Robert Schumann (1810-1856)
Symphony No 1 in B-flat, Op 38, Spring (1841)
Symphony No 3 in E-flat, Op 97, Rhenish (1851)
Antwerp Symphony Orchestra/Philippe Herreweghe
rec. 2019 (Op 97) & 2022 (Op 38), Koningin Elisabethzaal, Antwerpen
PHI LPH040 [61]
The first movement of Schumann’s Spring Symphony has three neat tricks. First, the arresting introduction: fanfare for horns and trumpets, demisemiquaver surge of violins, flute and oboe, then hemidemisemiquaver figures in all strings. Like Schumann’s original title, ‘The beginning of spring’, bursting out. Philippe Herreweghe and the Antwerp Symphony Orchestra convey this robustly with grandeur, some turbulence but also poetic contrasts, for example the fluttering bird-like flute solos (tr. 1, 1:08) and then exciting surge of energy propelled by the tutti into the main body Allegro molto vivace (2:05), first theme a faster version of the fanfare. The second theme (2:47) brings the first dolce moment, from clarinets and bassoons in more relaxed, dancing rhythms. You enjoy Herreweghe’s clarity of detail in the orchestration, like the violas’ tracery interchanging with the second theme. The development brings a third theme led by oboe (5:15), marked dolce, from Herreweghe also with serious intent, banished by Schumann’s second trick: the fanfare returns, thereby quasi-leitmotif. The third trick, a fourth theme from all the strings (10:14), like a blessing on the whole experience, serenely realized by Herreweghe before a close blazing leitmotif glory.
I compare this with Pablo Heras-Casedo, recorded 2019 with the Munich Philharmonic Orchestra (Harmonia Mundi HMM 90266465). His account is crisper, but the flute bird seems self-conscious, his first theme more workmanlike, less joyous, his second less light and lilting.
The Larghetto slow movement, original title ‘Evening’, Schumann sustains with one expansive theme. Herreweghe gives it affectionate repose. Its second section (tr. 2, 1:13) has illuminating sequences exploring new perspectives, after which the becalmed return of the opening on cellos seems more tender and cherished. A middle section (2:37) feels more troubled, interchange between violins, flutes and oboes more prominent. Solo oboe and horn, beautifully balanced here, take the theme around which the strings provide decorative tracery until the trombones enter to create a mellow unwinding. Herreweghe matches seamless melodic flow and detail of accompaniment.
Heras-Casedo, timing 6:11 to Herreweghe’s 5:44, offers equally detailed appreciation, but for me over stresses the frequent fps, thereby making the changes of perspective jolting. In the duet with horn the oboe is too forceful.
The trombones’ slow movement unwinding becomes the Scherzo’s splenetic opening, unlike its original title ‘Merry playmates’, rather Herreweghe knuckling down in a grimly disciplined D minor. Yet the second strain (tr. 3, 0:24) briefly escapes to F major. The faster, D major Trio 1 (1:13) finds Herreweghe with finely measured, playful rhythms and triumphant second part. Trio 2 (3:00) is by turns flighty, athletic, forceful and winking. In the coda (4:42), more relaxed, Herreweghe brings woodwind solos’ ornamentation with poise.
Heras-Casedo’s opening is less grim, Trio 1 less fast, though its second part battles effectively to triumph. His Trio 2 is more stolid in tiptoeing crotchets, its woodwind solos less suave.
The finale is structured like the first movement. A terser introductory fanfare, then lissom first theme (tr. 4, 0:08) Herreweghe gives an ideal combination of lightness yet energy. A jocular second theme on oboes and bassoons (0:43) gets a stern riposte from the strings, a G minor version of the leitmotif paving the way for its tutti flowering (1:15) while the development (3:37) plays further with it. Herreweghe negotiates these intricacies sparklingly, especially high leaps shared by oboe and clarinet. ‘Farewell to spring’ goes out with a bang.
Heras-Casedo is bracing in the tutti flowering and development build-up, but his first theme is less graceful, later ripostes less scary, woodwind high leaps less striking.
The first movement of Schumann’s Rhenish Symphony is all rhythmic conviction and propulsion, syncopation everywhere and you never tire of the opening theme; but there’s a second theme, first on woodwind (tr. 5, 1:28), of lilting female tenderness, appreciating and supporting the male dominance. The development begins with fff tutti chords (2:54) Herreweghe relishes with judicious power, not over stressful, and then the second theme grows chorale-like. The first violins champion the second theme, whereupon horns and trumpets present the first as fanfare (5:44), excitingly and exultantly realized by Herreweghe. The coda opens with the second theme deified by all the wind (8:12) before a wonderful tailpiece apotheosis of syncopation (8:30).
The second movement Scherzo was originally titled ‘Morning on the Rhine’. Again, a chief, opening and returning theme. Herreweghe makes this warm, relaxed but still ensures it flows. The second theme (tr. 6, 0:48) lighter, yet full of activity, here niftily realised. The Trio (1:33), gorgeously introduced by clarinets and horns, as in the first movement woodwind growing more assertive, then a horns’ clarion call dissipated by Schumann’s surprise of diaphanous pairings of woodwind and strings.
The third movement, originally ‘Intermezzo’, is an enchanting idyll with all woodwind in high register. From an opening double duet for clarinets and bassoons, a second theme emerges on pirouetting first violins (tr. 7, 0:23). The third theme (1:23) has the violas in duet descending circumspectly, but Schumann’s delight, well realized by Herreweghe, is ingenious ways of combining the themes. Come the coda (3:31), even the third theme is more benign.
The fourth movement was originally labelled ‘in the character of an accompaniment to a solemn ceremony’, Schumann witnessed the elevation of the Archbishop of Cologne Cathedral to cardinal. The opening melody, three trombone parts foremost, rises in five-part counterpoint gradually involving the entire orchestra, for me a penetrating, pained, questioning, search for spiritual meaning. Herreweghe conveys this, giving full presence to recurring, quite harsh, loud chords and development of faster version of the opening begun by the violas and cellos (tr. 8, from 1:40), spreading to other instruments, like groups in agitation. The coda (3:23) movingly alternates between loud wind fanfares of power and hushed tutti chords of prayer.
The finale brings from Herreweghe a release of blithe momentum. Its key initiatives are a masculine outgoing theme (tr. 9, 0:15) offset by a suave, lingering female one (0:25). Herreweghe’s wind in the peroration (4:37) display a happier ensemble resolution than in the previous movement and then relive the opening movement’s joie de vivre.
Michael Greenhalgh
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