Schumann: The 4 Symphonies

Editorial Reviews
Amazon.com essential recording
Leonard Bernstein was full of surprises. A conductor often accused of hopeless self-indulgence, he responded intuitively to the classical aesthetic of Haydn, and no less to the early Romantic bravado of Schumann. In fact, these symphonies have never been better played or conducted than they are here. These are performances of high passion--they're either very fast or very slow--and extraordinary color and drama. Bernstein sticks faithfully to the composer's original, thick orchestrations but makes each symphony work through playing of unflagging clarity and chamber music-like balance. That this was all done live, in performances of such wide emotional range, is amazing. But amazing was what Bernstein did best. --David Hurwitz

Tracks:

Symphony No. 1 In B Flat Major, Op. 38 'Spring': I - Andante un poco maestoso - Allegro molto vivace
Symphony No. 1 In B Flat Major, Op. 38 'Spring': II - Larghetto - attacca
Symphony No. 1 In B Flat Major, Op. 38 'Spring': III - Scherzo: Allegro vivace
Symphony No. 1 In B Flat Major, Op. 38 'Spring': IV - Allegro animato e grazioso
Symphony No. 2 In C Major, Op. 61: I - Sostenuto assai - Allegro, ma non troppo
Symphony No. 2 In C Major, Op. 61: II - Scherzo: Allegro vivace
Symphony No. 2 In C Major, Op. 61: III - Adagio espressivo
Symphony No. 2 In C Major, Op. 61: IV - Allegro molto vivace

Tracks:

Symphony No. 3, op. 97 'Rhenish': 1. Lebhaft
Symphony No. 3, op. 97 'Rhenish': Scherzo: Sehr Maessig
Symphony No. 3, op. 97 'Rhenish': Nicht Schnell
Symphony No. 3, op. 97 'Rhenish': Feierlich - (quasi attacca:)
Symphony No. 3, op. 97 'Rhenish': Lebhaft
Symphony No. 4, op. 120: Ziemlich langsam - Lebhaft - (attacca:)
Symphony No. 4, op. 120: Romanze: Ziemlich Langsam - (attacca:)
Symphony No. 4, op. 120: Scherzo: Lebhaft - Trio - (attacca:)
Symphony No. 4, op. 120: Langsam - Lebhaft

Amazon.com essential recording

Leonard Bernstein was full of surprises. A conductor often accused of hopeless self-indulgence, he responded intuitively to the classical aesthetic of Haydn, and no less to the early Romantic bravado of Schumann. In fact, these symphonies have never been better played or conducted than they are here. These are performances of high passion--they're either very fast or very slow--and extraordinary color and drama. Bernstein sticks faithfully to the composer's original, thick orchestrations but makes each symphony work through playing of unflagging clarity and chamber music-like balance. That this was all done live, in performances of such wide emotional range, is amazing. But amazing was what Bernstein did best. --David Hurwitz

Customer Reviews:

A recording from the far side of the pendulum........2007-01-24

Back in the 1950s and 60s when Leonard Bernstein was at his peak of popularity and reputation, it was common for conductors to put their own unmistakable and indelible stamp on/in the pieces of music they were recording and this was probably more true for Bernstein than for any other conductor. Gradually, the Early Music and Original Instrument movements began to hold sway in the following decades, producing a flurry of recordings that prided themselves upon being true to the composer's intentions and minimizing the interpreting liberties taken by the previous generation, often with interpretations that were long on research and short on beauty. Both positions of the interpretive pendulum are simplified extremes and are equally wrong-headed and unsuccessful.

There is no denying that Bernstein was a wonderful personality and great conductor and music-lover who brought the American music scene a giant step forward. However, now that some decades have passed since his passing, his contribution can perhaps be viewed and listened to more objectively. Thus, this recording of Schumann's four symphonies is classic Bernstein, the set having been recorded in the mid-1980s, yet is as ego-laden as one who is nostalgic for the 1960s as one could wish. Schumann himself stated that "The orchestra must exist as a Republic" and hated the idea of a virtuoso conductor who brings attention to himself and takes attention from the orchestra and the composition. I doubt Schumann would have liked this recording. The music is gushing, lugubrious, and bombastic, with every possible affectation. Sometimes, it works and sometimes it doesn't.

Part of the problem is that there is a perception that Schumann was a weak symphonist and terrible orchestrator, but that his symphonies (including the Overture, Scherzo, and Finale) contain such fine music that their blemishes are worth hiding behind the proper interpretation. In other words, Schumann's symphonies work, but require a bit of 'work'. If one hears any of the Nicholas Harnoncourt recordings of the symphonies, one realizes this is poppycock -- there, these symphonies are models of clarity and beauty. Nothing is overdone, yet Schumann seems to say so much more. In Bernstein's hands, everything is about himself. This is not all bad. In fact, the First Symphony's second movement is quite beautiful and very expressive, contrasting brilliantly with the strongly rhythmic first movement, which suffers only from being overplayed and bombastic. The sheer heaviness and ponderous quality of the playing is curious -- none of Schumann's orchestral details are allowed to speak, such as the trumpet/oboe couplings in the second movement of the Third Symphony. Unlike many other Schumannians I've met, I've always considered the Third his weakest symphony (wonderful though it is) and here, I can understand a few of Bernstein's interpretive liberties such as the choices of tempi of the coda of the fifth movement and the movement proper. However, the symphony certainly isn't improved with Bernstein's tenutos and sudden dynamic changes, especially near the ends of the first movement's exposition and recapitulation; the tonal palette in this movement (and in this symphony) is narrower than in the others, but such exaggeration is almost laughable.

Overall, one of my biggest gripes is Bernstein's choice of tempi. The Second Symphony's third movement (Adagio espressivo) is taken so slowly that the movement never builds any momentum at all -- it just lays there like a dying animal, waiting to expire. The second movement of this same symphony begins with a good tempo, not too fast and although too heavy for its Mendelssohnian scoring and musical intentions, is convincing enough. Schumann increases the tempo in the Coda, and here Bernstein takes it so fast, it bears little relation to what has preceded it. The result sounds like such a bravura affectation that the musical power of the movement is crushed under the weight of Bernstein's personality. The result doesn't make musical sense. The tempo at the end of the coda in the fourth movement of this wonderful symphony is slowed down I suppose to give it more power, but here is so exaggerated that it simply comes to a screeching halt.

However, Bernstein does coax some wonderful playing from his Viennese charges and the solo work in the Adagio of the Second (here played Largo) as well as the solo violin work in the Fourth and other instrumental solos throughout these symphonies is excellent. Although the clarity of the recording isn't the best (this is the 1980s), Bernstein does give admirable attention to the bass lines where Schumann's counterpoint requires it and the Coda of the Finale of the Fourth is certainly exciting and very powerful, starting with a long buildup in the basses where each note can almost be distinguished.

Underlining my point, Bernstein is at his best in the Fourth, where Schumann's obsessive rhythms in the first, third, and fourth movements as well as a series of odd instrumental doublings (winds and strings) and austere musical expression keep him in check. This has always been the least popular of Schumann's symphonies -- I can only assume this view was shared by Bernstein, because he does the least with/to it and it thus winds up being the best of this set.

Bernstein isn't for everyone and neither is this set. I'm of the opinion that Schumann is one of the greatest of all composers and though not flawless, his symphonies are a remarkable musical and technical achievement. But I wouldn't have that opinion had my listening been limited to interpretations like this one. I've yet to come across a recording of these works that is entirely to my liking; this one is too much Bernstein, not enough Schumann, yet I can appreciate Bernstein's passion and his obvious love for this great music.

Maybe not the best recording quality.......2007-01-03

The interpretation of the symphonies is fine. The recording quality in some of the music is slightly dead. I don't think it was an orchestral problem, just a mechanical problem.

The wisdom gaze!.......2006-12-12

These living recordings not only find Bernstein in total shape but still more in what it could be stated as a wisdom state. To my view, since 1971, the year in which Leonard decided to consider the possibility to choose Europe as his next stage and the definitive one, he acquired a renovated vision, and even a major stature as conductor. You may realize how his Mahler cycle, his musical thinking improved to unexpected levels.

