I. Vivace
II. Moderato assai
III. Allegro non troppo
IV. Maestoso
V. Vivace
This music has not the buoyancy and exciting rush of the First symphony,
or the romantic spirit of the one in D minor. Nor are there pages equal
in sheer beauty to those of the _adagio_ in the Second symphony. One
wishes that the first movement was not in so continuously heroic,
exultant vein; that there was at least a breathing spell. The second
movement expresses a sort of clumsy joviality. The third might be a
pretty piano piece that had been orchestrated. The fourth movement, the
“cathedral scene,” is the most impressive portion of the symphony. Here
we have lofty ideas and a solemn, ecstatical mood befitting a gorgeous
ceremony of the holy church.
Schumann’s symphony was intended by him to be a glorification of Rhenish
scenes and Rhenish life. It was composed first of all for Düsseldorf,
the city where he met with many disappointments, many vexations. He was
temperamentally unfitted for the position of city conductor. He did not
have a firm control over the players—in a word he was a composer—a man
of dreams and visions—not an interpreter of works by others, not even of
his own works. It was received coldly when it was first heard. The
compositions that followed showed his failing powers. There were
intrigues that vexed him. Little by little his mind gave way. There was
the attempt at suicide; then madness. But the Schumann of this symphony
was still the composer to be reckoned with.
* * *
The symphony was sketched and orchestrated at Düsseldorf between
November 2 and December 9, 1850. Clara Schumann wrote in her diary,
November 16, 1850: “Robert is now at work on something, I do not know
what; for he has said nothing to me about it.” It was on December 9 that
he surprised her with the symphony. Sir George Grove, for some reason or
other, thought Schumann began to work on it before he left Dresden to
accept the position of City Conductor at Düsseldorf; that he wished to
compose an important work for production at the Lower Rhine Festival.
The first performance of this symphony was in Geisler Hall, Düsseldorf,
at the sixth concert of Der Allgemeine Musikverein, February 6, 1851.
Schumann conducted from manuscript. The reception was cold. Mme Schumann
wrote after the performance that the “creative power of Robert was again
ever new in melody, harmony, and form.... I cannot say which one of the
five movements is my favorite. The fourth is the one that at present is
the least clear to me; that it is most artistically made—that I hear—but
I cannot follow it so well, while there is scarcely a measure in the
other movements that remains unclear to me; and indeed to the layman is
this symphony, especially in its second and third movements, easily
intelligible.”
Schumann wrote (March 19, 1851) to the publisher, Simrock, at Bonn: “I
should have been glad to see a greater work published here on the Rhine,
and I mean this symphony, which perhaps mirrors here and there something
of Rhenish life.” It is known that the solemn fourth movement was
inspired by the recollection of the ceremony at Cologne Cathedral at the
installation of the Archbishop of Geissel as Cardinal, at which Schumann
was present (November 12, 1850). Wasielewski quotes the composer as
saying that his intention was to portray in the symphony as a whole the
joyful folk life along the Rhine, “and I think,” said Schumann, “I have
succeeded.” Yet he refrained from writing even explanatory mottoes for
the movements. The fourth movement originally bore the inscription, “In
the character of the accompaniment to a solemn ceremony”; but Schumann
struck this out and said: “One should not show his heart to people; for
a general impression of an art work is more effective; the hearers then,
at least, do not institute any absurd comparison.” The symphony was very
dear to him. He wrote (July 1, 1851) to Carl Reinecke, who made a
four-handed arrangement at Schumann’s wish and to his satisfaction: “It
is always important that a work which cost so much time and labor should
be reproduced in the best possible manner.”
The first movement, _lebhaft_ (lively, animated), E flat major, 3-4,
begins immediately with a strong theme, announced by full orchestra. The
basses take the theme, and violins play a contrasting theme, which is of
importance in the development. The complete statement is repeated; and
the second theme, which is of an elegiac nature, is introduced by oboe
and clarinet and answered by violins and wood-wind. The key is G minor,
with a subsequent modulation to B flat. The fresh rhythm of the first
theme returns. The second portion of the movement begins with the second
theme in the basses, and the two chief themes are developed with more
impartiality than in the first section, where Schumann is loath to lose
sight of the first and more heroic motive. After he introduces towards
the end of the development the first theme in the prevailing tonality,
so that the hearer anticipates the beginning of the reprise, he makes
unexpected modulations, and finally the horns break out with the first
theme in augmentation in E flat major. Impressive passages in
syncopation follow, and trumpets answer, until in an ascending chromatic
climax the orchestra with full force rushes to the first theme. There is
a short _coda_.
The second movement is a _scherzo_ in C major, _sehr mässig_ (very
moderately), in 3-4. William Foster Apthorp found the theme to be “a
modified version of the so-called ‘Rheinweinlied,’” and this theme of “a
rather ponderous joviality” well expresses “the drinkers’ ‘_Uns ist ganz
cannibalisch wohl, als wie fünf hundert Säuen!_’ (As ’twere five hundred
hogs, we feel so cannibalic jolly!) in the scene in Auerbach’s cellar in
Goethe’s _Faust_.” This theme is given out by the violoncellos and is
followed by a livelier contrapuntal counter theme, which is developed
elaborately. In the trio horns and other wind instruments sing a
_cantilena_ in A minor over a long organ-point on C. There is a pompous
repetition of the first and jovial theme in A major; and then the other
two themes are used in combination in their original form. Horns are
answered by strings and wood-wind, but the ending is quiet.
The third movement, _nicht schnell_ (not fast), in A flat major, 4-4, is
really the slow movement of the symphony, the first theme, clarinets and
bassoons over a viola accompaniment, reminding some of Mendelssohn;
others of “_Tu che a Dio spiegasti l’ali_,” in _Lucia di Lammermoor_.
The second theme is a tender melody, not unlike a refrain heard now and
then. On these themes the _romanza_ is constructed.
The fourth movement, _feierlich_, E flat minor, 4-4, is often described
as the “Cathedral scene.” Three trombones are added. The chief motive is
a short figure rather than a theme, which is announced by trombones and
horns. This appears augmented, diminished, and afterwards in 3-2 and
4-2. There is a departure for a short time to B major, but the tonality
of E flat minor prevails to the end.
_Finale_: _lebhaft_, E flat major, 2-2. This movement is said to portray
a Rhenish festival. The themes are of a gay character. Towards the end
the themes of the “Cathedral scene” are introduced, followed by a
brilliant _stretto_. The _finale_ is lively and energetic. The music, as
a rule, the free development of thematic material of the same unvaried
character.