Schumann: Symphony No. 2, Op. 61 (Ct.rc.: Leonard Bernstein, New York Philharmonic / Remastered)

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Robert Schumann (1810-1856) Symphony No. 2 in C Major, Op. 61
00:00 I. Sostenuto assai — Allegro, ma non troppo
12:18 II. Scherzo. Allegro vivace — Trio I — Trio II
19:19 III. Adagio espressivo
32:09 IV. Allegro molto vivace

New York Philharmonic
Conductor: Leonard Bernstein
Recorded in 1960, at New York
New mastering in 2023-25 by AB for CMRR
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The Second Symphony in C major, Op. 61 dates from 1845/46. It is actually the third symphony in the chronological order of Schumann's works, because the first version of the (according to the present numbering) Fourth Symphony in D minor, Op. 120 was also written in that extraordinarily productive year 1841. In contrast to the rapid progress of the First Symphony, the Symphony in C major required a much longer and more arduous process of gestation. Schumann prepared the sketches in December 1845, the orchestration took until November 1846; on November 5, 1846 it was, like the First Symphony, first performed by Mendelssohn.

Op. 61 is considered by many to be Schumann's greatest symphonic work, at least in terms of its scope. It is not a sequence of unrelated movements, but a poetic idea, realized through a close thematic relationship. The symphony is a song of struggle and victory, of heroism, but it also finds a way to express sweet lyrical feelings. The third movement, the adagio espressivo, is particularly profound and magnificent.

The structure of the C major Symphony owes a great deal to the forms and scope of strict polyphony; contrapuntal passages dominate the development section of the first movement and of the Finale, as well as the structure of the themes in the Scherzo and the slow third movement. Schumann had pursued studies in polyphony long before he worked on this symphony; study of Bach's Well-Tempered Clavier formed part of his musical regime. Schumann wrote in his little collection which appeared as an appendix to his Album für die Jugend (Album for the Young), Op. 68: "Diligently play fugues by good masters, particularly by Johann Sebastian Bach. Let the 'Well-Tempered Clavier' be your daily bread. Then you will certainly become a good musician."

Following Beethoven's revolutionizing of works in this genre, the symphony had entered a period of crisis. By linking movements thematically, Schumann opened up a path which enabled composers to emerge from the mighty shadow of Beethoven. He applied this principle in the Second even more than in the Spring Symphony. The themes of the first movement and the Finale can already be found in the Introduction. The Finale also harks back to thematic material from the Adagio and the common chord of C provides a strong cohesive force which reappears in exposed passages in all the movements. The question whether it was possible after Beethoven to have a symphony at all was replaced by the question how a symphony ought to be constructed. The method of linking the movements was used by Schumann in all his symphonic works a technique which incidentally greatly influenced the symphonies of Brahms.

Leonard Bernstein was a pioneer in recording the original text of Robert Schumann's complete Symphonies, as opposed to so many versions reproducing scores rearranged by orchestrators who may have been more efficient but considerably less expressive. This recording is undoubtedly the most important in the discography, both for its philological aspect and for the conductor's physical commitment.

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