MOZART & SCHUMANN
Beginning in 1840 , at the urging of his wife , Clara Schumann , the pianist and composer whose opinion he valued above all else , Robert began to make what he described as a series of “ symphonic attempts .” Some found strong footing . His 1841 Symphony No . 1 , “ Spring ,” enjoyed considerable success under the baton of Felix Mendelssohn , and work began on his beloved Piano Concerto in A minor that same year .
Following Symphony No . 1 came No . 4 — if you are confused by the numbering , you would be forgiven . This was , indeed , only the second symphony Schumann wrote : he penned an initial version in a flurry of activity at the end of 1841 — drafting it in four days and completing it in a mere four weeks — but he promptly shelved it for nearly a decade , perhaps because he feared it would cannibalize on his other successes . In 1851 , having composed two symphonies in the interim , he returned to make significant revisions to the score , and it is this version that first reached publication — hence the somewhat perplexing designation of Symphony No . 4 .
Schumann ’ s inner circle , as well as subsequent critics , disagreed as to which of the two versions was superior . Clara Schumann greatly preferred the revised edition , which offered several improvements with regards to flow and form . Johannes Brahms , a close friend of the Schumann ’ s who revered Robert as a spiritual and musical mentor , favored the more transparent orchestration of the original version , which he published in 1891 to Clara ’ s indignation . But Brahms ’ s intervention came too late , and it was the 1851 version that has since dominated both concert performances and recordings .
The Fourth represents a work of exceptional cohesiveness , particularly with regard to melodic themes shared across movements , each time framed in a new and compelling light .
Movements transition with airtight efficiency , and Schumann demonstrates a deep awareness of symphonic convention , as well as the ability to challenge it — for instance the first movement ’ s feint towards a customary sonata form ( exposition – development – recapitulation ) in which the recapitulation never comes , instead veering off into dizzying feats of thematic elaboration .
There is , too , an uncanny ability to capture mood and affect , recalling that same magic permeating Schumann ’ s songs and character pieces . In the Romanze , for instance , a solemn oboecello duet contrasts against the serene pirouetting of the violin solo that follows ; in the following movement , that same solo is recalled in the tranquil trio that emerges from a severe and angular Scherzo . Not least of all , there is sheer drama , as in the steady ramping
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up of energy and force within the final movement , whose final moment of completion is snatched away before a blistering presto climbs ever upwards towards a dizzying , gratifying end .
Instrumentation : Two flutes , two oboes , two clarinets , two bassoons , four horns , two trumpets , three trombones , timpani , and strings .
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