Notwithstanding certain blemishes, this Overture at the time of its composition was a landmark in the development of program music, and if to our modern tastes it seems a bit antiquated, this is largely because of the great progress which has since been made.[196]
Symphony in D Minor.
This Symphony is selected from Schumann's four, both for the peculiar romantic beauty of its themes and because the form in which it is cast makes it an important connecting link between the freedom of structure, instituted by Beethoven, and the Symphonic Poem of Liszt and other modern composers. All of Schumann's symphonies contain genuine beauties and should be familiar to the cultivated musician. Perhaps the first in B-flat major is the most sustained, and it has a freshness and buoyancy summed up in its title, the Spring, by which it is popularly known. The exuberance of the Finale is pure Schumann and is expressed with an orchestral eloquence in which he was frequently lacking.[197] The Second Symphony is notable for its sublime Adagio, Schumann's love-song—comparable to the slow movement of Beethoven's Fourth. At some future day, conductors will have the courage to play this movement by itself like a magnificent Torso, for indubitably the other movements have aged beyond recall. The Third Symphony, known as the Rhenish (composed when Schumann was living at Düsseldorf on the Rhine) is significant for its incorporation of popular melodies from the Rhineland, and for the movement, scored chiefly for trombones and other brass instruments, which gives a picture of some ceremonial occasion in the Cologne Cathedral.
The Fourth Symphony is an uneven work, for there are many places where Schumann's constructive power was unequal to his ideal conceptions. We often can see the joints, and the structure—in places—resembles a rag-carpet rather than the organic texture of an oriental rug. But the spontaneous outpouring of melody touches our emotions and well-nigh disarms criticism. Schumann had constantly been striving for a closer relationship[198] between the conventional movements of the symphony; and his purpose, in the structural treatment adopted, is indicated by the statement published in the full score—"Introduction, Allegro, Romanze, Scherzo und Finale in einem Satze" i.e., the work is to be considered as a continuous whole and not broken up into arbitrary movements with rigid pauses between. The long drawn-out Introduction,[199] with its mysterious harmonies, leads us into the land of romance, and a portion of this introduction is happily carried over and repeated in the Romanze. The First movement proper, from Lebhaft, seems at first as if it were to be in the customary Sonata-form; the Exposition beginning with two themes in the normal relationship of minor and relative major, though to be sure the second theme is more of a supplementary expansion of the first than one which provides a strong contrast. But after the double bar and repeat, this first theme is developed in a free preludial manner as if it were continually leading up to a climax. We are finally rewarded by a new theme of great warmth which amply makes up for any lack of individuality in the second theme proper, e.g.
The rest of the movement consists of additional improvisations, rather too rigidly sectionalized, on the first theme and a second appearance of the interpolated theme. This theme, with rhythmic modifications, serves also as the basis for the brilliant Coda; for there is no Recapitulation proper, and it is evident that the movement is an extended prelude for what is to come—a first portion of the work as a whole. After a dramatic pause,[200] which enhances the feeling of expectancy (so prominent in the first movement) followed by a sustained modulatory chord, the Romanze begins with a plaintive theme in A minor. The mood is that of an idealized serenade, and in the original score the accompaniment for the oboe melody was given to the guitar[201] to secure the appropriate atmosphere. After the first statement of the theme there is an interpolated quotation of the characteristic passage from the introduction, which serves to bind the movements together both in structure and in relationship of mood. The movement is in clear-cut three-part form and the middle contrasting section in the major mode reveals a sustained descending melody played by the body of strings, which is delicately embellished by an obligato variant given to a solo violin, e.g.
