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Berliner Philharmoniker Sir Simon Rattle Robert Schumann Symphonien 1–4

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Berliner Philharmoniker Sir Simon Rattle Robert Schumann Symphonien 1–4 BERLINER PHILHARMONIKER SIR SIMON RATTLE ROBERT SCHUMANN SYMPHONIEN 1–4 BERLINER PHILHARMONIKER SIR SIMON RATTLE ROBERT SCHUMANN SYMPHONIEN 1–4 SYMPHONIE NR. 1 SYMPHONIE NR. 1 B-DUR OP. 38 »FRÜHLINGSSYMPHONIE« 31:07 ORCHESTRATION: SYMPHONY NO. 1 IN B FLAT MAJOR, OP. 38 “SPRING” 2 FLUTES 2 OBOES 2 CLARINETS 1. ANDANTE UN POCO MAESTOSO – ALLEGRO MOLTO VIVACE – ANIMATO 11:20 2 BASSOONS 2. LARGHETTO – 05:45 4 FRENCH HORNS 3. SCHERZO: MOLTO VIVACE – TRIO I: MOLTO PIÙ VIVACE – TEMPO I – TRIO II – CODA 05:36 2 TRUMPETS 4. ALLEGRO ANIMATO E GRAZIOSO 08:24 3 TROMBONES TIMPANI TRIANGLE Year of composition: 1841 STRINGS Premiere: 31 March 1841 at the Gewandhaus Leipzig Conductor: Felix Mendelssohn Bartholdy First performance by the Berliner Philharmoniker: 9 April 1883 Conductor: Joseph Joachim 4 SYMPHONIE NR. 4 SYMPHONIE NR. 4 D-MOLL, ERSTFASSUNG VON 1841 24:57 ORCHESTRATION: SYMPHONY NO. 4 IN D MINOR, FIRST VERSION FROM 1841 2 FLUTES 2 OBOES 2 CLARINETS 1. ANDANTE CON MOTO – ALLEGRO DI MOLTO – ANIMATO 08:24 2 BASSOONS 2. ROMANZA: ANDANTE 03:58 4 FRENCH HORNS 3. SCHERZO: PRESTO – TRIO – SCHERZO – TRIO – LARGO – 06:56 2 TRUMPETS 4. FINALE: ALLEGRO VIVACE – PIÙ VIVACE – STRINGENDO – PRESTO 05:37 3 TROMBONES TIMPANI STRINGS Year of composition: 1841 in Leipzig, revised 1851 in Düsseldorf Premiere: 6 December 1841 at the Gewandhaus Leipzig Conductor: Ferdinand David First performance of the revised version: 3 March 1853 in Düsseldorf Conductor: the composer First performance by the Berliner Philharmoniker: 26 October 1883 (revised version) Conductor: Joseph Joachim First verifiable performance of the first version by the Berliner Philharmoniker: 7 June 1988 Conductor: Jesús López Cobos 5 SYMPHONIE NR. 2 SYMPHONIE NR. 2 C-DUR OP. 61 38:04 ORCHESTRATION: SYMPHONY NO. 2 IN C MAJOR, OP. 61 2 FLUTES 2 OBOES 2 CLARINETS 1. SOSTENUTO ASSAI – UN POCO PIÙ VIVACE – ALLEGRO, MA NON TROPPO 12:07 2 BASSOONS 2. SCHERZO: ALLEGRO VIVACE –TRIO I – TEMPO I – TRIO II – TEMPO I – CODA 07:30 2 FRENCH HORNS 3. ADAGIO ESPRESSIVO 10:14 2 TRUMPETS 4. ALLEGRO MOLTO VIVACE 08:10 3 TROMBONES TIMPANI STRINGS Year of composition: 1845/1846 Premiere: 5 November 1846 at the Gewandhaus Leipzig Conductor: Felix Mendelssohn Bartholdy First performance by the Berliner Philharmoniker: 23 October 1882 Conductor: Franz Wüllner 6 SYMPHONIE NR. 3 SYMPHONIE NR. 3 ES-DUR OP. 97 »RHEINISCHE« 30:38 ORCHESTRATION: SYMPHONY NO. 3 IN E FLAT MAJOR, OP. 97 “RHENISH” 2 FLUTES 2 OBOES 2 CLARINETS 1. LEBHAFT 08:54 2 BASSOONS 2. SCHERZO: SEHR MÄSSIG 06:01 4 FRENCH HORNS 3. NICHT SCHNELL 04:41 2 TRUMPETS 4. FEIERLICH 05:26 3 TROMBONES 5. LEBHAFT – SCHNELLER 05:34 TIMPANI STRINGS Year of composition: 1850 Premiere: 6 February 1851 in Düsseldorf Conductor: the composer First performance by the Berliner Philharmoniker: 7 January 1884 Conductor: Franz Wüllner 7 8 »Nimm mir es nicht übel, »AUS TIEFSTER lieber Robert, wenn ich Dir sage, dass in mir sehr SEELE GESCHAFFEN« der Wunsch rege geworden ist, dass Du doch auch für Robert Schumanns Symphonien Orchester schreiben möch- test. Deine Fantasie und Dein Geist ist zu groß für das schwache Klavier.