R. Schumann: Symphony No. 4 in D Minor, op. 120
The 19th-century German romantic composer Robert Schumann (1810-1856) wrote a total of four symphonies throughout his life. The first version of Symphony No. 4 was composed in 1841 and premiered by the Leipzig Gewandhaus Orchestra in December the same year, in a concert that turned out to be a flop. A decade later, the composer made considerable revisions and published the new piece as his fourth symphony (although it should be his second symphony according to the time of creation). The revised version was publicly performed under the baton of the composer himself in Düsseldorf on 30 December 1852, and was enthusiastically received.
In many respects, this symphony has some of the most innovative touches in Schumann’s orchestral music. Firstly, despite the traditional four-movement structure, these movements were conceived to be played continuously, something rarely seen in previous symphonies. Secondly, the thematic materials of the four movements are intricately connected, weaving into a web of relations among the motifs. Three musical ideas in the first movement play an important part in the symphony: the first is the meandering theme in the middle register played by the strings and the bassoons at its beginning, which also appears in the second movement and in the trio of the scherzo; the second idea is the dynamic first theme heard upon the allegro’s entrance, which becomes the basis for the beginning and end of the scherzo, and recurring in the transition to the finale; the third idea is the fanfare put forward by the woodwind and the brass, which develops into the finale’s main theme. These musical ideas feature ingenious transformations and variations each and every time they appear in the symphony. From the early melancholy to the closing joyful triumph, the work unfolds a majestic, complete narrative, adding emotion to its context. All these approaches are a testimony to Schumann’s creative concept: regardless of whether a composition features single or multiple movements, it should bear a cohesive narrative form and contain reflection upon music in the past while progressing toward a predefined goal. This concept also reflects a new pursuit for organised structures and organic unity set by the 19th-century symphonic composers.
By Danni Liu
Translated from Chinese
J. Hisaishi:
Viola Saga
Viola Saga is a piece that premiered at Music Future vol. 9 in 2022, but it has now been reconfigured as a concerto for viola and orchestra. The title Saga refers to one’s inherent nature, inborn disposition, or customs and habits. Simultaneously, the English definition of Saga is also associated with medieval Nordic prose heroic legends and can imply the meaning of an epic adventure tale. Although it was originally chosen somewhat arbitrarily, I believe that this word was a fitting choice.
The composition consists of two movements: I. a lively divertimento driven by brisk rhythms, and II. a somewhat emotional piece characterized by dispersed harmonies. Especially in the second movement. I aimed to compose a readily accessible piece that could be performed as an encore. However, the rhythm is quite complex, and playing it is not straightforward.
By Joe Hisaishi
L. v. Beethoven: Symphony No. 5 in C Minor, op. 67
The Symphony No. 5 in C Minor, also known as the “Fate Symphony”, is perhaps the most well-known among the nine symphonies written by the great German classical composer Ludwig van Beethoven (1770-1827). This representative piece of his middle period was composed in 1804-1808 and first performed at Theater an der Wien in Vienna on 22 December 1808. The first of this four-movement symphony is completely based on the familiar four-note “fate motif” (fate knocking at the door); the powerful first theme unleashes a persistent and indomitable flair, followed by the horn that conveys the varied fate motif and leads to the bright and lyrical second theme. The second movement (in A-flat major) is a double variation: the first theme of the violas and cellos gives a broad and deep impression while the second theme of the clarinets and bassoons embodies the stately heroic character, and these two themes alternate in six subsequent variations. The third movement is in a ternary form with the first section consisting of two contrasting factors: the low, oppressed and slightly hesitant theme of the strings and the fanfare theme played by the winds based on the “fate motif”. The trio is written in the contrapuntal style of a fugue, suggesting irrepressible strength. The ending of the recapitulation directly leads to the glorious fourth movement, which takes the sonata form with the first theme starting with a triumphal march and the joyous second theme mainly characterised by the triplet rhythm. The fanfare theme of the third movement imperceptibly recurs as the development section concludes. A number of previous thematic materials are revisited in the epic coda, which brings the symphony to a commanding close with 29 fortissimo C major chords.
By Danni Liu
Translated from Chinese