Customer Reviews

Schumann : Symphonies Nos 1 - 4

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

Daniel Barenboim's riveting interpretations of Schumann's symphonies are among the finest ever recorded. Here he makes a very persuasive case for Schumann's great talents as an orchestral composer, which sadly have been often overlooked or dismissed (Indeed no less an authority than George Szell made "improvements" to the score in his critically acclaimed Schumann symphony cycle with the Cleveland Orchestra recorded back in the early 1960's.). These are startlingly fresh, intriguing interpretations that are far removed from more conventional accounts from the likes of Masur, Haitink, to name but a few, and are as fresh as Gardiner's. Barenboim's interpretations may lack the exuberance of a Bernstein or a Sinopoli, but they still glisten with much empathy and admiration for Schumann and his music, emphasizing the rich sonic architecture of each score, most notably those for the 1st, 2nd and 4th symphonies. My only disappointment is the opening movement of the 3rd "Rhenish" Symphony, which isn't played with as much gusto as those I've heard from Bernstein, Sinopoli, Sawallisch or Kubelik. Each performance is graced with admirably warm, elegant playing from the Berlin Staatskapelle, which sounds nearly as fine as recordings of these symphonies by the likes of the Vienna Philharmonic (Bernstein) and Bavarian Radio Symphony Orchestra (Kubelik). Indeed, the Berlin Staatskapelle's performances resemble mostly those of the Dresden Staatskapelle (Sawallisch, Sinopoli), with nearly the same ambient warm tones emanating from the strings and woodwinds. This admirable two-CD set shows the finest performances I have heard from the Berlin Staatskapelle under Barenboim's baton. Without question, it is not only Warner Classics' best orchestral classical recording from 2003, but truly one of the finest of that year; I regard it as one of the truly definitive Schumann symphony cycles ever recorded, alongside those from the likes of Bernstein (both, but especially with the Vienna Philharmonic Orchestra) and Kubelik (both, but especially with the Bavarian Radio Symphony Orchestra).

I have been waiting a long time for a quality, up to date rendition of the Schumann symphonies, and this one fits the bill. Not everything is perfect--Barenboim tends to stretch and distend several passages (especially in Symphony 1) that really don't need it, and retains his penchant for mad-dash-to-the finish finales. Some sections are over-pointed, as if Barenboim felt there was an implicit weakness in the music that needed altering. But Schumann can take all of this, especially in light of the dumbing down of interpretations that we have seen in other cases (notably Zinman, Muti, and Masur), where the romantic ethos is chucked for a more "contemporary" feel.

And that is disasterous for Schumann. Fortunately, Barenboim is having none of it, and his readings seeth with passion and excitement. This orchestra, having already turned in the single best set of Beethoven symphonies on the market, has one of the darkest sounds of any European or internationalized band, and it uses the color to grand effect. And kudos to Barenboim for splitting the strings and highlighting the brass--so vitally important in this music. Thank God he didn't choose to record this in Chicago.

This recording gives the lie to Schumann as a bad orchestrator. His textures prove more flexible and clear than Brahms ever was. Barenboim lets the orchestra rip, and it is one thrilling ride. The more relective movements, like III in 2, and IV in 3, and simply exquisite, aided by some wonderful, crystal clear sound. Though some of Barenboim's choices seemed to me a litte wayward at first hearing, repeated listening has sold me on his vision.

Alternatives? Bernstein (NY and Vienna) are essential listening, as no one really understands this composer like him. Sawallisch offers a good, middle of the road rendition that has held up for a long time (some may prefer his Philly release more than the Dresden). Harnoncourt's is a unique vision. The period versions are, well, just that, if you like that sort of stuff. If you can only afford one set, Barenboim is your man. Otherwise, he and Bernstein make great companions, digging into the spiritual essence of Schumann.

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.

