22-23 Program Book - Flipbook - Page 33
Overture, Scherzo, and Finale, Op. 52 (1841)
ROBERT SCHUMANN
(June 8, 1810-July 29, 1856)
In many ways, Schumann is the epitome of the Romantic artist. A performing
musician, composer, and critic, he demonstrated not only the range of
expression of the time, but also a remarkable imagination in everything he
did. As a composer, his interest in literature influenced his musical choices.
He appears to have had a more intuitive nature which led to great success
with more intimate scenarios like solo piano music and art songs—working
in miniature allowed his ideas to have focus. When confronted with
larger structures, symphonies, for example, he tended to stretch ideas to
extremes with long sections that appear almost improvised. His passion for
music and expression is undeniable, distinct, and enjoyable to experience
on its own terms.
The Overture begins slowly and dramatically but releases into a bright,
tuneful Allegro. The Scherzo is a lively 6/8 with a melody based on the
theme in the last section of the Overture. The effect is to “up the ante” in
intensity, almost as a new section of the Overture, as opposed to a separate
movement. The Finale is announced with two loud chords, followed by
further development of the previous idea, gradually broken down in a
manner very reminiscent of Beethoven. Eventually, the Finale theme is
reconstructed. The piece’s extended ending is fiery and exciting, bringing
this work to a satisfying close.
CLASSICAL SERIES: MR. & MRS. SCHUMANN
His compositional career tended to progress by genre. In 1840, his focus
was on artsongs, but his interest shifted to orchestral music in 1841. The
critical success of his First Symphony (described below) encouraged him
to plunge headlong into the next work, Overture, Scherzo, and Finale. The
contrast of this work to the First Symphony is quite surprising—Overture,
Scherzo, and Finale is more compact and efficient in the use of thematic
materials; in fact, it is unified by one theme that appears in some form
in all three movements. Stylistically, one can hear hints of Schubert and
Beethoven in the lyricism and contrasts as Schumann continued to refine
his orchestral voice.
33