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97679 Digibooklet Schumann Vol ROBERT SCHUMANN Complete Symphonic Works VOL. III OREN SHEVLIN WDR Sinfonieorchester Köln HEINZ HOLLIGER ROBERT SCHUMANN Complete Symphonic Works • Vol. III recording date: April 8-11, 2013 Cello Concerto in A minor, Op. 129 23:59 I. Nicht zu schnell 11:51 II. Langsam 4:08 P Eine Produktion des Westdeutschen Rundfunks Köln, 2013 lizenziert durch die WDR mediagroup GmbH III. Sehr lebhaft 8:00 recording location: Köln, Philharmonie executive producer (WDR): Siegwald Bütow recording producer & editing: Günther Wollersheim Symphony No. 4 in D minor, Op. 120 recording engineer: Brigitte Angerhausen (revised version 1851) 28:56 Recording assistant: Astrid Großmann I. Ziemlich langsam. Lebhaft 10:25 photos: Oren Shevlin (page 8): Neda Navaee II. Romanze. Ziemlich langsam 3:57 Heinz Holliger (page 10): Julieta Schildknecht III. Scherzo. Lebhaft 6:45 WDR Sinfonieorchester Köln (page 5): WDR Thomas Kost IV. Langsam. Lebhaft 7:49 WDR Sinfonieorchester Köln (page 9): Mischa Salevic front illustration: ‘Mondaufgang am Meer’ Caspar David Friedrich art direction and design: AB•Design executive producer (audite): Dipl.-Tonmeister Ludger Böckenhoff OREN SHEVLIN e-mail: [email protected] • http: //www.audite.de WDR Sinfonieorchester Köln © 2014 Ludger Böckenhoff HEINZ HOLLIGER Remembering, Narrating Schumann’s Cello Concerto contains movements are recalled in the same way the same in another: only the material is On 2 September 1848 Robert Schumann many recollections of Mendelssohn. It as Beethoven had done in his Ninth Sym- different”. Schumann noted this maxim no composed a piece for piano and called opens with three wind chords similar phony. Schumann also referred to his own later than 1834, at the age of twenty-four, it Erinnerung [recollection], inserting to those in the overtures to A Midsum- works: in the transition from the fi rst to the and he followed it in his ideal of musical the subtitle “4. November 1847”. This mer Night’s Dream and Ruy Blas. Imme- second movement he quotes a song-like poetry and in the many literary references date was the day of Felix Mendelssohn’s diately after that, the solo instrument motif from his Piano Sonata in G minor, permeating his piano oeuvre ever since his death. His fi rst “Song without words”, makes an appearance over a lilting string Op. 22, the lyrical secondary idea from the Papillons Op. 2. The new element in 1850 the prototype of poetic Romantic piano accompaniment in the manner of Men- last movement. As in the Piano Concerto, is Schumann’s wealth of experience, both pieces, makes an appearance in Schu- delssohn’s Violin Concerto in E minor. the soloist looks for, and fi nds, dialogue as a composer and as a performer, which mann’s small memorial work. Two years The three movements merge into one partners from the orchestra; in the slow he can utilise for his open aesthetics; new, later, Schumann and his family moved to another, as is also the case in Men- movement, this is his “alter ego”, the prin- particularly, are his partly encouraging, Düsseldorf: he had been appointed music delssohn’s Piano Concerto in G minor. cipal cello from the ensemble, as well as partly sobering and disappointing experi- director of the city where Mendelssohn The fi rst theme, introduced by the solo- his counterpart in the woodwind section, ences with his dramatic works, notably had worked just over one and a half dec- ist, almost becomes an “idée fi xe” for the bassoon. Schumann continues this lin- his Scenes from Goethe’s Faust which he ades previously. On Thursday, 24 Octo- the entire work: it dominates the fi rst guistic approach to communication: for- produced in several bursts, and his opera ber 1850 Schumann conducted his fi rst movement, reappears in the transition mally defi ning passages are constructed as Genoveva, based on the eponymous play programme. This included Mendelssohn’s to the last movement and then emerges recitatives, as instrumental Sprech gesang. by Friedrich Hebbel. Piano Concerto in G minor, Op. 25, with in the middle of the fi nale. Across vari- The composer seeks out the proximity to An example of these moments of the- Schumann’s wife Clara as soloist. On ous transformational stages, it comes literature, and to the art of narration and atrical consciousness is the transforma- that day he noted in his diary: “Finished very close to the principal theme of lyrical stylisation, and not only in his songs, tion which the work’s three opening the cello concerto.” He had worked on Mendelssohn’s Scottish Symphony which but also in his instrumental works, in their chords undergo during the course of this piece, which was to appear in print Schumann had reviewed extensively in his form as well as their diction. the concerto. In the fi rst instance, they in 1854 as his opus 129, for exactly two Neue Zeitschrift für Musik. The vicinity to poetry is nothing new herald special occurrences: the opening weeks. During these fourteen