Schumann Symphony No. 1 in B-flat Major, op. 38 Part I
Robert Schumann was well-known in German musical circles before his First Symphony, but not for his compositions. His journal “Die neue Zeitschrift fur Musik” had established Schumann’s reputation as a critic and purveyor of the genre, but his first symphony would be a paradigm shift in how Schumann was viewed. Written in 1841 a year after he as finally able to marry his beloved Clara Wieck, Schumann reportedly completed the skeleton of the symphony in just four days. It was premiered in Leipzig on march 31, 1841 by Felix Mendelssohn and the Gewandhaus orchestra and was almost an instant success.
Set in the traditional four movements, Schumann’s romantic tendencies were initially manifested in the programmatic titles of the movement; “Fruhlingsbeginn” (Beginning of spring), “Abend” (Evening), “Frohe Gespielen” (Happy playmates), and “Voller Fruhling” (Height of Spring). He also takes some structural liberties, particularly in the third movement scherzo. In the outer movements the development really only focuses on one theme, leaving the other as kind of an afterthought. Motives recur throughout the symphony and the traditional key structure is acknowledged, but not followed strictly.
Luckily none of this matters in terms of pure musical enjoyment. Schumann’s First Symphony is exciting, memorable, and very accessible despite its irregularities.
I. Andante un poco maestoso – Allegro molto vivace
Sonata form
The symphony begins with a brass fanfare, whose rhythm and motives will become important very soon. The fanfare itself is the musical setting of a verse of a poem by Adolph Bottger, the symphony’s dedicatee. The verse reads
O wende, wende deinen Lauf-
Im Thale bluht der Fruhling auf!
(O turn, o turn and change your course-
In the valley spring blooms forth!)
The brass are soon joined by the strings for the second phrase of the fanfare before a bleak ascent and descent over a stormy timpani roll. Quick descents in the low strings are followed by hesitant wind figures (0:35) followed by tremolo strings punctuated by loud tutti brass chords. The pattern repeats (0:55) and the key switches to major for the second round of brass chords. The winds intone a lyric and calm version of the fanfare over gently rocking strings before a flute descent (1:37) leads to another flat, serene section with little bird calls in the flute and clarinet. Repeating string figures alternate between the upper and lower voices and begin to pick up speed and urgency. A brass descent signals the end of the introduction and the beginning of the brilliant and bright exposition.
Theme one (2:39) is nothing more than a sped-up restatement of the fanfare heard at the beginning of the movement. Given weight by timpani hits at the beginning of the motive, it provides rhythmic drive for the entire piece. The fanfare is followed by an alternating descent in the violins before another statement of the fanfare. Fanfare motives in the brass are finished in the winds before the strings (3:00) play theme one with brass accompaniment. Theme-one based transitional material begins at 3:06 and decrescendos delicately into a murmuring horn rhythm.
Theme two is a simple, quiet melody introduced by the clarinet at 3:17. It is based off of two-note ascents followed by an expanded “turn” motive (a descent and a one-note ascent). Scurrying strings accompany the theme as flutes and pizzicato violins play the melody. The second phrase is heard in the strings, consisting mainly of a trill followed by an arpeggiated ascent (3:32). Tremolo descents in the strings lead to a triumphant, forte statement of the second phrase of theme two. The transition back to the exposition begins with a long wind ascent (3:52) punctuated with loud brass and string tuttis, similar to a section heard in the introduction. Raucous timpani and tutti chords end the exposition. Normally the exposition is repeated in performance.
The development begins at 5:32 with heavy fanfare motives in the strings. Turn motives in the winds over pedal tones in the low strings lead to an ominous-sounding oboe melody over continuously repeating fanfare motives (5:47). The oboe melody is extended by the clarinet. Theme one motives sequence upwards before a somewhat muffled, almost distant version is heard in the background. The proceeding string descents instead switch to the clarinet as the triangle makes an appearance (6:14). Fanfare motives in the strings and brass are answered quietly in the winds before the oboe’s developmental melody is heard in the flute (6:46). The oboe returns as fanfare melodies briefly pick up speed. At 7:10 the winds play a series of ascents over hushed strings followed by a 3-note orchestral ascent. The section is repeated and shortened as tension builds. Tremolo strings support minor versions of the fanfare in the winds over loud calls from the brass and timpani (7:40). The climax of the movement occurs at the end of the development as the introduction is (for all practical purposes) recapitulated at 7:51 underneath a shimmering string tremolo and strengthened by the timpani.
Theme one is recapitulated at 8:19 after a cadential brass descent to end the fanfare. Theme one is abbreviated, as theme two follows quickly at 8:44. The coda begins at 9:17 with fanfare motives played quietly in the strings. These are sequenced upwards and separated by accents from the rest of the orchestra. A wind descent at 9:54 leads to a mild surprise- a new theme is introduced by the strings at 10:01. Lyric and calm, it serves the same purpose as slow movements do in the middle of symphonies- to offer a respite from the breathless pace of the rest of the movement.
Pulsing low strings at 10:40 start to urge the movement towards its conclusion as the winds and strings converse and quiet. The flute ascends (10:54), ushering the fanfare back from the brass. Tutti alternating descents lead to repeated intervals by the brass and timpani before cadential chords bring the movement to its brilliant conclusion.
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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.
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