« CLARA WIECK te der Musik zur Aussprache« komme. Wenn er nicht als spleeniger Miniaturist Diese Widersprüche waren nicht zum und Verfasser unkonventioneller Musik- Aushalten! Obgleich er als Pianist resig- feuilletons eine Nischenexistenz fristen von seiner Verlobten, der seit den Wun- niert und die erhoffte Virtuosenkarriere wollte, musste Schumann sein Leben derkindtagen gefeierten Pianistin Clara längst aufgegeben hatte, komponierte ändern, und zwar grundsätzlich. 1839 Wieck, leidenschaftlich ermutigt: »Nimm Robert Schumann seit Jahren nichts als verkündete er (etwas voreilig) in einem mir es nicht übel, lieber Robert, wenn ich Klaviermusik: vertrackte, verrätselte, Brief: »Dann giebt es nur Symphonieen Dir sage, dass in mir sehr der Wunsch hintersinnige und humoristische Stücke von mir zu verlegen und zu hören. Das rege geworden ist, dass Du doch auch mit poetischen Titeln wie Davidsbünd- Clavier möcht ich oft zerdrücken, und es für Orchester schreiben möchtest. Dei- lertänze, Carnaval oder Kinderszenen. wird mir zu eng zu meinen Gedanken.« ne Fantasie und Dein Geist ist zu groß Und doch hing er dem Glauben an, dass In diesem Selbstverständnis wurde er für das schwache Klavier. Sieh doch, ob nur »im Chor und Orchester das Höchs- Du es nicht kannst?« 9 “Don’t take it amiss, dear “CREATED OUT OF Robert, if I say that I am very keen to see you writing THE DEEPEST SOUL” for the orchestra as well. Your imagination and your Robert Schumann’s symphonies mind are too great for the feeble piano.” CLARA WIECK League of David, Carnaval and Scenes from Childhood. Yet he continued to believe that only “in the chorus and in the orchestra” did “all that is greatest board, which is becoming too confining Such contradictions were simply intoler- in music find expression”. If he was not for my ideas.” In this new understanding able! Even though he had abandoned his to lead a marginal existence as a quirky of himself, he was eagerly encouraged career as a pianist in a spirit of resigned miniaturist and an unconventional music by Clara Wieck, his fiancée, who had acceptance and long since given up all critic, he needed to make fundamental been an acclaimed pianist since her hope of making a name for himself as changes to his life. In 1839 – somewhat days as a child prodigy: “Don’t take it a keyboard virtuoso, Robert Schumann prematurely, it has to be said – he an- amiss, dear Robert, if I say that I am very had for years been composing nothing nounced in a letter: “Then there will be keen to see you writing for the orchestra but piano music – difficult, puzzling, only symphonies of mine to publish and as well. Your imagination and your mind cryptic and humorous pieces with poetic listen to. I’d often like to crush the key- are too great for the feeble piano. Just titles such as Dances by Members of the see if you can do it.” 10 »Frühlingssymphonie« geglückten Werks schwingt noch im- mer mit: »Ich schrieb die Symphonie zu zeit, auch ein stimmungsverwandtes Ende Winters 1841, wenn ich es sagen Gedicht des zeitgenössischen Leipziger »Frühlingsbeginn«, »Abend« oder »Idyl- Wie im Rausch skizzierte Schumann im darf, in jenem Frühlingsdrang, der den Lyrikers Adolf Böttger gab den Anstoß le«, »Frohe Gespielen« und »Voller Januar 1841 seine B-Dur-Symphonie Menschen wohl bis in das höchste Alter zur Komposition der B-Dur-Symphonie. Frühling«. Simon Rattle erkennt in die- op. 38, in nur vier Tagen und schlaflosen hinreißt, und in jedem Jahre von Neu- Die Schlussverse – »O wende, wende sen verschwiegenen Botschaften eine Nächten: seine Erste, deren Instrumen- em überfällt. Schildern, malen wollte ich Deinen Lauf – / Im Thale blüht der musikhistorische Parallele zu Gustav tation er am 20. Februar abschließen nicht: daß aber eben die Zeit, in der die Frühling auf!