In what Schumann concerns, few directors like him understood so well the artistic heritage and the tragedy beneath the score, because the Romanticism spirit was just the peak of the iceberg. The spring Symphony' s reading for instance, is sturdy, vivid and expansive. The Vienna Philharmonic with its wonderful, exultant, vigorous and penetrating sonorous density made the perfect ensemble. Maybe the Third movement is quite reflexive; I would have preferred a major intensity at the beginning of the movement but these are minor subtleties. This version may be labeled as one the seven supreme ones ever made until this date. If you consider Munch, Koussevitzsky, Fricsay, Paray, Sawalich Kubelik, yopu should not worry about it.

Bernstein reached an insurmountable peak when he decided to record the second symphony with the New York Philharmonic. This version is good but less idiomatic than the previous one. The Third Symphony has been a matter of discussion and admiration; its bucolic and Pastoral character makes of this sublime Symphony a real stone in the shoe for many directors incapable to decipher the minimum facets of this Op. Bernstein makes a sumptuous and refined reading but to my view his previous version with the NYC is notably superior.

The Fourth is notable too, with reflexive passages, beating introspectiveness and above all, the visible Mahlerian approach employed by Bernstein to underline the close affinity among both composers. This version, plus Paray, Abendrtoth, Rafael Kubelik, Furtwangler and Sawalich are the most representative versions I have listened until this date.

In sum this set is indispensable for all sort of listeners who will be able to understand why Leonard was considered a status conductor and a magnificent director during the past Century.

Schumann the symphonist..........2006-12-10

It seems most people aware of Schumann these days associate him much more with his songs and solo piano works than with the four symphonies. That's understandable I suppose considering the quality of those pieces, but to me the symphonies are where the true introspective genius of Robert Schumann hit its peak.

By now I'm sure you've heard and read about how Schumann wasn't a great(or possibly not even a good) symphonist and how he failed miserably as an orchestrator. Nonsense I say. Sure his symphonies didn't shatter new musical boundaries or advance the system, but then again who really did after Beethoven?

Schumann's symphonies are indeed limited in orchestral colour but is that really a bad thing? Not everyone could be Rimsky-Korsakov and if everyone was, we'd all get bored with that really quick. Take a look at any of Claude Monet's winter scene paintings. Are these any less mesmerizing or poignant because the palette was so limited? I think not. If anything they are even more atmospheric and engaging than his more colourful works. The same principle applies here.

Perhaps some of the less than stellar recordings of these works have pushed people away. Fortunately for us, Bernstein was a master. He handles these works with precision and care and manages to bring each symphony to life in a way that most Romantic music fans could appreciate if they'd give this set a chance.

These recordings were done live which was always Bernstein's element. The energy and passion of a live performance is everywhere here and without the annoyances of audience noise and other such distractions that might mar your listening enjoyment.
At about $15 or so this should be a no-brainer for Schumann fans or those who want to get acquainted with the mad Romantic for the first time. Highest possible recommendation.

Lenny found Mahler in Schumann!.......2006-10-25

I own the Szell recordings which finally convinced me that Schumann's symphonies were worth getting to know (Kubelik's readings on Sony just didn't do a thing for me), but listening to Bernstein's Schumann was like hearing an entirely different composer. I agree with another reviewer who wrote about his response to the Adagio in Symphony #2. Although I didn't have tears rolling down my face, it certainly grabbed me and wouldn't let go (Szell clocks-in at a little over 11 minutes; Bernstein over 13 - but its not overt indulgence like his Tchaikovsky 6th). It was like listening to Lenny's Concertgebouw Mahler 9th. It is wrenching. I wouldn't ever let go of Szell or Bernstein - both have much to say about this often maligned composer of symhonies.

Schumann: Symphonies Nos. 2 & 4 (The Mahler Arrangements)

Average customer rating:

Breathtaking: the performance means as much as the score
Outstanding Achievement
Schumann heard brightly through Mahler's ears
Elegant, Mesmerizing Performances of Mahler's Edited Versions of Schumann's 2nd and 4th Symphonies

Schumann: Symphonies Nos. 2 & 4 (The Mahler Arrangements)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000LC4TI6
Release Date: 2007-02-13

Tracks:

I Sostenuto Assai-Un Poco Piu Vivace-Allegro Ma Non Troppo
II Scherzo, Trio I, Trio II & Coda:Allegro Vivace
III Adagio Espressivo
IV Allegro Molto Vivace
Genoveva Overture, Op.81
I Ziemlich Langsam-Lebhaft
II Romanze:Ziemlich Langsam
III Scherzo & Trio:Lebhaft
IV Langsam-Lebhaft-Schneller-Presto

Customer Reviews:

Breathtaking: the performance means as much as the score.......2007-06-12

This is one of the most exciting new releases of classical music from 2007. None other than Gustav Mahler (who himself was known as much as a conductor as a composer in his day) neatly edited Schumann's rather muddy orchestrations and Chailly has carefully researched what should be labelled the "Mahler performing editions."

But it's not just the tightened-up orchestrations that make these performances breathtaking to listen to. Chailly whips along the usually stodgy Gewandhaus Orchestra and has beautiful phrasing. The horns burp and bark along with unbridled enthusiasm. Occasionally, the heavy punching on the emphases seems a bit like over-acting on the stage, but in the main part the result is successful.

Schumann definitely has his "longueurs" in concert performance with A B A structure that seems to be repeated once too often for the modern ear. But in listening to these (especially the 4th symphony) when the CD is over, the first thing you'll want to do is to play it again.

This release has the two unnamed symphonies (Numbers 2 and 4) and we eagerly await similar recordings of the Mahler editions of Number 1 ("The Spring Symphony") and Number 3 (the "Rhenish").

This CD belongs in every serious classical music collection.

Outstanding Achievement.......2007-06-02

This is not only one of the finest new recordings of 2007, but it's also one of Chailly's most outstanding achievements.

Schumann heard brightly through Mahler's ears.......2007-03-13

Even after pioneering efforts in the Sixties by Leonard Bernstein, who set out to disprove the dusty claim that Schumann's symphonic orchestrations are awkward or even botched, the accusation kept cropping up. Then the authenticity movement helped restore the four symphonies to what Schumann originally intended. Now, by a quirk of taste, Chailly is reverting back to the old days of tampering with the score, not to diss the composer but to let us hear what another genius (and supreme orchestrator), Mahler, had to say.

What one hears immediately is that Mahler thinned out the many doublings of string lines, rendering them leaner and cleaner. In the process he allowed wind solos to emerge more clearly. After hearing a concert featuring the First "Spring" Sym., the NY Times reviewer commented that Mahler makes Schumann sound like early Beethoven. Well, not on this CD, but the opened-up texture is highly noticeable. You'll hear woodwind chords that used to be underwater and less 'fatness' in the orchestra's timbre. Call it Schumann in light of Mendelssohn.

Chailly has suddenly revitalized the dogged old Leipzig Gewandhaus, earning raves everywhere, and quite deservedly. The ensemble is sharp, alive, and constantly grabbing the listener's attention in these electric readings of Sym. 2 and 4, which are the best we've gotten in a decade. If you want to hear Mahelr's Schumann done in sparkling performances, this CD is highly recommended.

Elegant, Mesmerizing Performances of Mahler's Edited Versions of Schumann's 2nd and 4th Symphonies.......2007-03-01

Distinguished composer and conductor Gustav Mahler was not alone among his contemporaries in "editing" works composed by earlier great composers such as Beethoven and Schumann (A classic case in point is the fate of most, if not all, of Bruckner's symphonies, which received major, unauthorized revisions during - and after - the composer's life.). Critic David Matthews observes in the liner notes for this recording that Mahler's revisions of Schumann's symphonies were essentially minor, remaining fateful to Schumann's artistic vision, without trying to impose Mahler's own personal stamp on these scores. Matthews gives a splendid overview of Mahler's corrections, pointing out exactly where changes were made in Schumann's original orchestrations of both scores.

