Musical Analysis: Bernstein on Schumann, Symphony No. 2, Op. 61 - VII. "Even in the Final Movement" (4th Movement)

Текст песни Leonard Bernstein - Musical Analysis: Bernstein on Schumann, Symphony No. 2, Op. 61 - VII. "Even in the Final Movement" (4th Movement)

Even in the final movement, which has been the most severely

Criticised of all from this orchestral point of view, we find

Schumann carrying out his intentions with the hand of a master

Again, there is balancing to be done by the conductor. There

Are those so-called pianistic passages for strings to play

There is almost continuous string writing. But all of these

Problems have been solved before and can be solved here as well
Again, difficulty of execution is no criterion for musical judgement
For example, the very opening of this movement, with its jubilant
Energetic motives, presents the conductor with the danger of
Having his woodwinds obliterated by the brass. This is easily
Corrected by simply reducing the dynamic scale of the brass playing
In other words, the conductor asks them to play more softly
Or take this passage in the transition, which again requires
Virtuoso playing from the violins. But all that really
Means is that it takes a fine orchestra to play Schumann

And here comes the cyclical pattern again, recalling

The romantic melody of the slow movement, but

Now it is embedded in a context of joy and power

After a long tutti development of these motives, we arrive at an

Extraordinary passage in which the slow movement theme we just heard

Is sung out upside-down by the winds, as the strings support it with

A passionately energetic accompaniment. Notice also in this passage

How the high cellos are again heard, this time strengthening the
Wind sound, and also try to hear, if it isn't too much to assimilate
All at once, the return in the brass of the opening trumpet call
From the first movement. By listening for all three of these
Elements, you can see the orchestra as a three-part ensemble
Embodying the string choir, the wind group, and the brasses. This is
A perfect example of orchestration by choirs. Each choir has
Something special of its own to do, and if you
Can distinguish them, you are well on the way toward
A greater understanding of orchestral procedure

In addition to all these clear beauties, Schumann has introduced
Some real orchestral novelties of a kind later to be used
By all sorts of composers. For instance, when the oboe
Introduces the new material in the middle of the movement

A solo viola, only one viola, slips in to double the
Second phrase, and only this one phrase, an octave below

A truly original moment and a newly beautiful sound borrowed
From the world of chamber music. Then an enormous coda is built
Up around this phrase, bringing the symphony to a close in a
Typically Schumannesque blend of energy and lyricism. It is
Quite unlike any other music. It is a kind of greatly magnified
Song, and the final touch of orchestral innovation comes at the
Very end when, of all things, the timpani is given a magnificent
Solo to play. This is a touch of modernity that should silence
Forever the charge of academicism in Schumann's orchestration

A magnificent symphony born of strength, mystery, and open-

Hearted lyricism. And all these qualities are enhanced by
Those same qualities in the orchestration. This is all we can
Ask of orchestration: that it faithfully report to us the
Music in its various essences. And that Schumann has done this
Entitles him to be cleared of that long-standing accusation
Of orchestral weakness. Schumann was a wonderful orchestrator