Schumann- Symphony No. 3 in E-flat Major, op. 97 Part III
We continue our discussion of Schumann’s 3rd Symphony with movements III and IV.
- Lebhaft
- Sehr massig
- Nicht schnell
- Feierlich
- Lebhaft
III. Nicht schnell
The calm, pastoral mood of the second movement is continued in the third but with much less structure.
The third movement begins with a slow wind theme over pizzicato strings. At 0:22 the violins enter and begin a series of upward-sequencing lines soon joined by the flute.
A series of four-note ascents sequenced downward at 1:05 begins a section played almost in orchestral unison. The four-note ascents have an extra note added on to the end of the figure at 1:41 as the strings accompany the winds in the first phrase of theme one. The phrase ends in a quiet chord. A descending scale in the strings at 1:57 ascends and leads to a repeat of the same phrase. A wind/string passage with a pizzicato bass line ensues before more rising four-note motives at 2:50 signals a repeat of the entire section.
Theme one returns at 3:51 above the 5-note ascents in the strings. Theme one motives sound in several sections, and more variation and pseudo-development occurs beginning at 4:30. Slowly trilling basses underneath a rising and falling string/wind line beginning at 4:51 lead a final return of theme one motives in the winds at 5:25. More 5-note ascents followed by downward-sequencing two-note descents resolve to a soft wind chord and a pizzicato note from the strings.
IV. Feierlich
The fourth movement is solemn and ceremonial, composed after Schumann attended a ceremony in Cologne in which an archbishop was elevated to cardinal.
It opens with a loud orchestral tutti, from which a trombone chorale emerges slowly, much like the cardinal walking down the knave. Pizzicato strings provide spartan accompaniment to the organ-like sustains in the brass. Another pair of loud tuttis at 0:44 lead to an expansion of the theme in the strings and winds. The brass return to prominence beginning around 1:48, slowly rising from the bass line. Two tuttis at 2:24 are followed by a series of short string ascents before the processional theme returns in the trombones. The low strings play upward-sequencing two note motives beginning at 2:38 around the broad and powerful chorale.
The strings begin a countermelody at 3:14 before echoing the processional at 3:31. The theme suddenly drops in volume and is played very religiously at 3:55, again with a very organ-like texture as the voices and harmonies blend seamlessly. A small crescendo at 4:31 resolves to a dissonant chord, anxiously waiting for resolution.
At 4:41 the brass play a triumphant fanfare highlighted by a grand three-note, stepwise ascent in the trumpets. Quiet strings follow with a mournful wind line before the fanfare returns. A slow string descent at 5:45 serves as a backdrop to the processional and finally to loud, heavy tuttis in the strings, winds, and timpani (6:25) answered by brass chords.
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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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