After hearing this recording I couldn't help but utter "Wow". The venerable Leipzig Gewandhaus Orchestra has rarely sounded better - either live or in a recording - under the magnificient conducting of its new music director Riccardo Chailly. Clearly, in a short time under his inspired directorship, the orchestra is now regarded by many as one of Europe's five great orchestras. Mahler's edited versions of these two Schumann symphonies truly emphasize this orchestra's strengths; most notably a warm, lush, vibrant Central European tone for its string sections, and vibrant, precise intonation from both the winds and horns. Chailly and his new orchestra have done a fine job demonstrating why Mahler's edited versions of these two Schumann symphonies should be heard more often in concert performances (I might add that this is yet a good reason wny the Mahler-edited version of Schumann's 1st Symphony will be performed at Carnegie Hall during the orchestra's latest North American tour early next week.). Purists may cringe at some of the changes which Mahler has made to these scores, but I think most will agree that these are still splendid performances of Schumann's symphonies, coupled with elegant sound quality from Decca's sound engineers.

Average customer rating:

Schumann in Bite-Size Bits
Schumann singing out afresh
Bracing Schumann: poetry + poise + heart
OK, and not the first set to dust off traditions
The Finest Schumann Symphonies Collection Available

Robert Schumann: Symphonies Nos. 1-4

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0007PLKS4
Release Date: 2005-03-22

Tracks:

I. Andante Un Poco Maestoso
II. Larghetto
III. Scherzo: Molto Vivace
IV. Allegro Animato E Grazioso
I. Sostenuto Assai
II. Scherzo: Allegro Vivace
III. Adagio Espressivo
IV. Allegro Molto Vivace

Tracks:

I. Lebhaft
II. Scherzo: Sehr Massig
III. Nicht Schnell
IV. Feierlich
V. Finale: Lebhaft
I. Ziemlich Langsam
II. Romanze: Ziemlich Langsam
III. Scherzo: Lebhaft
IV. Langsam. Finale: Lebhaft

Album Description

"Excellence at this level serves only to renew our faith both in the vitality of the classics and in the ability of today's interpreters to triumphantly stand toe to toe with the greatest recorded documents of the past." (10/10 rating!)-CLASSICS TODAY

"In this cycle of the Symphonies with the Zurich Tonhalle Orchestra, Zinman reveals Schumann every bit as great as his friends Mendelssohn and Brahms and nearly as great as his idols Schubert and Beethoven. In Zinman's hands and as realized by the Zurich Orchestra, Schumann's First is charming and courageous, his Second is darkness and fright, his Third is awe and delight, and his Fourth is darkness to light. The Zurich Orchestra plays with a strong, warm tone and deep, radiant colors. Arte Nova's sound is richly detailed and lushly reverberant. One of the great Schumann cycles. Anyone who loves Schumann's music or German Romantic symphonies will love these discs." -ALL MUSIC GUIDE

Customer Reviews:

Schumann in Bite-Size Bits.......2006-05-18

I read the superlatives about this set and ordered it. It has very precise sound, very precise playing and it is all just so tidy and neat I can't enjoy it. The music lacks sweep, grandeur and passion. It seems to be measured out into bite-sized pieces or maybe teaspoons, a la Prufrock. Every digitized bit is precise, serially neat and easily digested, meaning the music lacks continuity and sweep - yes, sweep. I feel I am reading a book intended for a seventh-grader. I suppose one could get away with playing Haydn this way, but not Schumann. I will make the ritual recitation that I am familiar with von Karajan's set, Gardiner's, Muti's, Bernstein's second set, Szell's, Solti's, as well as Sawallisch's. Sawallisch is still my favorite, by far. Sawallisch brings you music that is voluptuous and glorious in its romanticism and accomplished musicality. I can't imagine any among the available crop of renditions making Schumann himself happier than Sawallisch's might, with the Dresden Staatskapelle - a precise but powerful instrument. Playing his set is like finding a long-lost lover. On a gorgeous spring day, full of promise and sunshine, Sawallish's Rhenish symphony takes me as far as recorded music can toward the world Schumann rendered into music. Zinman is a gifted conductor and his set is well-recorded but I don't want to play it any more. I'm glad it was not expensive.

Schumann singing out afresh.......2006-01-25

I have already had in my collection for a few years David Zinman's recording of all four Schumann Symphonies with the Baltimore Symphony Orchestra on Telarc, and I thought those were just fine. They have a natural flow and balance, and a very nice kind of polish (helped by the Telarc technicians). 'Civilized' is what springs to mind, but with a touch of Romantic grandure.
Now these new recordings with the Tonhalle Orchestra Zurich are maybe even finer - at least different; even more zestful, more energetic; and also more relief in the soundpicture. The balances here are somewhat shifted, mainly that instruments/instrument groups and accents are often more pronounced, which makes the music sound even more fresh and lively, more in the vein of a period instrument performance, but then played with a combination of both modern and period instruments. (Period instruments are used for: horns, trumpets, alto trombone, tenor trombone and bass trombone; violins, violas, cellos, double basses, flutes, oboes, clarinets and bassoons are modern.) The best of both worlds, surely; whoever thought this up must be a d*mn genius, for it all blends perfectly and it all sounds completely true and natural. The First or 'Spring' Symphony (maybe the high point of this cycle) has maybe never sounded so invigoratingly fresh!
This freshness of playing is surely also helped by the crisp and direct recording, which is maybe even better than for Telarc: a little clearer and a little more acoustic space around the instruments. And also, everywhere the speeds are (almost) all consistently faster. I like that; it never sounds hurried to my ears. On the contrary, to my (amateur) ears these more 'pressing' speeds underline the consistent genius of Schumann and make these works sound like the coherent masterpieces that they undoubtedly are. And at the same time Zinman and the Tonhalle Orchestra Zurich invigorate the music with new energy and freshness.
This newly recorded cycle is a gem (not even considering the impossibly low price for which it sells!). I have done a long time with Zinman's earlier Baltimore set - which I still love -, and with this new addition I really will not be needing anything else for a very long time ... IMHO Schumann really is one of the greatest symphonists, and it is proved here - again - by Zinman. Simply wonderful!

Bracing Schumann: poetry + poise + heart.......2005-12-04

Anyone who has heard and appreciated Zinman's complete set of the Beethoven Symphonies with the Tonhalle Zurich, will get the point of this new issue, a complete set of the four Schumann Symphonies, again with the Tonhalle.

Zinman isn't afraid of setting tempos whose speeds are more commonly met by period instrument groups. As with the Beethoven readings, he uses newly edited sources, and plays everything to the hilt. The Tonhalle seems quite reduced in size in these recordings, such that strings zip along in an altered balance with brass and with woodwinds, compared to the older, slower, heavier performance manner most world orchestra's inherited from the nineteenth century bands (who tended to play in larger and larger halls as time passed and the middle class flocked to concerts as to social occasions).

Any past muddiness in the orchestral texture simply disappears in this edition. This clarity of texture is enhanced further with the genius of Zinman's verve. In some passages, chamber music textures are easily achieved, making you revise your opinions of Schumann's orchestral genius. Even going full tilt, Zinman keeps the touch light and lively and agile.

You feel as if you are meeting the young Schumann for the first time, especially as the First Symphony takes off. He has a glint in his eye, does this fellow. Small wonder that Clara's father realized he'd better rope off this visitor a bit around his daughters. This is the kind of Spring season that makes you want to leave the house, without a coat, finally unencumbered by winter. Let fall, all cold weather reticence, and heavy clothing. Depending on just how young you feel, this first symphony may make you want to strip down further, just to feel the Spring breezes on your skin in places where polite musical conversation isn't exposition, but falls back into a murmur, musing out loud about nothing and everything lovely in particular.

Fortunately, even with all this lightness and the reduced size of the Tonhalle, there is still enough weight to make the stronger musical points, though without the kinds of heavy, Romantic indulgence we have sometimes accepted as the norm. Indeed the alleged heaviness of Schumann's orchestrations is nowhere in evidence here. A quicksilver metamorphosis inhabits this music, and Zinman almost uniquely let it play among the high gifts of each department of the Tonhalle orchestra.

