Schumann: Symphony No. 4 / Haydn: Symphony No. 88
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CD Details
Composer: Franz Joseph HaydnComposer: Robert Schumann
Conductor: Wilhelm Furtwängler
Orchestra: Berlin Philharmonic Orchestra
Edition: Music CD
CD Release Date: 2004-07-13
Music Label: Deutsche Grammophon
Soundtracks:
- Symphony No. 4 in D minor, Op. 120: 1. Satz: Ziemlich langsam - Lebhaft -
- Symphony No. 4 in D minor, Op. 120: 2. Satz: Romanze. Ziemlich langsam -
- Symphony No. 4 in D minor, Op. 120: 3. Satz: Scherzo. Lebhaft -
- Symphony No. 4 in D minor, Op. 120: 4. Satz: Langsam - Lebhaft
- Symphony No. 88 in G major ('Letter V'), H. 1/88: 1. Satz: Adagio - Allegro
- Symphony No. 88 in G major ('Letter V'), H. 1/88: 2. Satz: Largo
- Symphony No. 88 in G major ('Letter V'), H. 1/88: 3. Satz: Menuetto - Trio
- Symphony No. 88 in G major ('Letter V'), H. 1/88: 4. Satz: Finale: Allegro con spirito
Music reviews of Schumann: Symphony No. 4 / Haydn: Symphony No. 88
Music Review: Furtwangler conducts Schumann and Haydn
Rating: 5 Stars
This CD offers both the new and the experienced lover of music the opportunity to get to know two great symphonies in highly distinctive styles, Schumann's Fourth and Haydn's 88th, performed by the renowned German conductor, Wilhelm Furtwangler (1886 -- 1954) and the Berlin Philharmonic.
There are some who deprecate Robert Schumann as a composer of symphonies. These critics see Schumann essentially as a miniaturist who excelled in compositions for piano and in art song. This historical recording of Schumann's Symphony no 4 in d-minor, opus 120 should suffice to dispel any such illusions. The Fourth is an ambitious, heroic, large-scaled work reflecting the scope of Schumann's erratic powers. The recording dates from May, 1953 and, even though it predates stereo, the sound is lush, allowing the listener to hear the full, rounded sound Furtwangler drew from his orchestra. The album cover describes the recording as the "ultimate Schumann Fourth", and this accolade likely is deserved.
The turbulent, wayward, and romantic character of Schumann's Fourth offers music ideally suited to Furtwangler. Schumann initially composed the work in 1841 and revised it substantially in 1851. As is the case with most revisions, some of the changes Schumann made were for the better, others, perhaps, were not. The 1851 version, frequently with edits,is almost always played, as it is on this recording.
The work is in four movements to be played without pause. The new listener should pay attention to the use of brass, trombones, trumpets, and horns in dramatic outbursts which appear at key moments throughout the symphony. There is also a great deal of thematic interrelationship in the work. The magesterial slow introduction, and the following rapid theme of the opening movement recur in different forms in the scherzo and in the finale. The reflective, fluttering theme of the second movement, played first by the entire strings and then, unforgettably, by a solo violin is called back in the trio of the third movement. Each movement as well introduces new material and themes of its own.
Schumann's Fourth is turbulent, emotional music, capturing the emotive, unstable nature of its composer. The opening movement begins with drama and a sense of tragedy, develops into a determined march-like theme and closes with a wonderfully lyrical, radiant and intense theme that comes into play only at the end of the movement, and as its climax. The second movement is slow and reflective and includes the lovely violin solo mentioned earlier. The scherzo is grim and serious and leads to the finale with its loud somber brass opening which recurs several times in the movement's course. The melancholy of the opening is gradually dispelled as Schumann works to a triumphant, inspiring and rapidly-played close. This is deeply moving music, played with passion and understanding by Furtwangler and his orchestra.
Furtwangler's 1951 recording of Haydn's symphony no. 88 in G major is also justly famous. This same recording, however, appears on another currently-available DG release with Furtwangler conducting Schubert's Ninth Symphony. But there is no real harm in having this symphony twice to get both Furtwangler's Schumann and his Schubert. Haydn's symphony makes a good contrast to Schumann's in its restrained elegance, careful structure, and lightness of touch.
Haydn's 88th symphony opens with a slow solemn introduction followed by a light quick theme in the strings which gets a contrapuntal treatment in the development. The second movement is marked largo, and Furtwangler plays it broadly indeed. It is based upon a slow, flowing theme interrupted several times by outbursts of brass (compare Schumann's use of brass in the Fourth). Brahms once said that he wished he could write a movement of the depth of Haydn's largo for his Ninth. The third movement is a foot-stomping minuet with a droning theme in the trio while the finale is quickness and good humor. The 88th is an inventive symphony, combining accessibility with learning. It is a worthy companion to the Schumann (and to the Schubert), and it receives a grand reading from Furtwangler and his large orchestra.
Robin Friedman
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