days, he The theme of musical reminiscences in Schumann: from the beginning, this main theme, then the fi rst entry of the had also studied Mendelssohn’s score and goes further: before the beginning of the formed a crucial component of his musi- full orchestra leading into the secondary Clara had practiced the solo part. fi nale, the main themes of the previous cal thinking. “The aesthetics of one art are theme, then the transformed reappear- ance of the opening section, and fi nally, ture – with one single exception: there, immediately before the quote from the the fi nale lunges out of the slow inter- piano sonata, the transition into the sec- mezzo with a breakthrough to A major; ond movement. After the beginning of the here, the major tonality comes during the fi nale, however, they become a compo- course of the fi nale, and when it does, it is nent of the theme: they no longer refer not so much a breakthrough but a process to something else, but morph into the which one can identify by its result rather main issue themselves. Finally, the musi- than by its spectacular beginning. cal structure features discreet traces of The move to Düsseldorf marked a sublimated theatrical thinking. In the cello new era for Schumann: not only did the concerto, not only the soloist appears as a forty-year-old, for the fi rst time in his life, protagonist, but, in a metaphorical sense, take on a salaried leading role of a civic also the theme with which the soloist is music institution, but the year 1850 also introduced. It undergoes metamorpho- represented a caesura in his career as a ses, impacts on its environment – the composer. Until then, he had tackled all orchestra – at the same time reacting to principal musical genres in a methodical it. The work focuses on interaction rather approach. The years between 1840 and than confrontation between the individual 1850 are generally labelled by the genres and the collective. The stylisation of dra- that he placed on centre stage: the song matic situations and developments, the year of 1840 was followed by the sym- differentiation of musical communication phony year (1841) and the chamber music (melody, declamation and gesture) and year (1842); 1843 and 1844 were dedi- the interlocking of the three movements cated to the oratorio, in 1844 he studied far exceed what Schumann had achieved the Art of Fugue, whilst he completed the fi ve years previously in his piano concerto piano concerto in its fi nal three-move- which has the same layout of key struc- ment form in 1845, and 1846/47 were OREN SHEVLIN mostly reserved for his opera project. another sensation: both Clara Schumann for a decade before Schumann again took symphony this also results in the urging In 1850 he had completed his explora- and Franz Liszt appeared in it, together it up in December 1851 in order to write quasi-narrative impetus being restrained tion of musical genres. Schumann had and individually – “she, the consummate out a new score. In the process, he heav- and thus the revolutionary aspect of the reached a new level of refl ection in his mistress, with him, who bears the name ily revised the work. through-composed concept being mod- work; he examined his musical language ‘King of the Piano’”, the Leipziger Allge- He did not touch the basic struc- erated. and its poetic basis, he extended his intel- meine Zeitung enthused. This eclipsed ture, retaining the one movement for- Listening to both versions, the changes lectual inventory to include fundamental everything else, including novelties writ- mat which nonetheless contains all four in instrumentation, particularly in the questions of aesthetics: the relation- ten by Schumann, even though the same customary movement types of a sym- outer movements, immediately become ship between immediacy and stylisation, reviewer praisingly commented on the phony. However, he shifted the accents apparent. It is probably fair to assume direct and indirect speech in music and – symphony that he was left “undecided in the relationship between tradition and that the reason for these was not just again – the question of reciprocal perme- whether the powerful invention or the innovation by way of seemingly minor a change in Schumann’s sound ideals. ability in musical genres. mastery of instrumentation, particularly adjustments: he extended the transition Johannes Brahms made a pertinent com- in the Romanze and the Scherzo, should into the fi nale and, before its beginning, ment with regard to this. He preferred The second version of be admired more”. Nonetheless, the inserted a “tension fermata” – by halting the fi rst version, concurring with Schu- the D minor Symphony response from the press remained mea- the proceedings for a moment, it her- mann’s dictum of 1834: “The fi rst concep- Schumann’s period of review and refl ec- gre; the Neue Zeitschrift für Musik, which alds the appearance of something new, tion is always the best and most natural.
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