Continuing through the remaining three symphonies, Zinman just keeps making fresh magic in his performances of each of the remaining three. The second symphony's slow movement (for example) isn't the least bit ponderous, but doesn't lose one ounce of its lyrical heart in the alchemical process of its lightening. In fact, with the more transparent orchestral textures Zinman crafts with his marvelous Tonhalle players, you hear many passing moments of felicity in woodwind or string phrasing. These moments are there, too, in the older, heavier performances; but just easier to hear with Zinman. Can it be that Zinman will help you hear and re-hear your older Romantic readings of these symphonies? Seems possible, if you pay attention to the lessons he is teaching.

With the Third Symphony, Zinman manages to bring more shadow, more seriousness to phrasing. Tempos slow down, ever so slightly, so that maestoso can be conveyed, rhetorically. Zinman and band also pass the critical feierlich test in the odd movement, said to have been evoked on the occasion of a holy elevation of an archbishop at Cologne Cathedral. Throughout the horn and brass are burnished, with solos that carry drama and narrative substance. While in the first two symphonies the horns and trombones were blended more with the other brass and woodwinds, their special Solemnity is captured here, even with reduced forces. The slow movement, preceeding the feierlich one, is another miracle of musical inflection and phrasing, without for one second sounding indulgent or mannered. The spirit of chamber music is revealed in this music, every bit as much as the spirit of the symphony.

The Fourth Symphony provides a fitting conclusion to the set. I found myself wishing that Schumann had had more confidence in himself as an orchestral composer, so fetching is the music made throughout this set of four. Who wants it to end? But end it does, with Schumann setting out the ground rules for innovative cyclical form in music; lessons not lost on many of his contemporaries and descendants. As it happens, the added maestoso touches heightened in the second and third symphonies, continue into and throughout the Fourth. The tempo changes no longer seem so awkward, and a contrapuntal depth of story consistently emerges via the enabling consensus of the players.

Truly, there are other valid approaches to Schumann. I will still return to the shelf where sit older, prized red book CD performances. Sinopoli and Vienna doing the Second Symphony. Haitink and the Concertgebouw doing all four. And, can it be? Zinman and Baltimore on pre-SACD Telarc show how to play these symphonies with something like the old, burning Romance. I also listen to Solti, Kubelik, Karajan, Klemperer, Mehta - and as they become available again, James Levine with the Philadelphia Orchestra.

The nice thing is, at this price, you really don't have to do without much except maybe a few pricey Lattes, just because you purchased this set. The sound is good enough to completely get out of the way of the music, letting you hear everything Zinman and Tonhalle are doing. The hall isn't especially present, except in those larger moments when it resounds, and the venue point is made.

Five stars, stars, stars, stars. Highly recommended. Do check out the earlier Zinman with Baltimore, now newly released on midpriced Telarc. And do look out for James Levine/Philadephia as they re-appear.

OK, and not the first set to dust off traditions.......2005-09-26

This is an decent set and a good recommendation but after a few more listens I would rewrite this and downgrade it a star and a half (something you can't do when you re-edit a published review).

PRIMARILY

It's getting a bit tiresome reading reviews of new Schumann where each new entry "finally gets it right" or "reveals new and deep insights into Schumann's music" or other such rubbish. Szell's old set is great, Bernstein's first set is terrific, Paray's ancient recordings on Mercury are a revelation, and plenty think Furtwangler's Fourth is amazing. Then there's the completely unknown recent set with Florian Merz and a Dusseldorf orchestra--totally nutty and fun. There're plenty more, including Harnoncourt's readings that at times are transcendental.

Think about it. If Schumann was the incompetent, psychotic, lame-o that many paint him to have been, then why in heck did so much of his music, and especially these symphonies, stay in the repertoire for so danged long? I seriously doubt 150 years of playing "mud" (as many have described his so-called bad orchestration) would have endeared his music to too many. I seriously doubt that great conductors of previous generations couldn't have figured out how to make this music sound right; that it took a Gardiner or a Zinman to finally make sense of it.

Also, enough with the "crazy" thing. Bruckner was OCD big-time and nobody feels obliged to mention that in every review of a Bruckner symphony. Plenty of other great artists have gone bonkers and we let it go. To listen to Schumann looking endlessly for symptoms of bi-polarity is a waste of time. Sonata form is, almost inherently and by definition, "bi-polar." Exciting or emotional music is not "mania." Enough already.

[Added note: I'm bothered by the growing "hysteria" over some newer recordings that are, with reflection, competent and entertaining--like these--without being spectacular. I sense, and hopefully I'm wrong, a generation of listeners who haven't heard a lot of the old masters conducting or are, worse, avoiding them because of earlier recording technology limitations. I'm one of those grouches who argues that a grizzled German conductor who played skittle with Richard Strauss and drilled his orchestra like a Prussian officer may have had an edge--interpretation-wise--over, say, some modern 38-year-old suburbanite Julliard grad or similar who is wrapped up in a lot of PR and promotion hype. Sorry, but a wunderkind like Simon Rattle is not going to plumb the depths of Mahler as well as Bruno Walter, who was Mahler's assistant. The standard repertoire is, historically, fading fast, and with few exceptions (Shostakovich's, Britten's) there aren't many acknowledged and frequently played masterpieces after Bartok wrote the Concerto for Orchestra in the 1940s. Scary but true. So we're looking at a generation of conductors rapidly getting out of touch with the bulk of great Western art music]

The Finest Schumann Symphonies Collection Available.......2005-09-26

David Zinman keeps a low profile and aims all of his energies toward making music, and 'making music' is precisely what he accomplishes in this set of all four of Robert Schumann's symphonies. While there are other individual recordings and some complete collections of these works that have found favor with the Romantic audience, this set provides Zinman and his Zurich Tonhalle Orchestra the access to the top of the mound!

Schumann's life and work are the topics of many poets, writers, critics, and scholars and at times his melancholia and sad demise overshadow his exemplary compositions. While most accept him as one of the most important lieder composers, standing proudly beside Schubert and Hugo Wolf, his symphonies are often consider passé. But Zinman and his orchestra grandly demonstrate that far from being secondary works, these four symphonies rival the majesty and imagination of Brahms, Mendelssohn, and even Mahler and Beethoven? Heresy? Just listen to these very alive, illuminating readings of these forward looking works and hear your ears and heart change their minds.

Each of the four works stands equally, though many (as this listener) may find the treasureable Spring Symphony (No. 1) the crowning performance. Zinman favors brisk tempi, clarity of phrasing, and the rapture of the Romantic vision and the result is simply some of the finest orchestral playing and sound on recording. Add to this the inexpensive price tag for this 2 CD set and there leaves no reason not to build your library with works that deserve a prime position. The recorded sound is rich and full while delineating every detail and nuance. Highly Recommended. Grady Harp, September 05

Average customer rating:

Great set of music
Good but not great readings of the Schumann Symphonies
Extremely Satisfying Performances
Agile playing with that glorious Cleveland sound
Well Done

Schumann: The Symphonies

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Robert Schumann: Symphonies Nos. 1-4

ASIN: B0000042EJ
Release Date: 1997-06-10

Tracks:

Symphony No.1 In B Flat Major, Op.38 'Spring': I. Andante un poco maestoso - Allegro molto vivace
Symphony No.1 In B Flat Major, Op.38 'Spring': II. Larghetto
Symphony No.1 In B Flat Major, Op.38 'Spring': III. Scherzo: Molto vivace
Symphony No.1 In B Flat Major, Op.38 'Spring': IV. Allegro animato e grazioso
Symphony No.2 In C Major, Op. 61: I. Sostenuto assai - Allegro ma non troppo
Symphony No.2 In C Major, Op. 61: II. Scherzo: Allegro vivace
Symphony No.2 In C Major, Op. 61: III. Adagio espressivo
Symphony No.2 In C Major, Op. 61: IV. Allegro molto vivace

Tracks:

Symphony No.3 In E Flat Major, Op. 97 'Rhenish': I. Lebhaft
Symphony No.3 In E Flat Major, Op. 97 'Rhenish': II. Scherzo: Sehr massig
Symphony No.3 In E Flat Major, Op. 97 'Rhenish': III. Nicht schnell
Symphony No.3 In E Flat Major, Op. 97 'Rhenish': IV. Feierlich
Symphony No.3 In E Flat Major, Op. 97 'Rhenish': IV. Lebhaft
Symphony No 4 In D Minor, Op.120: I. Ziemlich langsam - Lebhaft
Symphony No 4 In D Minor, Op.120: II. Romanze: Ziemlich langsam
Symphony No 4 In D Minor, Op.120: III. Scherzo: Lebhaft
Symphony No 4 In D Minor, Op.120: IV. Langsam - Lebhaft

Customer Reviews:

Great set of music.......2006-11-25

Robert Schumann composed in the heyday of the Romance period of classical music and was quite accomplished with a very large repertoire of works. Some of his best works are his four symphonies. Each is about 30 minutes in length and together they are as good and enjoyable as some of Beethoven's or Mozart's earlier symphonies. All are evocative, dramatic, complete scores that cover the range of emotion; i.e. the Rhenish symphony invokes the grandeur of natural beauty. This 2-disc set is a good recording of these four works; though other sets exist that include additional symphonic pieces. In other words, this set is good, but better purchases exist out there.

