Schumann - The Symphonies / Barenboim, Berlin Staatskapelle

Editorial Reviews
Amazon.com
Schumann's symphonies have persistently been plagued by indifferent audiences, bewildered performers, wrong-headed judgments and chronological confusion. The First, Op. 38, called "Spring" for its buoyancy, vigor and exuberance, was written in 1841, as was the next; however, substantially revised in 1852, this is now known as No. 4 Op. 120. (Though rarely performed, the original version is well worth hearing.) The symphony known as the Second, Op. 61, was begun in 1845, laid aside for health reasons and finished the following year. No. 3, Op. 97, the "Rhenish," is perhaps the most popular; written in 1850, it evokes the Rhine, the "sacred river" Schumann loved, celebrated in song, and finally turned to for deliverance from unendurable despair. Although loyal to his classical roots, Schumann gave his innovative originality free rein in the last two symphonies: the Third has five movements, the thematically cyclical Fourth is played without a break, and he discarded the traditional Italian tempo markings for German ones.

The performances recorded here should dispel the hoary fallacy that Schumann was a miniaturist incapable of handling large forms and inept at orchestration. The Staatskapelle, Berlin's oldest orchestra, has these symphonies in its bloodstream; as the Opera's pit band, its glorious sound is undoubtedly influenced by working with singers: free of sharp edges and attacks, sustained, warm, and mellow. Barenboim, its Music Director since 1992, approaches the symphonies with profound intellectual understanding and emotional affinity, combining a sense of structure, coherence, irresistible sweep and grandeur with loving attention to expressive detail. Carefully balancing sonorities, he brings out usually hidden lines and voices, proving that Schumann's orchestration, often called turgid, is in fact transparent and full of color. The first symphony's triumphant opening fanfare immediately takes us deep into Schumann's world of ardent, poetic romanticism, spontaneous imagination, mercurial mood changes: the sometimes gracious, sometimes ominous, spooky Scherzos, the vivacious, jubilant corner movements, the achingly beautiful slow ones. This is an indispensable record. --Edith Eisler

Schumann - The Symphonies / Barenboim, Berlin Staatskapelle, Music, Robert Schumann, Daniel Barenboim, Staatskapelle Berlin, Classical, Classical Composers, Classical Music, Orchestral & Symphonic, Romantic Symphony, Symphonic

Average customer rating:

Barenboim pushes and pulls, but where's Schumann?

Barenboim and the Staatskapelle are fearless with Schumann

The problems of Schumann's symphonies are swept away

Heavy handed

Staatskapelle Berlin and Barenboim. Great music-making..

Schumann - The Symphonies / Barenboim, Berlin Staatskapelle
Robert Schumann , Daniel Barenboim , and Staatskapelle Berlin
Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
Romantic | Symphonies | Forms & Genres | Classical | Styles | Music
Barenboim, Daniel | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
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ASIN: B00012HQVI
Release Date: 2004-01-06

Amazon.com

Schumann's symphonies have persistently been plagued by indifferent audiences, bewildered performers, wrong-headed judgments and chronological confusion. The First, Op. 38, called "Spring" for its buoyancy, vigor and exuberance, was written in 1841, as was the next; however, substantially revised in 1852, this is now known as No. 4 Op. 120. (Though rarely performed, the original version is well worth hearing.) The symphony known as the Second, Op. 61, was begun in 1845, laid aside for health reasons and finished the following year. No. 3, Op. 97, the "Rhenish," is perhaps the most popular; written in 1850, it evokes the Rhine, the "sacred river" Schumann loved, celebrated in song, and finally turned to for deliverance from unendurable despair. Although loyal to his classical roots, Schumann gave his innovative originality free rein in the last two symphonies: the Third has five movements, the thematically cyclical Fourth is played without a break, and he discarded the traditional Italian tempo markings for German ones.

Customer Reviews:

Barenboim pushes and pulls, but where's Schumann?.......2006-08-30

If you heed the Amazon reviewer and the two spotlight reviews, you'd think this was a set of Schumann symphonies not only full of insight but a remedy to bad ideas from other conductors. Far from it. The four Schumann symphonies have been gloriously interpreted by Bernstein, Karajan, Klemperer, Levine, and Kubelik, to mention just a handful of musicians who far surpass Daniel Barenboim.

Besides his usual taffy-pull with the tempo, he actually has only one idea here, to make Schumann sound as heavy and 'important' as he possibly can. The result is ponderous and perverse to boot, since Schumann's music is always spontaneous. Or it's supposed to be. Here, Barenboim heads down a fixed track marked by no surprises along the way. Where Kubelik evokes th joy of spring in Sym. #1, Barenboim plods. Where Bernstein finds a whirlwind in Sym. #2, Barenboim is four-square. And so it goes, turning fresh expressions of exuberance into museum pieces.

The Berlin Staatskapelle plays very well, and the sonics are first-rate. To what avail?

Barenboim and the Staatskapelle are fearless with Schumann.......2005-09-18

Very intersting. I have the Bernstein Vienna set of the Schumanns on CD, and grew up in the LP days with his version of the Schumann symphonies with the New Yorkers. These are both fine recordings, but I wanted to explore a little.

I've always admired Barenboim after hearing him conduct the Chicagoans and I was familiar with his chamber music recordings. So, I decided to take a chance with him and the Berlin Statskapelle. I'll say it up front, I like central European orchestras. From that standpoint alone these recordings did not disappoint me!

If you are a listener who likes a distinct central European orchestral character, give these a try. You will hear Schumann played in a way that just may convince you that he was an interesting symphonist.

The problems of Schumann's symphonies are swept away.......2005-05-31

For this recording, Barenboim has found the ideal orchestral color to effectively make a case for the Schumann symphonies. The color of the winds is especially warm and focused with wonderful horns and fantastic blend from the strings. The mood of each of the pieces is captured quite well. The first is appropriately vibrant as is the epic third which features unbelievable horn playing. Throughout, rhythmic security is maintained at all dynamics and tempos as is sustained presence of melody and balance with accompaniment. There is no note here without direction and focus. I would definitely recommend this as a first recording of the symphonies, followed closely by Szell's classic recordings.

Heavy handed.......2005-04-10

Barenboim tries to make the sound world of Schumann sound like Bruckner/Wagner. Listen to the wonderful performances of Sawallisch and you will see the difference. The 2nd symphony is dull. Listen to the sublime adagio in the hands of Karajan, it simply soars and then listen to Barenboim. It is a pity that certain critics gush over this.

Staatskapelle Berlin and Barenboim. Great music-making.........2004-06-03

If you want to listen to wonderful and great music-making then listen to this CD with Barenboim and Staatskapelle Berlin.

When it comes to Beethoven,Bruckner,Furtwängler, Schumann,Wagner: Barenboim is very great.
And Barenboim and Staatskapelle Berlin are one of the wonders of our time.

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Track Listings

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