« – übertrug Schumann in Mahlers Erster Symphonie, die eben- konnte: »eine ganze Symphonie – und Symphonie entstand, auf ihre Gestal- den Rhythmus des Mottos, das in der falls mit einem punktuellen Programm obendrein eine Frühlingssymphonie«, tung, und daß sie gerade so geworden langsamen Einleitung zum Kopfsatz und literarischen Zwischentiteln be- begeisterte sich der Komponist. Mehr wie sie ist, eingewirkt hat, glaube ich ertönt wie eine majestätische Intrada. stückt war (»Frühling und kein Ende«, als ein Jahr später berichtete er Louis wohl.« Nicht allein die Zeit und Jahres- Die ursprünglichen Überschriften der hieß beispielsweise der erste Satz), Spohr von jenem kreativen Ausnah- einzelnen Sätze jedoch zog er vor der mezustand, und der Enthusiasmus des Veröffentlichung zurück: 11 »Ich schrieb die Symphonie in jenem Frühlingsdrang, der den Menschen wohl bis in das höchste Alter hin- reißt, und in jedem Jahre zunächst zumindest, denn später wollte von Neuem überfällt.« Mahler nichts mehr wissen von seinen ROBERT SCHUMANN eigenen »Erklärungen«. Aber nicht nur die heimliche Nähe zur Tondichtung, auch die in Noten verschlüsselten Ver- se, die Lieder ohne Worte, das romanti- sche Naturgefühl und die starke Indivi- dualisierung der Instrumente verbinden die beiden Symphonien, Schumanns und Mahlers Erste. Und Simon Rattle glaubt nicht an einen Zufall. 12 “Spring” Symphony of 1841 and, if I may say so, I wrote and literary subheadings. The opening it in that flush of spring that arguably movement of Mahler’s First was initially It was in a veritable frenzy of creativity continues to inspire man even in ripe old its final lines, “O wende, wende Deinen headed “Spring Without End”, even if that Schumann sketched his B flat major age, overwhelming him anew each year. Lauf – / Im Thale blüht der Frühling auf!” the composer later distanced himself Symphony op. 38 in only four days and I had no intention of painting or depict- (O turn, O turn aside and sing: in ev’ry from his own “explanations”. But there four sleepless nights in January 1841. ing anything, but I do firmly believe that dale there blossoms spring), is reflected are other links between Schumann’s and His first contribution to the medium, it the period during which the symphony in the rhythm of the motto theme that Mahler’s First Symphonies: not just the was fully instrumented by 20 February, came into existence had an impact on is heard in the slow introduction to the furtive affinity with the tone poem but “a whole symphony and, what’s more, a its design, making it what it is.” But it opening movement like some majestic also the lines of verse encoded in the spring symphony,” the composer wrote was not just the time and the season of intrada. There were originally titles for music, the idea of songs without words, enthusiastically.
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