Sinfonie Nr. 3 Es-Dur op. 97 Robert Schumann

Titel (DE): Sinfonie Nr. 3 Es-Dur op. 97 - "Rheinische"
Titel (EN): Symphony No. 3 E flat Major op. 97 - "Rheinische"
Titel (FR): Symphony No. 3 E flat Major op. 97 - "Rheinische"
Komponist / Composer: Schumann, Robert
Herausgeber / Editor: Correll Roesner, Linda
Bearbeiter / Arranger:
Illustrator:
Opus: op. 97
Werkverzeichnis:
Besetzung / Instrumentation: Orchester / Orchestra
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 1850
Aufführungsdauer / Duration: 28'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 24.01.1996
Ausgabe / Publication: Partitur - Score - Gesamtausgabe
complete edition - - -
Seiten / Pages: 364
Verarbeitung: Leinen - Cloth
Schwierigkeitsgrad / Difficulty: - -
Sprache / Language:
Reihe / Series:
ISMN: M-001-11490-5
ISMN-13: 979-0-001-11490-5
ISMN-EAN: 9790001114905
UPC:

The title of this symphony goes back to the conductor W. J. von Wasielewski, alluding to the Rhenish cheerfulness of Düsseldorf where Robert Schumann had found a new home, although this goes against Schumann's disapproval of programme music. The symphony was created in only a few months, a fact commented on by the composer as being in harmony with Romantic aesthetics in art: The faster, the better. The flow of ideas and train of thought are more real and more natural than with long reflection.' This is the first time that Schumann does not start a symphony with a slow introduction. The rhythmically distinctive first movement, whose sonata form and optimism correspond with the fifth movement, is followed by three rather slow middle movements, each of them arranged clearly in ABA form.

[FR]
The title of this symphony goes back to the conductor W. J. von Wasielewski, alluding to the Rhenish cheerfulness of Düsseldorf where Robert Schumann had found a new home, although this goes against Schumann's disapproval of programme music. The symphony was created in only a few months, a fact commented on by the composer as being in harmony with Romantic aesthetics in art: The faster, the better. The flow of ideas and train of thought are more real and more natural than with long reflection.' This is the first time that Schumann does not start a symphony with a slow introduction. The rhythmically distinctive first movement, whose sonata form and optimism correspond with the fifth movement, is followed by three rather slow middle movements, each of them arranged clearly in ABA form.