508:. This beautiful and hauntingly quiet low brass writing is a notoriously difficult spot in performances since the trombones have yet to play at all up until this point. This expansive theme is voiced by the winds and first violins in eighth notes, accelerating the tempo by more than double the previous tempo, as the opening statement reaches its conclusion. Following the opening statement's conclusion, the theme is used in imitation, mostly at intervals of a fourth and fifth, and combined with an accelerated version. After this, the tempo changes into a triple meter where the first theme undergoes a series of
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467:), creates a moment of calm repose in the middle of the symphony. The thematic construction uses long beautiful themes that are constantly being pushed along by this friendly little motif of four chromatically ascending sixteenth notes, often on the fourth beat of a measure. In a typical performance this movement lasts approximately 5 minutes.
48:, conducted by Schumann himself, and was received with mixed reviews, "ranging from praise without qualification to bewilderment". However, according to A. Peter Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting "hurrah!".
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with the spirited feeling of a Finale. The first theme returns to the rustic dance feel from earlier in the symphony, scored for full orchestra. Sixteen bars later, a second, lighter but just as spirited theme appears. These themes are varied and imitated as the movement pushes exuberantly forward
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in a wave contour. One of the clearest differences between
Beethoven's and Schumann's approaches to using programmatic elements in their symphonies is that Beethoven actually left a title to his second movement: "Szene am Bach" (Scene at the Brook). Schumann also originally left a title which
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Schumann's reason for removing the title was his belief that providing the extramusical program would force a certain opinion of the music upon the listener. This is supported by the following quote from
Schumann: "If the eye is once directed to a certain point, the ear can no longer judge
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As in the second movement of
Beethoven's sixth Symphony, the second movement of Schumann's Third Symphony is a musical depiction of the flowing Rhine river as in Beethoven's work the second movement is a depiction of a flowing Brook. In both pieces, this imagery is due to the flowing
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The fourth movement (the "Cathedral" movement), "Feierlich" (solemn) is meant to suggest a "solemn ceremony" at which an archbishop was made cardinal in the
Cologne Cathedral. It's written with 3 flats as the key signature, but most of the movement is actually in
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C throughout this section which is highly unusual, not because it is a pedal point, but rather because C is the third note instead of the root of A minor. After this middle section the rustic theme returns scored for full orchestra and thins out until only the
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as points of reference. In particular, he used
Mendelssohn as an example of how "songlike forms can be integrated into developmental themes." In his survey on Schumann's symphonies, Brown suggests that the main models for his Third Symphony are Beethoven's
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treatments. While the meter returns to a duple meter, the brass and winds play interwoven contrapuntal lines of the most expansive form of the theme while the strings push forward with constant 16th notes. This comes to a close on an
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symphony as early as 1832–33 (of which the first movement was performed on two occasions to an unenthusiastic reception), he only began seriously composing for the symphonic genre after receiving his wife's encouragement in 1839.
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independently." Schumann also once said that "we must not show our heart to the world: a general impression of a work of art is better; at least, no preposterous comparisons can then be made."
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rhythm of the main theme returns throughout the movement giving an ever-present forward push. This forward push allows for the melodies of this movement to soar over the bar lines. The
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minor. While this is repeated the rhythmic motion slows down, and fragments of the theme can be heard at the end. In a typical performance this movement lasts approximately 6 minutes.
386:. The development section is composed mainly of the three main themes from the exposition. Schumann skilfully moves through a variety of keys for nearly 200 bars, never returning to E
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392:, until a dominant arrival preceding the climactic and triumphant return of the main theme in the home key. In a typical performance this movement lasts approximately 9 minutes.
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premiere; Schumann withdrew the score and revised it ten years later in Düsseldorf. This final version was published in 1851 after the "Rhenish" Symphony was published.
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636:, who thinned out and lightened the textures while allowing for the increased possibilities of the brass instrumentation of a late 19th/early20th century orchestra.
