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.
SYMPHONY NO. 4, IN D MINOR, OP. 120
I. Andante; allegro II. Romanza III. Scherzo IV. Largo; finale (Played without pause.)
Weingartner regards the D minor symphony of Schumann as inferior to the first and second of the same composer. I fail to see why. Surely this symphony does not fall behind its companions; it is the one of Schumann’s four that can be heard with full enjoyment. The middle movements breathe a romantic spirit that Schumann himself never surpassed as expressions of gentle, dreamy melancholy. I know of few more haunting pages in orchestral music than those of the trio in the scherzo.
