Schumann: Symphony No. 2 in C major, Op. 61

음악과 삶으로 시대를 대변한 진정한 낭만주의자 , 로베르트 슈만

고전주의 형식의 틀을 깨고 낭만주의 이상에 충실했던 독일의 작곡가로 피아노와 가곡 분야에 뛰어난 작품을 남겼다. | 로베르트 슈만은 1810년 독일 작센 지방의 츠비카우에서 xo어났다. 7살 때부터 음악을 배우기 시작했는데, 이때부터 작곡에 재능을 보였다...

[음악사를 움직인 100인]

 

 

슈만 교향곡 No.2 C장조 | Schumann-Symphonie No.2 in C major Op. 61

 

Composed: 1845-46 Conductor: Zubin Mehta Orchestra: Wiener Philharmoniker 00:00 1. Sostenuto assai - Un poco più vivace - Allegro, ma non troppo (C major) 11:47 2. Scherzo: Allegro vivace (C major) 18:42 3. Adagio espressivo (C minor - C major) 29:13 4. Allegro molto vivace (C major) In the autumn of 1844 Clara moved the Schumann household to Dresden, where Robert recovered enough from a terrifying attack of nerves to complete the A minor Piano Concerto for her in July 1845. Soon thereafter he began thinking about a new symphony, which eventually became the third of his four, although published as No. 2. To fight the symptoms of syphilis, he steeped himself in Bach, out of which came several contrapuntal works for organ, pedal-piano, and conventional clavier. At last, on December 12, a sudden wave of inspiration lifted him so high that he sketched the first movement of a new C major Symphony in three days, had proceeded to the finale by Christmas Day, and on December 28 completed preliminary sketches. His tinnitus worsened, however, interfering with long-term concentration until February 12, 1846, when he began to orchestrate the blueprint. Schumann completed the scoring of Symphony No. 2 only 17 days before its Leipzig premiere in November, conducted by Felix Mendelssohn, and immediately after that added three trombones to existing parts for double winds, horns, and trumpets, string choir, and timpani. As in the "Spring" First and D minor symphonies of 1841, he created a unifying motif, and gave this new motto theme to the brass in a deeply sonorous introduction (Sostenuto assai) to the sonata-structured opening movement. A masterful segue ushers in the craggy, edgy, Allegro ma non troppo -- "moody, capricious, refractory" music in Schumann's own words -- this, too, derived from the motto. The motto also underlies all three song sections of the ensuing Scherzo: Allegro vivace, which has two trio sections (as the "Spring" Symphony did): the first one charmingly bucolic, in G major; the other one lyrical, with an embedded theme based on Bach's name (B flat, A, C and B natural, which the Germans call H). This is followed by a tragically expressive Adagio in C minor, whose principal subject resembles the first trio sonata of Bach's Musical Offering. This is the only Adagio movement in Schumann's symphonic canon, verily a cri de coeur; he began a fugue midway but did not complete, much less develop it. The floodtide of melody swept everything before it. Unable to work for several weeks after completing the Adagio, a "cured" Schumann took up the finale. The principal subject of his aptly marked Allegro molto vivace quits the sickroom in order to exercise out of doors. While he borrowed its second theme from the heartsick Adagio, he expurgated all traces of melancholy. The subsequent development of both themes ends quietly in C minor, whereupon the solo oboe quotes a melodic phrase from the last song of Beethoven's To a Distant Beloved cycle (whose text begins, "Then accept these songs"). This and the original motto combine in the celebratory coda of what is surely Schumann's symphonic Mount Rainier. (https://www.allmusic.com/composition/...)=========

 

 

슈만의 번호 상으로는 두 번째, 실질적으로는 세 번째 교향곡. 전작인 1번이 불과 한 달 정도 걸려서 썼고, 4번도 초판은 약 넉 달 가량 작곡된 데 비해 이 곡은 거의 10개월에 걸리는 시간이 투자되었다. 슈만을 평생 동안 괴롭히게 되는 우울장애가 가장 큰 원인이었는데, 이 증상은 1843년 초엽에 처음 나타났다. 이 때문에 같은 해 말 부터 이듬 해 초엽까지 아내 클라라와 진행한 러시아 순회 공연도 순탄치 못한 여정이었다고 한다. 그나마 귀국 후 클라라와 지인들의 조언에 따라 라이프치히에서 드레스덴으로 옮겨가 요양 생활을 했는데, 효과가 있었는 지 1845년 무렵에는 어느 정도 회복되어 다시 정상적인 활동이 가능해졌다. 이 곡도 그 해 12월 12일 부터 초고(스케치)가 작성되기 시작했고, 연말에는 거의 완성되어 해를 넘긴 뒤에는 관현악 편곡(오케스트레이션) 작업을 시작했다. 하지만 이 시점에 또 우울장애가 발병하는 바람에 작업은 상당히 느리게 진척되었고, 10월 19일에야 전곡을 완성시킬 수 있었다.[

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