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Musgrave, Michael (1996). "Symphony and symphonic scenes: issues of structure and context in
Schumann's 'Rhenish' Symphony." In Craig Ayrey and Mark Everist, eds.,
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419:, a German folk dance. This is played out first in the lower strings and bassoons, and then is repeated and varied. The second theme with "trio" feeling is in
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The second movement, "Sehr mäßig" (very moderate), is in C major and takes the place of a
Scherzo. The form of this movement is a synthesis of a traditional
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juxtaposed with material from the main theme. The subordinate theme is scored for winds and its less rhythmic drive has a gentler quality. The
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major. The omission of timpani and brass in combination with the static harmony (the movement never strays far or for long from A
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The published numbering of the symphonies is not chronological because his Fourth
Symphony of 1841 was not well received at its
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The
Symphonic Repertoire, Volume III Part A: The European Symphony from ca. 1800 to ca. 1930: Germany and the Nordic Countries
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44:, although not the last published. It was composed from 2 November to 9 December 1850 and premiered on 6 February 1851 in
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Boetticher, Wolfgang (1981). "Zur
Kompositionstechnik und Originalfassung von Robert Schumanns 'III. Sinfonie.'"
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In general, Schumann used Beethoven's symphonies as the main model for his symphonic writing, but he also used
92:, and, in 1850, his Third Symphony. By the end of his career Schumann had composed a total of four symphonies.
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Schumann gained quick success as a symphonic composer following his orchestral debut with his warmly received
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was also finished in 1841. In 1845 he composed his C major Symphony, which was published in 1846 as
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Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music
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362:. Schumann does not repeat the exposition, but rather has the strings and bassoon drop from
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The first movement, "Lebhaft" (lively), follows the 19th-century model of a large-scale
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Throughout his life, Schumann explored a diversity of musical genres, including
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translated to "Morning on the Rhine", but that was removed before publication.
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major. In a typical performance this movement lasts approximately 6 minutes.
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explosion in the unexpected key of G major marking the beginning of the
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In a typical performance this symphony lasts approximately 33 minutes.
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which is then answered by the strings in pianissimo, restating it in E
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minor chord, and after one beat's rest an unexpected fanfare in
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and theme and variations. The opening theme is based on the
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conducting. The work which was later to be published as his
710:. "§4: Discoveries and disappointments: Leipzig, 1830–33".
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Andante and variations for two pianos, two cellos and horn
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The third movement, "Nicht schnell" (not fast), is in the
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minor chord in the strings that moves immediately into a
311:. The symphony begins immediately with a heroic theme in
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Johnson, Stephen. "R Schumann Symphony No. 3 (review)".
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motif from the transition and main theme, ending in the
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and bassoons are playing the theme, ending with soft
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892:. (Cambridge University Press), pp. 120–148.
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1127:Five Pieces in Folk Style for cello and piano
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544:In the fifth movement, the piece returns to E
68:music. Although Schumann wrote an incomplete
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659:. "§18: Director in Dusseldorf, 1850–54".
1060:Konzertstück for Four Horns and Orchestra
907:International Music Score Library Project
321:, scored for full orchestra. The strong
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423:, played by the winds. Schumann uses a
250:The symphony comprises five movements:
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487:(6 flats). The movement begins with a
1109:Adagio and Allegro for horn and piano
1066:Introduction and Allegro appassionato
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885:, vol. 53, no. 1, pp. 144–156.
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749:. "§11: The symphonic year, 1841".
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40:, is the last symphony composed by
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555:towards its heroic conclusion in E
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1122:Three Romances for oboe and piano
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1078:Introduction and Concert Allegro
786:Concise History of Western Music
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345:unfolds with the return of the
107:The symphony is scored for two
1298:Variations on the name "Abegg"
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1635:Symphonies by Robert Schumann
1201:for viola, clarinet and piano
1645:Compositions in E-flat major
1018:Overture, Scherzo and Finale
7:
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1556:Scenes from Goethe's Faust
1524:Sechs Gedichte und Requiem
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1227:Piano Quartet in C minor
868:Indiana University Press
866:. Bloomington, Indiana:
862:Brown, A. Peter (2007).
782:Hanning, Barbara Russano
628:Mahler's reorchestration
207:II. Scherzo (Sehr mäßig)
829:Oxford University Press
1510:Frauen-Liebe und Leben
1117:for clarinet and piano
788:. Norton. p. 432.
