Customer Reviews

Schumann: Complete Symphonies

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Another wonderful set of discs from Gardiner -- how on earth does he do it? No matter, these interpretations are thrilling. Powerful yet clear, forward moving yet expressive, and free of the musical rambling usually associated with Schumann. I firmly believe that Schumann's undeserved reputation as a second rate composer is reinforced by all the absolutely *stupid* performance traditions associated with his works (particularly his early piano works -- pianists usually ignore Schumann's precise markings). Gardiner scraps tradition here. The finale of the First Symphony is no longer a dainty ditty but a vigorous, life affirming dance coloured with Schumann's lyric muse -- a wonderful fusing of the "animato" of Schumann's tempo mark and the the farewell of Spring that the music depicts. In this interpretation, the Third Symphony gathers energy from movement to movement. The awesome cathedralesque splendor of the fourth movement is realized splendidly and the sweeping finale avoids the sense of anticlimax that usually happens in performances and recordings of this work. The Second Symphony (my personal favorite) is just magnificent from start to finish -- with an especially affecting slow movement and a finale that suits Gardiner's conducting very well. And, as always, textures are clarified and details are revealed -- listen, for example, to the busy texture of the recap. of the first movement of the Second. As I was listening to this cycle I kept on saying to myself "it can't possibly be this good!" But it is, believe me.

This set of CDs set out to debunk the myth that Robert Schumann was an incompetent orchestrator and was merely a gifted amateur. The results are an unqualified success. Recorded here are all of Schumann's works for orchestra, including the little heard first version of the 4th symphony and his earliest symphonic work the so-called "Zwickau" symphony.

John Elliot Gardiner and his Orchestre Revolutionnaire et Romantique play these works with passion and conviction. The playing is fabulous and the recording quality is superb. It was a great discovery for me to listen to these discs and fully appreciate Schumann's place in musical history. Prior to this, my interest in this composer was slight, so this set filled a gap. I can attest that the Rhenish symphony and the revised 4th, the most popular of Schumann's symphonies, sparkle under Gardiner's direction. My older recording of these works are rarely played now. I highly recommend the journey that these records offer.

John Eliot Gardiner's scholarly approach to the orchestral music of Robert Schumann has nothing fusty about it; in fact, the elegance and sprightliness of the music shines through, putting the lie to the old canard that Schumann was a heavy, unimaginative orchestrator. Besides excellent versions of old favorites such as the "Rhenish" Symphony and the Konzertstuck for four horns and orchestra, there are enticing rarities here, such as Schumann's apprentice G Minor symphony, the "Zwickau," which isn't included in his official canon of symphonies. I cannot see why any true Schumann fans would not want to have this boxed set; it is a fascinating document, presenting Schumann's music much as he must have imagined it himself.

This set it absolutely glorious. All of the works are played with utmost precision, rhythmic security and great tempo choices. The period instruments add an extra degree of clarity as well as exaggerated dynamic contrasts and prominent timpani throughout. This is easily the finest performance of the Konzertstuck currently available, and one of the most exciting Rhenish performances on disc. If, like me, you're put off by Gardiner's sometimes 'too tidy' or 'antiseptic' sounding recordings, don't be here. I found his Beethoven cycle a bit robotic, but there is thankfully a much higher degree of personality to be found here. The one drawback is a lack of tension in most of the slow movements (especially in the 2nd symphony) that makes them sound a bit trite - for the utmost here you have to turn to Bernstein's DG accounts. Regardless, if you're looking for a beautifully put together recording of these works, don't hesitate.

The Konzertstuck is the best recording I have ever heard; stunning horn playing.Worth buying the CDs just for that alone.

The year 2010 marks the 200th anniversary of the birth of Robert Schumann (1810- 1855). I took the first of what I hope will be many opportunities to revisit his music by listening to this recording of Schumann's symphonies by John Elliott Gardiner conducting the Orchestre Revolutionarire et Romantique. This 3-CD set dates from 1998 and appears, unfortunately, to be out-of-print. But these recordings are lively, lucid, and inspired readings of this great romantic composer.

Gardiner is best-known for period performances. Many listeners associate "period" recordings with music of the Baroque and early classical periods; but, as shown here, it offers insights into later music as well. Schumann's symphonies frequently are undervalued due to the composer's claimed deficiencies with orchestration. Many performances of his works sound clotted and muddy, allegedly as a result of Schumann's shortcomings as an orchestral composer. It is commmon to use "retouched" versions of the scores in performance. Gardiner argues that the heavy orchestral sound and sometimes ponderous rhythm in performances of these works is due in large part to late romantic performance practices, in particular the use of large orchestras which with their size and arrangement of instruments create imbalances when used to play Schumann. Thus these works are performed by a reduced orchestra consisting of about 50 performers which is the ensemble Schumann generally would have had available. Gardiner has made other adjustments in balancing the instruments, including changes in phrasing and articulation, that effect the sound. The result is that these Schumann symphonies have a lightness of texture that belies the heavy-handed sound of many performances. The instrumental voicing becomes less opaque, with many solos for horns, clarinets, flutes, and other instruments gracing these readings. If there remain any listeners with questions about Schumann's gifts for large-scale orchestral compositions, as opposed to piano works and songs, this collection should put these doubts to rest.

