Schumann’s 3rd Symphony, op. 97 was actually the last symphony he composed, but the third that was published. The broad themes and powerful brass lines evoke images of the Rhine river around his final residence in the city of Dusseldorf before he was institutionalized for schizophrenia and manic depression.
The symphony is somewhat unusual in that it is set in five movements. The first three are cheerful and upbeat- the second movement scherzo being one of the most famous Schumann melodies. The fourth movement, “Feierlich” (“solemn”) provides a stark contrast to both the three preceding movements and to the bright and ebullient fifth.
The symphony was premiered on February 6, 1851 in Dusseldorf directed by Schumann himself. The moniker “Rhenish” was not ascribed by Schumann himself, but by the publisher Fritz Simrock who added it to the score based on remarks from Schumann that the symphony “mirrors here and there something of Rhenish life.”
- Lebhaft
- Sehr massig
- Nicht schnell
- Feierlich
- Lebhaft
I. Lebhaft
The symphony opens with a triumphant and glorious theme one, whose syncopated rhythm recurs throughout the movement. Initially in the strings with the rest of the orchestra accompanying, the melody soon moves to the low brass before a series of rising, staccato lines in the strings (0:24). A series of flurried rising and falling scales in the winds and strings at 0:35 lead to swinging dotted rhythms in the low strings before another statement of theme one in the brass at 0:55. A descending line of orchestral chords (1:13) lead to rapid descents in the strings before the oboe sings a slightly melancholy, lyric theme two at 1:32. Theme two is played in the strings immediately following the oboe statement before a transition based on theme one motives (1:50) descends back into theme two (2:07). Long ascending scales (2:19) followed by 3-note descents bring back theme one in the low brass at 2:38. The cadence begins at 2:46 and ends with theme one motives swinging between two pitches, ending the exposition on two tuttis at 3:01.
The development begins with a massive chord over string tremolos. Rising scales in the strings lead to another tutti chord before theme two motives (3:22) in the flutes, low strings, and oboe begin to build. Theme one motives in the strings (3:44) lead to rapid ascents in the strings finished by an accented note at the end of the figure. Theme two returns at 4:00 as the low strings play the rapid ascents underneath. A six-note motive is repeated and slowly sequenced upwards (4:20) in the strings, crescendoing but suddenly dissolving into nervous tremolos against which theme one motives in the brass sound ominously in the background (4:32). Three tremolos descend and the first phrase of theme one returns almost in its original incarnation in the exposition. A section dominated by 3-note descents (4:52) in the strings ends in more tremolos over hushed theme one motives in the low voices (5:09). More theme one motives and 3-note descents lead to theme two in the winds (5:34). A syncopated string and brass descent (5:48) resolve to quiet string tremolos and gradually lengthening theme one motives in the horn (6:05)- an effect not unlike that in Brahms’ First Symphony. Trumpets play fanfare-like figures quietly in the background (6:21) which are echoed in the low brass soon after. Theme one motives are modulated (6:40), ending the development with the return of theme one at 6:47.
The recapitulation at 6:47 sounds fuller than that at the beginning, with more connection between notes in the strings as well as trills. A rising motive in the strings (7:04) is sequenced upwards several times before descents based on theme one (7:23) and two-note descents in the flutes usher in the return of theme two (7:34). The transition and second statement of theme two (8:08) precedes rapidly rising scales in the strings are followed by orchestral 3-note descents. The cadence at 8:34 begins with theme one motives in the brass and strings with rising and falling interludes in the winds and strings. Soft, alternating notes gradually grow into the coda.
The coda begins at 9:05 with a triumphant figure in the brass based on theme one. Dotted four note ascents sequence downwards (9:13) before theme one motives and an orchestral descent resolve to forte brass chords answered by timpani rhythms end the movement.
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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1997 recording with the Vienna Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.
This article is part of the Music 365 series. To find out more about this project, please visit the project homepage.
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