I've never found the recordings I've listened to previously of the Schumann symphonies to be as engaging as I felt they should - and were reputed - to be. Considering the mixed reviews I'd read on this Schumann cycle by Barenboim, I was very interested to see what my own impressions would be - would they be favorable? (or would they be a waste of money?)

The result was that I found these performances immediately involving - and something of a revelation. Now it seems to me I can hear their true greatness as works. The recording is excellent, the playing is superb (especially the brass) and the performances are both weighty (without sounding like Bruckner, as another reviewer stated) and lyrical, with many beautifully realised details. I do find the 1st a little pulled around, but the overall set is excellent. Whereas Zinman (for me) robs the works of their natural romantic and poetic qualities - imparting great clarity at the expense of character. In Zinman's hands they sound less significant as works (purely personal).
Previously, I've also heard Sawallisch, and I have Thielmann, Wand and Harnoncourt.
Despite some undoubtedly fine aspects to their performances, this new set puts them all in the shade.

Well...this will not be an overly verbose review coming from an intellectual reading of the finer points of this music regarding such things as structure, harmony, etc. What concerns me is the visceral reaction to a work of art. And boy are these readings just down right electrifying. There is the deep, resonant warmth and substantive weight of the Staatskepelle match with a very strong outing by Barenboim. One will find a lot of power within this recording. Worth the money to boot!

I ordered this set after being floored by the Beethoven cycle from these same forces, and, indeed, it has the same virtues (vigorous, full-blooded performances in the German tradition) and the same excellent recorded sound. When it comes to the Schumann symphonies for me, this set easily sits alongside Bernstein/VPO and the recently reissued Levine/Philadelphia.

One small caveat: the very first movement of the First Symphony has some less than convincing manipulations of tempo. For starters, the accelerando misfires: Barenboim doesn't start it when Schumann asks for it, and even when he does get it going, it is neither particularly exciting nor organically connected to the tempo of the ensuing exposition. At rehearsal D, Barenboim abruptly slams on the brakes (track 1, 10:47) when the more natural place to ease off is just a bit after that (at 10:58 in this performance). After listening to this movement for the first time, I feared for the worst, but as it turns out, the approach here is neither characteristic of the rest of the "Spring" Symphony nor of the other three symphonies. And there's quite a bit to enjoy in the first movement of No. 1, even with its minor issues. But so powerful are first impressions that it took me a little while (and some A/B comparisons with other recordings) to realize how wonderful these performances are. Buy confidently, and don't be put off by the first track.

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.

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?

This could be a weird approach to these works for most of ears.
Barenboim tries to bring a furtwängler-like style in his readings
and impresses many wagnerian manierisms that can only be seen as
succesful in the 4th symphony, that is the best judged and played
symphony in this cycle. Excepting this thrilling 4th, the rest is
just for Barenboim fans.

I ordered this set in anticipation of a live concert with Barenboim and the Staatskapelle Berlin in San Francisco several years ago. After hearing the concert (the Second and Third Symphonies) I knew I was in trouble when the discs arrived. In addition to a complete disregard for proper tempi, Barenboim turned these seminal works into pieces I almost didn't recognize (and I have these symphonies on multiple recordings by various conductors). Above all - and no one else has mentioned this in their reviews here - HE CHANGES SCHUMANN'S ORCHESTRATION. And I don't mean just a little bit here and there. It's all over the place. Anyone who knows these scores can recognize the most obvious changes. Pizzicatos do not convey the same feeling as bowed notes, but there they are in the opening Sostenuto Assai of the Second Symphony. Why? What the heck is the reason for such a change? And that's just the tip of the iceberg.

I love Schumann's music, especially the Symphonies, and I know his music and early Romantic performance expectations pretty well after decades of listening in concert and on record as well as reading the scores and all kinds of Schumann literature. Barenboim's interpretations are about as far from Schumann's original intentions as possible. Go for Harnoncourt, Sinopoli, Sawallisch (w/ Philadelphia), and Jordan if you want good, complete sets of Schumann's symphonies.