Schumann's first symphony, the "Spring" symphony in B flat major, opus 38, composed in 1841 receives a fresh spontaneous performance here, especially in the triumphal concluding movement. This is a young man's music of spontanaiety,lyricism, and love\ in which Schumann established a symphonic voice for himself separate from that of Beethoven.

The symphony no 2 in C major, opus 61, is the longest of Schumann's four symphonies and shows the influence of Schubert's "great" C major symphony. This is a triumphal, joyful work in three of its four movements. But its climax is in the contrastingly lyrical and tragic "Adagio expressivo" of the third movements, one of the high points of Schumann's symphonic output.

The "Rhenish" symphony, no. 3 in E-flat major opua 97 is the most frequently performed of the four, with its horncalls and joyful themes. This five-movement work includes two consecutive slow movements, of which the second makes great use of counterpoint and deep exressivity.

Probably the highlight of this set is the two readings Gardiner offers of the Symphony no. 4 in d minor, opus 120. Schumann originally composed this symphony in 1841, when it was indifferently received. The work is in four interconnected movements with many overlapping themes. In 1851, Schumann edited the work by expanding it somewhat and by adding and doubling voices to give the symphony a more solemn character. This version is almost always heard in performance, and it is the work most often used to illustrate the composer's problems with orchestration. Gardiner offers readings of the work as Schumann composed it in 1841 and as he revised it 10 years later. The difference in texture is apparent. The earlier version is a much lighter and lyrical composition than its successor. As with any edit, Schumann improved the work in part when he returned to it. He deepened the work and gave it a more serious tone but at the cost of the transparency and lightness of the earlier version. Gardiner shows a preference for the 1841 score, and I tend to agree. It is worthwhile to have the opportunity to hear both versions of this noble and ambitious romantic symphony.

There are three additional works on this CD. These works include Schumann's early and awkward g minor symphony which dates from 1832, the late Koncertstuck for orchestra and four horns, opus 86, which is difficult to perform successfully, and the overture, scherzo and finale, opus 52, which dates from 1841. Of these three pieces, this last work will reward rehearings.

Robin Friedman

The other reviews here are all diligent, insightful and correct in their assessment of this outstanding achievement from Gardiner and his orchestra. They convinced me to invest in this set. Now after listening several times, there is little more I can add.

For those still unconvinced of Schumann's truly revolutionary role in the development of serious music, this set will prove his indisputable genius.

Back in the 70s, I came across a rare Schumann recording by the Munich Philharmonic conducted by Marc Andreae (son of Volkmar Andreae, the fine Swiss conductor), an LP on the BASF label(!). It contained my first exposure to the little-known Overture, Scherzo and Finale. A magical, mystical work, given here a comparably excellent performance. Sample the Scherzo above for some unexpected revelation!

What had driven me to buy the BASF disc was the fact that I had enjoyed another obscure Schumann work. Fondly I recall that other recording released in the USA on the Nonesuch label, the superb Karl Ristenpart and his Saar Chamber Orchestra in a performance of the Konzertstuck for Four Horns. The work is such a rewarding listening experience, one could only wish for a release on CD of the Ristenpart interpretation to complement the one here, also first-rate. Such an incredible creation deserves additional exploration.

As one reviewer said, I will keep my Karajan recordings of the symphonies, but thanks to Gardiner, I will hear them anew, hunt with my ears for the tonalities and timbres Schumann expertly conceived, now so many years later finally appreciated and restored.

This CD is why I like John Eliot Gardiner and period piece performances. His brisk speeds really seem to suit Schumann and I'd make the case that this might be one of Mr Gardiners finest momemts. The recording quality is excellent and I would highly recommend this set to anyone -- well worth the price.

Gardiner is as far ahead of other interpreters in the Schumann symphonies as he is in the Handel oratorios. In his hands these works have so much more to say than in even the best large Romantic-orchestra readings I've heard - Haitink, Bernstein, Karajan.

The Second Symphony in particular. The Second had always seemed to me the least interesting of the four, a collection of very ordinary themes organized around dry, academic symphonic arguments. Here it is the most compelling of the set, coming off with a natural spontaneity and a strong rhythmic interest and drive.

I have never heard these peices in such a light. The originality and clarity brought by the period instruments is refreshing. As always, Gardiner knows how to capture the essence of the work and bring to focus its meaning and true beauty. Buy these CDs!