Symphony No.4 in D minor (Original Version) - Robert Schumann скачать в хорошем качестве

Symphony No.4 in D minor (Original Version) - Robert Schumann

WDR Symphony Orchestra Cologne conducted by Heinz Holliger. I - Andante con moto - Allegro di molto (0:00) - Romanza. Andante (8:06) - Scherzo. Presto - Largo (11:52) - Finale. Allegro vivace - Più vivace - Presto (17:54) Schumann's Symphony No.4 was composed between May and October 1841, shortly after Symphony No.1 and the Overture, Scherzo and Finale. It was premiered on December 6 of 1841, performed by the Leipzig Gewandhaus Orchestra conducted by Ferdinand David. The piece was coldly received for multiple reasons; first for being part in a long concert with multiple pieces, second for its several innovations that confused the public, and third because Mendelsohn couldn't assist as the conductor, and instead directed the concertmaster, who was not up to the task. The piece was innovative for making use of a cyclical theme through the work. Now that technique was already used, most notably in Beethoven's Symphony No.5 (fate theme) and Berlioz's Symphonie Fantastique (the "Idée fixe"), but Schumann progressed further still, by unifying the entire piece with material from a single germinating source. The conception of the work was a single-movement symphony was even more revolutionary, despite maintaining traces of the classical four-movement structure. After the failure of the premiere Schumann left the piece aside, working on other projects such as two other symphonies. It wasn't until 1851 when he decided to revise it extensively and publish it as his fourth symphony. The premiere of the new version on May 13 of 1853 at the Lower Rhine Music Festival was met with great enthusiasm. It was one of the last public triumphs of Schumann's career before he descended into madness. Many differences separate the original and revised versions; the tempi was modified and written in German instead of Italian, two complete reexposures were added to the outer movements, and the orchestration was expanded, also becoming more thick and heavy through added doublings. The structure was also revised to be more cohesive and effective. The symphony, while apparently abstract in nature, has a hidden program. What is the story? Robert and Clara’s romance and their struggle to marry despite the objections of Clara's father. The first section is structured as a very free sonata form. It begins with a slow and dramatic introduction, with a five-note motive from which the entire piece is built upon, introduced by bassoon and second violins. It represents Clara, Schumann's wife and muse. After a crescendo that leads us to the allegro, it is transformed into a passionate and rhythmic main theme. It is extensively developed, but then suddenly appears a more lyrical second theme on the wood, quickly swept away as development continues. We find no recapitulation, instead a triumphal climax on the second theme, followed by a direct transition to the next part. The second section is written in ternary form. It opens with a contemplative and lyrical main theme between cello and oboe, being derived from the opening motive. The slow introduction of the beginning is also referenced. The middle part begins as the violin introduces a bright second theme in form of an arabesque, being the inversion of said motive. The main theme is calmly recapitulated, leading us to the next part. The third section is a scherzo in an expanded ternary form (A-B-A'-B'). It begins with a forceful and rhythmic main theme, which is once again derived from the motive. The trio consist on the previously heard violin arabesque on full strings, but the scherzo quickly resumes. Follows a brief repeat of the trio. A slow transition, based on the main theme of the first movement, leads us to the finale. The fourth section is also written in a very free sonata form. It opens with a triumphal and vivacious main theme (derived from material heard in the development of the first movement). It is contrasted by a more lyrical second theme, reminiscent of Beethoven. A lively development then takes place, mostly conformed by a fugue with the opening motive as the main subject. In the following recapitulation, the main theme is absent, instead being dominated by the second theme. An exhilarating coda ends the work brilliantly. Picture: A.I. painting made in the style of German painter Caspar David Friedrich. Musical analysis partially written by myself. Sources: https://tinyurl.com/yorxmlsn, https://tinyurl.com/ypg3b7xj and https://tinyurl.com/ysnksko2 To check the score: https://tinyurl.com/ysj5hem8