Good but not great readings of the Schumann Symphonies.......2004-03-30

Dohnanyi and the Cleveland Orchestra usually produce chilling performances. Take, for example, their collaboration on the last three symphonies of Dvorak, arguably the greatest digital readings of these works. However, Dohnanyi has trouble with Schumann. The four symphonies, difficult in their awkward orchestral thickness and texture, are always hard to perform convincingly. Indeed, because there are so many inherent problems in the part writing, conductors face the daunting task or either reworking aspects of the score or simply dealing with Schumann's orchestration. Dohnanyi does not alter the orchestral writing, however, the result is an unconvincing performance of these great romantic works. The playing, at times, sounds awkward and forced. Furthermore, the orchestra, usually alert, gives a rather dull performance. There is little dynamic range, uneventful climaxes, and an all around bored sound. George Szell does wonderful things in his rendition of the symphonies with the same orchestra. He re-works aspects of the orchestration for clarity and gives incisive readings of these symphonies. Although Dohnanyi gives a good performance, there are better ones out there.

Extremely Satisfying Performances.......2004-03-02

I've lived with this CD set for over six years now. When I first picked up this set I admit to being a classical music novice. As I have grown as a classical music fan so to has my affection for these recordings. At a surface level you may immediately be impressed by the 1st and 3rd with their dramatic openings. But over time I think you will come to realize (as others have) that the truly special performances of this set are the 2nd and the 4th. They are both the best recordings of these symphonies I know.

Of the two the 2nd is my favorite. I have read reviewers comment that Dohnanyi is too plain, to unwilling to push tempos in this symphony. It is true that others (like Szell) take far more liberties with tempo, especially in the finale. However, in my opinion Dohnanyi's is smart not to try to add artificial "excitement". I don't fully understand how, but his performance creates a nobility that is very affecting and emotional, partly because it doesn't slap you in the face with it.

The fourth is thrillingly performed. I've heard other conductors attempt to do "more" with individual movements, Dohnanyi takes the superior strategy (in my opinion) of "selling" the symphony as complete work, producing a convincing single-minded performance.

I'd be remiss if I didn't mention the orchestra. It is usually difficult to tell where a conductor ends and where a great orchestra begins, but I don't think anyone could argue with the reviewer from New York that Cleveland provides (perhaps unmatched) "agility, precision, power, balance and grace".

Agile playing with that glorious Cleveland sound.......2003-01-14

Many fine orchestras get caught in the quicksand of Schumann's thick orchestration. The scores contain many tutti sections where the lightness and momentum often get bogged down. Playing these well requires agility, precision, power, balance and grace--in other words, all of the hallmarks of the Cleveland Orchestra, first developed by George Szell and built upon by Maestro von Dohnanyi. The Cleveland Orchestra is able to do justice to Schumann's symphonies as few other orchestras ever have.

While I agree with the reviewer who said that no record company ever captured the sound of the Cleveland Orchestra, I wonder whether the technology exists that would capture that sound in all its glory. Nothing will ever beat the experience of hearing them live, but overall I think the engineers did an admirable job. Others have pointed out the fine sound of the Cleveland strings, but pay attention as well to those glorious wind passages, especially in the Second Symphony. Highly recommended.

Well Done.......2002-11-20

Dohnanyi and the Cleveland Orchestra bring to these CDs all of the crisp technique, explosive power, and enlightened interpretation that I remember from their Beethoven symphony cycle. Surprisingly, however, the recorded sound of these symphonies is *clearer* than the sound of their Beethoven symphonies was, possibly owing to London's different recording techniques. This serves the strings particularly well, as they're finally allowed to take a prominent place in the Cleveland Orchestra's sound... which is good, for (as has been noted) there are several places where the strings really fly, most notably in the finales of the First and Fourth symphonies, and in the scherzo of the Second. Unlike other orchestras I've heard performing these symphonies, the Cleveland Orchestra is clearly not afraid to take these symphonies up to tempo, and that tendency creates an energetic, fiery sound that bursts with life and exuberance while maintaining a heroic nobility. It's true that of the four symphonies, the "Rhenish" is the most modest-sounding. However, it must be emphasized that with this orchestra and this conductor, "modest" doesn't translate to "bad," but rather to simply "well done"--as opposed to the outright heroism of their interpretation of the Second symphony, which converts that often overshadowed work into a veritable masterpiece. The bottom line is, it's probably possible to find better individual interpretations of each symphony... but it's pretty hard. These interpretations are so well performed that there's no way you can go wrong buying these CDs; indeed, if you're looking to get all four Schumann symphonies in one set, I'd go so far as to say this is THE set to get, particularly for a bargain price like this.

Schumann: The Four Symphonies; Genoveva & Manfred Overtures

Average customer rating:

"The Poet Speaks!"
Rafael Kubelik's Earlier, Legendary Schumann Symphony Cycle
Arch-Romantic Euphoria

Schumann: The Four Symphonies; Genoveva & Manfred Overtures

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Brahms: The Four Symphonies
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ASIN: B000001GHT
Release Date: 1994-11-22

Tracks:

Symphonie No. 1 en Si bemol Majeur 'Le Printemps', op.38: Andante un poco maestoso - Allegro molto vivace
Symphonie No. 1 en Si bemol Majeur 'Le Printemps', op.38: Larghetto - attacca
Symphonie No. 1 en Si bemol Majeur 'Le Printemps', op.38: Scherzo - Molto Vivace
Symphonie No. 1 en Si bemol Majeur 'Le Printemps', op.38: Allegro animato e graciozo
Symphonie No. 2 en Ut Majeur, op.61: Sostenuto assai - Un poco piu vivace - Allegro, ma non troppo
Symphonie No. 2 en Ut Majeur, op.61: Scherzo - Allegro vivace
Symphonie No. 2 en Ut Majeur, op.61: Adagio espressivo
Symphonie No. 2 en Ut Majeur, op.61: Allegro molto vivace
Ouverture 'Genoveva', op.81

Tracks:

Symphonie No. 3 en Mi bemol Majeur 'Rhenane', Op.97: Vif
Symphonie No. 3 en Mi bemol Majeur 'Rhenane', Op.97: Scherzo - Tres modere
Symphonie No. 3 en Mi bemol Majeur 'Rhenane', Op.97: Pas rapide
Symphonie No. 3 en Mi bemol Majeur 'Rhenane', Op.97: Solennel
Symphonie No. 3 en Mi bemol Majeur 'Rhenane', Op.97: Vif
Symphonie No. 4 en Re mineur, Op.120: Assez lent - Vif - Attacca
Symphonie No. 4 en Re mineur, Op.120: Romance. Assez lent - Attacca
Symphonie No. 4 en Re mineur, Op.120: Scherzo. Vif - Attacca
Symphonie No. 4 en Re mineur, Op.120: Lent - Vif
Ouverture 'Manfred', Op. 115

Customer Reviews:

"The Poet Speaks!".......2006-02-18

This 2 CD set has the most beautiful orchestral works of Schumann. Played by Berliner Philharmoniker under the baton of Kubelik, performed with sensitiveness, romantic. Still, Kubelik is a very succesful conductor especially in Romantic repertoire. As you know, Schumann's orchestration not so good as Brahms or Tchaikovsky, his orchestra timbre is too light and weak. But, the playing of Berliner Philharmoniker claims the weak orchestration of Schumann. However the music of Schumann is too romantic, passionate, dramatic, of course.