34:97, also known as the
1549:Paradise and the Peri
1217:Three String Quartets
608:Symphonie fantastique
1032:Hermann und Dorothea
952:List of compositions
823:Schumann a Symposium
640:Notes and references
52:Biographical context
1444:Drei Fantasiestücke
1423:Album for the Young
1150:for viola and piano
1142:Violin Sonata No. 3
1137:Violin Sonata No. 2
1132:Violin Sonata No. 1
966:Symphony in G minor
760:Oxford Music Online
721:Oxford Music Online
670:Oxford Music Online
183:Herbert von Karajan
179:Berlin Philharmonic
1360:Davidsbündlertänze
1333:Geistervariationen
1199:Märchenerzählungen
851:BBC Music Magazine
588:'s symphonies and
268:Nicht schnell (in
219:III. Nicht schnell
1640:1850 compositions
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1381:Symphonic Studies
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1048:Concertante works
883:Acta Musicologica
853:(March 2023): 72.
586:Felix Mendelssohn
261:: Sehr mäßig (in
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82:Felix Mendelssohn
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819:, ed. (1952).
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18:Symphony No. 3
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1451:Albumblätter
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1395:Kreisleriana
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1388:Kinderszenen
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1281:Sonata No. 3
1276:Sonata No. 2
1271:Sonata No. 1
1198:
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1156:F-A-E Sonata
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725:. Retrieved
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691:Brown (2007)
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674:. Retrieved
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617:eighth notes
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510:contrapuntal
485:E-flat minor
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380:triple forte
339:eighth notes
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131:French horns
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1495:Liederkreis
1480:Liederkreis
1472:Vocal works
1409:Nachtstücke
1402:Novelletten
1345:collections
1319:Blumenstück
552:duple meter
492:eighth-note
453:subdominant
425:pedal point
384:development
309:sonata form
1629:Categories
1430:Waldszenen
1343:Suites and
1251:Solo piano
997:No. 3 in E
976:No. 1 in B
959:Orchestral
835:2023-09-27
747:Sams, Eric
708:Sams, Eric
657:Sams, Eric
502:pianissimo
343:exposition
327:transition
243:V. Lebhaft
195:I. Lebhaft
46:Düsseldorf
1353:Papillons
1326:Humoreske
766:April 20,
727:April 20,
676:April 20,
550:major in
489:sforzando
434:pizzicato
151:trombones
117:clarinets
66:symphonic
1582:Category
1542:Genoveva
1497:, Op. 39
1482:, Op. 24
1367:Carnaval
1312:Arabeske
1035:Overture
1027:Overture
1000:♭
979:♭
784:(1998).
590:concerti
558:♭
547:♭
526:♭
516:♭
497:♭
464:♭
458:♭
389:♭
375:♯
369:♭
358:♭
351:dominant
323:hemiolic
316:♭
286:♭
273:♭
165:Analysis
149:, three
146:♭
141:trumpets
136:♭
127:bassoons
122:♭
25:♭
1563:Manfred
1488:Myrthen
1305:Toccata
1039:Requiem
1007:Rhenish
970:Zwickau
521:B major
506:chorale
421:A minor
417:ländler
372:to an F
335:mediant
294:Lebhaft
263:C major
259:Scherzo
255:Lebhaft
159:strings
155:timpani
129:, four
97:Leipzig
70:G minor
58:chamber
37:Rhenish
1605:Portal
986:Spring
572:Models
430:cellos
409:minuet
364:unison
181:under
139:, two
125:, two
115:, two
111:, two
109:flutes
64:, and
1592:Audio
1210:Other
1168:Trios
1003:major
982:major
599:Sixth
595:Third
347:scale
331:tonic
319:major
289:minor
276:major
113:oboes
90:No. 2
62:vocal
28:major
1101:Duos
768:2010
729:2010
678:2010
597:and
584:and
413:trio
411:and
157:and
143:in E
133:in E
119:in B
16:The
605:'s
580:'s
333:to
32:Op.
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366:B
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270:A
265:)
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