The scherzo, allegro vivace, C major, 2-4, has two trios. The scherzo proper consists of first violin figures in sixteenth notes, rather simply accompanied. The first trio, in G major, 2-4, is in marked contrast. The first theme, in lively triplet rhythm, is given chiefly to wood-wind and horns; it alternates with a quieter, flowing phrase for strings. This trio is followed by a return of the scherzo. The second trio, in A minor, 2-4, is calm and melodious. The simple theme is sung at first in full harmony by strings (without double basses) and then developed against a running contrapuntal figure. The scherzo is repeated, and, towards the close, trumpets and horns loudly sound the motto.
The third movement, adagio espressivo, 2-4, is the development of an extended cantilena that begins in C minor and ends in E flat major. Violins first sing it; then the oboe takes it, and the song is more and more passionate in melancholy until it ends in the wood-wind against violin trills. This is followed by a contrapuntal episode, which to some is incongruous in this extremely romantic movement. The melodic development returns, and ends in C major.
The finale, allegro molto vivace, C major, 2-2, opens after two or three measures of prelude with the first theme of vigorous character (full orchestra except trombones). This is lustily developed until it reaches a transitional passage, in which the violins have prominent figures. All this is in rondo form. The second theme is scored for violas, violoncellos, clarinets, and bassoons, while violins accompany with the figures mentioned. This theme recalls the opening song of the adagio. A new theme, formed from development of the recollection, long hinted at, finally appears in the wood-wind and is itself developed into a coda of extraordinary length. Figures from the first theme of the finale are occasionally heard, but the theme itself does not appear in the coda, although there is a reminiscence of a portion of the first theme of the first movement. The motto is sounded by the brass. There is a second exultant climax, in which the introductory motive is of great importance.
SYMPHONY NO. 3, IN E FLAT MAJOR, “RHENISH,” OP. 97
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.”