Symphony No. 1 named "Spring Symphony" written in a very short period, a few months. It was written with happiness of the composer and the inspiration comes from Clara. This symphony has a vivid atmosphere, especially in first and last movements. The Symphony No. 3 named "Rhenish" is the most majestic of all. Schumann was love the Rhein river and forest. There are typic pictures from a pastoral German landscapes. It is an example of German Romanticism. Especially in the 4th "Feierlich" movement, you will see what I mean. "Feierlich" means "ceremonial" and it pictures a ceremony in a Rhenish cathedral, very majestic. The 4th Symphony is the most drammatic of all of the composer's symphonies. It was completed in his last period, 1851, towards to tragic end of his life. This symphony to be constitued in a single movement, written as a symphonic-fantasia. Orchestration, as usual in Schumann, not too powerful, brilliant, it is a little weak, but the music is very romantic, poetic and has a tragic mood. Especially the first movement is a drammatic opening movement, the second movement is a lyric "Romanze" which I think has a musical diolag between Robert and Clara (violoncello solo and oboe). But in Finale, there is a glorious joy, contrasts to the dark mood of beginning movements.

There are two overtures, too : the only opera of the composer ; Genoveva, Op. 81 and the famous Manfred, Op. 115. The latter written in the last period, near to the tragic end of Schumann's life. And Manfred Overture has a drammatic mood, languish romanticism and really spine-chilling. May be the most beautiful orchestral work of Schumann.

The performances of Kubelik are really wonderful, surely worth to buy and listen. The recording comes from 1960's and quality is very good.

Highly recommended.

Rafael Kubelik's Earlier, Legendary Schumann Symphony Cycle.......2001-08-25

Fans of Deutsche Grammophon's superb sound quality will not want to miss this budget price two CD set of Rafael Kubelik conducting the Berlin Philharmonic in this critically acclaimed Schumann symphony cycle. Some critics regard this as among the finest Schumann symphony cycles ever recorded. However, this accolade should be given for the quality of the recording, not the performances. Although all of the Berlin Philharmonic's performances are first rate, they still fall short in warmth, enthusiasm, if not techique, in comparison to Kubelik's later recordings with the Bavarian Radio Symphony Orchestra. In deferrence to Kubelik's later cycle, this one should merit four and a half, not five stars.

Arch-Romantic Euphoria.......2001-02-03

My Schumannmania dates back a long way-- even before I ever heard a single note I knew I would love him, thanks to his bio, with its forbidden love, marital passion, duelling with the Philistines, and of course the inevitable descent into madness. But Schumann was an irrepressible, if agitated, soul, as is borne out by the idiosyncratic fervor of his four symphonies. The "Spring"s opening movement is one of those endlessly exhilarating experiences in art that never fails to give the spirit a kick-- without being reductively a piece of "program music," it manages to suggest the fructifying power of incipient spring-- even to tickle the skin with the physiological symptoms of "spring fever." And this is a quality spread throughout Schumann's orchestral canon, from which the immortal "Manfred Overture" and the rich "Genoveva" are also included on these discs. All are glorious, but it would be a pity not to single out the extraordinary "Adagio espressivo" of the 2nd Symphony, a movement which rivals even Mahler at his most transcendentally expressive-- and Schumann is not a child of the Wagnerian era. Nor can I fail to cite the shuddering grandeur of the fourth movement of the "Rheinish" Symphony, an interlude of intense pathos in that galloping, impish, lighthearted, always loveable work. Schumann is still a controversial composer, but perhaps I love him for all the reasons Nietzsche did not (with all respect to the sage!). His music partakes of a very youthful, tender Romanticism, imploring and transparent, and he thrives on stirring dreaminess.

Average customer rating:

Still Regarded By Many As The Definitive Schumann Symphony Cycle
ist movement of the Rhenish is a tsunami of joy and exuberance
Should Schumann be played like Mendelssohn?
Sawallisch: Unfussy, passionate Schumann Symphonies
Generally appealing

Symphonies 1-4
Schumann , Sawallisch , and Staatskapelle Dresden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000063UNC
Release Date: 2002-04-09

Tracks:

Symphony No.1 In B Flat, Op.38 'Spring': I: Andante Un Poco Maestoso - Allegro Molto Vivace
Symphony No.1 In B Flat, Op.38 'Spring': II: Larghetto
Symphony No.1 In B Flat, Op.38 'Spring': III: Scherzo (Molto Vivace) And Trois I & II
Symphony No.1 In B Flat, Op.38 'Spring': IV: Allegro Animato E Grazioso
Symphony No.4 In D Minor, Op.120: I: Ziemilch Langsam - Lebhaft
Symphony No.4 In D Minor, Op.120: II: Romanze (Ziemilch Langsam)
Symphony No.4 In D Minor, Op.120: III: Scherzo (Lebhaft) & Trio
Symphony No.4 In D Minor, Op.120: IV: Langsam - Lebhaft - Schneller - Presto
Overture, Scherzo And Finale, Op.52: Ouverture (Andante Con Moto - Allegro)
Overture, Scherzo And Finale, Op.52: Scherzo (Vivo) & Trio
Overture, Scherzo And Finale, Op.52: Finale (Allegro Molto Vivace)

Tracks:

Symphony No.2 In C, Op.61: I: Andante Un Poco Maestoso - Allegro Molto Vivace
Symphony No.2 In C, Op.61: II: Scherzo (Allegro Vivace) And Trois I & II
Symphony No.2 In C, Op.61: III: Adagio Espressivo
Symphony No.2 In C, Op.61: IV: Allegro Molto Vivace
Symphony No.3 In E Flat, Op.97 'Rhenish': I: Lebhaft
Symphony No.3 In E Flat, Op.97 'Rhenish': II Scherzo (Sehr MaBig)
Symphony No.3 In E Flat, Op.97 'Rhenish': III: Nicht Schnell
Symphony No.3 In E Flat, Op.97 'Rhenish': IV: Feierlich
Symphony No.3 In E Flat, Op.97 'Rhenish': V: Lebhaft

Customer Reviews:

Still Regarded By Many As The Definitive Schumann Symphony Cycle.......2007-05-18

Many music critics, including those writing for the esteemed Penguin Guide to Classics, have observed that Wolfgang Sawallisch's early 1970s Schumann symphony cycle with the Dresden Staatskapelle simply has no peer. One of the obvious reasons is the superb acoustics of the Dresden Staatskapelle's long-time recording studio, Dresden's Lukaskirche, which has been recognized for a long time as among Europe's finest. Yet another reason is the glorious sound of the Dresden Staatskapelle itself, which has a distinctively vibrant, warm sound that is quite similar to the Wiener Philharmoniker's. But I suspect the most obvious reason remains Wolfgang Sawallisch's passionate interpretations, which are distinctively poles apart from more exuberant interpretations from the likes of Sinopoli and Bernstein, and the relatively austere ones offered from Szell. Without question, the two symphonic highlights of Sawallisch's Dresden cycle have to be the recordings of the 2nd and 3rd symphonies; the latter especially is among the most vibrant interpretations of Schumann's "Rhenish" symphony. While I have had the pleasure of hearing Sawallish conduct the entire Schumann symphony cycle live at Carnegie Hall - around the time his latest Schumann cycle with the Philadelphia Orchestra was issued - I can't possibly think of a more exciting, emotionally riveting set of performances than his early 1970s cycle with the Dresden Staatskapelle.

ist movement of the Rhenish is a tsunami of joy and exuberance.......2006-06-10

An exhilirating cycle.Compare Sawallisch with Bernstein/vpo in the famous opening of the 'Rhenish' and the latter seems rather gloopy and undifferentiated.The last movemnt of no.2 is one of my favourites and here there's a dance like quality which immediately captures ones attention.
This cycle yields nothing to Bernstain in passionate intensity and has the added benefit of the unique horn section of the Dresden Statskapelle (very important in Schumann)

Should Schumann be played like Mendelssohn?.......2006-05-22

Thanks to decades of sponsorship by The Gramopnone, Sawallisch's 1972 Schumann cycle from Dresden achieved legendary status. EMI took its time releasing the performances on to CD, however, and this 2002 remastering was the first time I saw them cheaply available. I'm impressed, wtihin limits. If you think of Schumann as a restrained Romantic with one foot in the classical era--like Mendelsoohn in love--then Sawallisch's well-trimmed, even-tempered readings will be satisfying. The Dresden orchestra plays beaautifully; the recording, though a bit distant, sounds fine.

But I grew up on Bernstein's all-out romanticism, displayed in his Sixties Schumann cycle from NY on Sony. Those were galvanizing readings that placed Schumman in the turbulent waters of Beethoven and Wagner, where I think he belongs. Other grandly passionate cycles over the years include Bernstein's second one from Vienna, both of Levine's from Chicago and Berlin, Karajan's, also with the Berlin Phil., and Klemperer's with the Philharmonia. The cooler classical ccyles include Masur, Kubelik, and Szell. They seem to earn a lot more reccommendations from critics than the grand ones, but for what reason I don't know.

Sawallisch: Unfussy, passionate Schumann Symphonies.......2004-07-18

What an embarrassment of riches: this older set, remastered in fine shape as part of the EMI Great Performances series has been a catalogue star since its first appearances. But wait, there is more. Sawallisch has re-recorded these symphonies with the Philadelphia Orchestra, showing off not only his leadership, but the fine mettle of the PO (post-Ormandy, post-Muti), and the sonics of the new Verizon Hall. It's a difficult choice, between the older set and the newer one. One plus of the older set is that it features the Dresden Staatskapelle, certainly one of Europe's finest and most distinguished orchestras. Dresden need yield no pride of place to anybody. They have a depth of tone in all instrumental departments that is only typically rivaled by the Vienna Philharmonic; combined with an incisiveness of musical gesture and transparent golden glow that typically serves the music well, almost no matter what they are playing. Part of the older set's allure has no doubt to do with the hallowed recording venue of the Luskaskirche which simply must be one of the best acoustics for European recording. The newer set, on the other hand, captures Sawallisch and the Philadephia Orchestra live (complete with audience applause). One must say that they retain their reputation as a top American band, somehow managing to combine the lushness of the Ormandy heritage with a chamber-ensemble finesse. Such flexibility serves Schumann's symphonies very well, since at times it would appear that the composer was establishing a sweet intimacy as well as dramatic breadth in these formerly neglected orchestral step-children.

Now, also, do not forget that David Zinman has just recorded a complete set with members of the Tonhalle Zurich, bringing an awareness of period performance textures, dynamism, and style to these works, even though he is manifestly not playing on period instruments (like Gardiner).

Truth be told, you cannot go far wrong with any of these sets: The older Sawallisch, the newer Sawallisch (available only direct from the Philadelphia Orchestra website), the newer Zinman/Tonhalle. I have made room on the shelf, too, for the Karajan and Haitink recordings. The Royal Concertgebouw brings its own high Romanticism to the Haitink set, and has the benefit of that great hall acoustic in their home venue. Finally, it would appear that BMG is finally re-releasing the James Levine/Philadelphia recordings, of which only symphonies 2 and 4 are so far available.

Less often, I return to the Szell, and the Bernstein/Vienna sets. The Szell is very well done, but as with many conductors, Szell found occasion to fuss about with the original orchestrations. If you want alternative orchestrations of the Schumann, why not turn to the Aldo Ceccato set on BIS, where he gives us the re-touched instrumentations of no less a personage than Gustav Mahler. I usually can't take more than one of the Bernstein/Vienna symphonies at a time, so fullsome and rich and high-calorie are those performances.

The older Sawallisch, and the newer Sawallisch, then, get five stars. And if you have found the symphonies too thick, too earthbound over the years, do have a listen to the new Zinman/Tonhalle. It will make you rethink all the traditional complaints, and you get more than a whiff of the manic side of Robert, dancing wildly off into the stars with his beloved Clara.

Generally appealing.......2004-06-11

When it comes to richness of expression, solid orchestration and an epic quality, for me, Brahms, the protege, outdoes his early caretaker, Schumann. My feelings toward the latter's symphonies have never been more than tepid. If I'm going to find some measure of enjoyment from his music it must be presented by someone who can bring it to life, not just lay it out on a platter. The prescription calls for a spirited approach combined with some imaginativeness in phrasing. If this cannot be done, and if, simultaneously, one adheres frequently to excessively slow tempos, the effect can be deadly. Generally speaking, Wolfgang Sawallisch accomplishes one of the better jobs I've heard in terms of keeping the juices flowing, however, while he is often lively and there is a nice fragrance to some of his melodic details, he sometimes falls into a pattern of relative blandness; for example, in the third movement of the "Spring" and the second movement of the "Rhenish". By contrast, George Szell offers greater intensity and more effective orchestral execution in his reading of the Second Symphony, although he really doesn't move me as much in the other three symphonies. Bernstein's effort with the Vienna Philharmonic displays the kinds of mannerisms that came to characterize more frequently his style as he aged. Except for a pretty decent "Spring", I find Klemperer's Schumann too stodgy. It's been so long since I've listened to Karajan's Schumann that, at some point, I must return to it for an update. In closing, the recorded sound of the Sawallisch/Schumann set is very fine, and somewhat better than that given to Szell. Overall, however, it is Bernstein's early New York Philharmonic readings that give me the best combination of romantic ardor and satisfaction.

Schumann: Symphonies 1-4; Manfred Overture

Average customer rating:

Definitive
Schumann shines
Armchair or Open Windows
More a warning than a review
Strong Historical Performance, Interpretation

Schumann: Symphonies 1-4; Manfred Overture
Robert Schumann , George Szell , and Cleveland Orchestra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0000029PC
Release Date: 1996-10-01

Tracks:

Symphony No. 3 in 3-Flat Major, Op. 97 'Rhenish': I. Lebhaft
Symphony No. 3 in 3-Flat Major, Op. 97 'Rhenish': II. Scherzo: Sehr Massig
Symphony No. 3 in 3-Flat Major, Op. 97 'Rhenish': III. Nicht Schnell
Symphony No. 3 in 3-Flat Major, Op. 97 'Rhenish': IV. Feierlich
Symphony No. 3 in 3-Flat Major, Op. 97 'Rhenish': V. Lebhaft
Symphony No. 4 in D Minor, Op. 120: I. Ziemlich langsam-Lebhaft
Symphony No. 4 in D Minor, Op. 120: II. Romanze: Ziemlich langsam
Symphony No. 4 in D Minor, Op. 120: III. Scherzo: Lebhaft-Trio
Symphony No. 4 in D Minor, Op. 120: IV. Langsam-Lebhaft
Symphony No. 4 in D Minor, Op. 120: 'Manfred' Overture, Op. 115

Tracks:

Symphony No. 1 In B-Flat Major, Op. 38 'Spring': I. Andante un poco maestoso-Allegro molto vivace
Symphony No. 1 In B-Flat Major, Op. 38 'Spring': II. Larghetto
Symphony No. 1 In B-Flat Major, Op. 38 'Spring': III. Scherzo: Molto vivace-Trio I: Molto piu vivace-Trio II
Symphony No. 1 In B-Flat Major, Op. 38 'Spring': IV. Allegro animato e grazioso
Symphony No. 2 In C Major, Op. 61: I. Sostenuto assai-Allegro ma non troppo
Symphony No. 2 In C Major, Op. 61: II. Scherzo: Allegro vivace-Trio I-Trio II
Symphony No. 2 In C Major, Op. 61: III. Adagio expressivo
Symphony No. 2 In C Major, Op. 61: IV. Allegro molto vivace

Amazon.com

George Szell was on record as saying that he believed there was no reason the Schumann symphonies shouldn't be "as popular as Tchaikovsky." When they're played like this, it's hard to disagree. Schumann is one of those composers that every conductor does, but that few do really well. Part of the problem stems from the monochrome orchestration. Szell makes minor adjustments for the sake of clarity, but otherwise leaves it up to his superb orchestra to achieve the proper balances. And despite the usual extraordinary discipline that he imposes on his players, he's not afraid to let the music's Romantic temper burst out now and again in a surge of energy. With excellently remastered sound, this set is certainly one for the record books. --David Hurwitz

Customer Reviews:

Definitive.......2007-05-17

These definitive recordings show an unusually warm George Szell--not the cold hearted tyrant of legend--working out with the astonishingly polished Cleveland Orchestra. And for once the remastered Columbia/Sony sonics are deep and full and without high end distortion, faithfully reproducing the silky string sound of Severance Hall. These are essential recordings that confirmed Schumann's place as a major symphonist.

Schumann shines.......2007-05-13

This recording has opened up an appreciation of Schumann that I did not have before. Powerful and expressive performance by Szell.

Armchair or Open Windows.......2006-10-25

Brian Knox (review entered below) makes some interesting points about these famed recordings. Szell has a great (and altogether deserved) reputation as a conductor of classical directness and integrity. But - and there is a but with these great recordings - these recordings are not altogether as satisfying as their almost legendary reputation might suggest. There is an unexpected 'plushiness' to Szell's balances that mutes and dulls the edge of these genuinely exciting symphonies. There is just a little too much of the armchair and too little of the open-window.

This is a consequence of Szell's (wholly legitimate) view of these symphonies and their sound-world, of his revisions to the scores and of the recorded balances. Christoph von Dohnanyi (still with the great Cleveland Orchestra) lets far more sunlight and fresh-air onto the scene. So too does Klemperer - a fantastic but rare set (marred a little by his ponderous view of the 2nd symphony). David Zinman with the Tonhalle Orchestra Zurich is bright, buoyant and wonderfully alive (an outstanding version of the 2nd symphony).

But the real point is that these symphonies are superb works and any of these sets would provide much enjoyment.

More a warning than a review.......2006-02-26

Fantastic set, one of my favorite of a huge pile--the one I seem to go back to most frequently.

If you buy this and the CDs are in non-removable cardboard sleeves inside the packaging (they should be), CAREFULLY take the discs out and put them in jewel cases for the remainder of their (or your) lives. The idiotically designed packaging actually scratches up the discs--primarily the second one (the glued inside (!!) seam rubs up against the surface). I'm meticulous with my CD handling and discovered, to my horror, that this has happened with nearly every set I own in this series!

I've encountered worse elsewhere--trendy avant-garde labels are the worst, they might as well package CDs in sandpaper or include a crowbar [If the moron who designed the breathtakingly idiotic packaging for the KAIROS Morton Feldman disc ever reads this, be warned, I will track you down someday and ruin your career as a designer]; it's amazing that at this late date in the evolution of the CD packaging designers still haven't developed the right sensitivities or simply yielded wholly to the imperfect but better-than-anything-else stock jewel box. Why that ingenius package that would actually automatically lift and free the disc when opened never caught on (despite the added 10 cent per unit cost, that I, for one, would gladly have absorbed) is anybody's guess.

[Post note: Amazing, I publish this solely to cue people that there's a problem with the packaging on this and I get a "not helpful" vote! What a putz!]

Strong Historical Performance, Interpretation.......2005-10-18

As anyone acquainted with "the Trio of German Romantics" (Clara and Robert Schumann, and Johannes Brahms) will know, Robert Schumann's orchestrations are often criticized as greatly inferior to his compositions' other attributes, as well as sub-par with regard to other composers' orchestrations. Gustav Mahler, for example, in attempting to revive Robert Schumann's symphonies, went so far as to essentially re-orchestrate the whole of the four symphonies, he thought the original orchestration so horrendous. Many have followed in this path of adding or taking away from Robert Schumann's orchestrations to popularize his symphonies.

George Szell, who conducts this recording, criticizes such revisions (in the front cover) as "adulterating the character of these works by wrapping them in a meretricious garb of sound alien to their nature." Szell, at home with both the Cleveland Orchestra and Robert Schumann's Symphonies, however, adds some notes and changes of his own atop of Schumann's original scores, though he classifies his alterations as "guided by conscience and taste". According to the front cover, Szell's changes, developed over his years performing the four symphonies, consist of "eliminating doublings, adding or changing notes to clarify themes, adjusting harmonics", as well as the obligatory adjustment of timpani notes (since Schumann wrote for his timpani some dissonant tones, due to the primitive nature of timpani tuning at the time).

Szell's changes to Schumann's orchestration, allegedly in "conscience and taste", are greatly indicative of how Szell views Schumann historically. Szell systematically limits the symphonies' orchestrations to trends likely observed close after "the end" of the Classical period. In Szell's performance the upper strings are the supremely dominant source of melody, as Szell seems to restrain the highly-apt brass section of the Cleveland Orchestra (except, in some cases, the horns) to a role of, largely, dramatic emphasis. Grossly lopsided or unbalanced orchestration, or anything too prominently featuring winds is avoided by Szell, and the full string section is never far from the forefront of the music. Still, Szell often allows the Cleveland Orchestra's lower strings and woodwinds the freedom and spotlight more often the convention in later Romantic works: Szell acknowledges that Schumann's works are after Beethoven's death. All of this through only a relatively small amount of changes to key areas of the music.

Robert Schumann's occasionally underappreciated Symphony no. 3 in Eb ("Rhenish"), can be our case study of Szell's balance between Beethoven's/Mozart's classical refinement and restraint in orchestration and a Brahms's/Bruckner's overt expression and use of orchestra players more equally. In the first movement, for example, horns and the more piercing woodwinds are still allowed the prominence Schumann originally placed them in, but Szell seems to have instructed the players to hold back, both in volume and robustness of expression. On the other hand, Szell summons goose bumps to the back of a Brahms fan, with the two phrases which are almost verbatim from Brahms's Third symphony (at about 7:00 minutes in this recording): Szell makes certain the Orchestra plays with a firm evocation of "Frei aber Froh".

The "Rhenish" Adagio, too, is balanced between Classical taste and Romantic expression. The woodwinds beneath the melody are performed softly and the effect is touching, but the notes are not as moody as they might be in, say, a Debussy piece. Altogether, the effect of this more rigid approach to emotion is much the same as one would expect in a German Classicist: rather than focus on raw, untamed sentiment, the listener is brought to bear with a more cerebral, rational display of themes, variation, etc. This can be good and bad, of course, depending on how you listen to Classical music, and what you think of Robert Schumann, personally. Often, in Beethoven's symphonies, it is important that the listener does not become too enraptured in the momentary experience, for soon he will be removed from that moment and placed further ahead in the developing storyline. Likewise Szell's aversion to blatantly "romantic" Romanticism allows us to see the broader picture of Schumann's music which is a prize in and of itself, though it might be recognized only by a relatively small cognoscente. If you'd rather hear rubato themes and highly expressive notes, this may be a long performance for you, as moments of pure passion are few and far between.

These symphonies and overture are performed almost entirely mistake free, by a world caliber Cleveland Orchestra, well-versed in the ways of its long-time captain (at that time, at least), George Szell. Szell's "taste and conscience", as well as his love for Schumann (through his dedication to both historical accuracy and modern-day attractiveness) shine through this collection expertly, assigning Schumann's symphonic works into the modern Classical listener's repertoire with surprising force.

This collection is not a "must buy". However this set may well be the best performance and direction of the several moderate, historically-minded interpretations of Robert Schumann's symphonies out there. And such historically-minded recordings are the types of recordings you'll want before getting into any radical alteration of Schumann's (such as Mahler's versions). As an introduction to Robert "Schumann: beyond the song", this CD set comes highly recommended. Very highly.

Schumann: Symphonies Nos. 2 & 4 [Hybrid SACD]

Average customer rating:

Schumann: Symphonies Nos. 2 & 4 [Hybrid SACD]

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

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ASIN: B000MX7SN2
Release Date: 2007-02-27