Schumann: Symphony No. 1, Op. 38 "Spring" / Remastered (reference record.: George Szell, Cleveland)

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🔥 Album available // Schumann: The 4 Symphonies by George Szell 🔥 Choose my streaming platform: https://lnk.to/schumansymphoniesszell 🎧 Qobuz (Hi-Res/flac) https://cutt.ly/1tugSQQ5 Tidal (Hi-Res/flac) https://cutt.ly/GtugXrp1 🎧 Apple Music (Lossless) https://cutt.ly/VtugXMpY Amazon Music (Hi-Res/flac) https://cutt.ly/jtugCx6t 🎧 Deezer (Hi-Fi) https://cutt.ly/mtugVpjU Spotify (mp3) https://cutt.ly/9tugVLJj 🎧 Youtube Music (mp4) https://cutt.ly/3tugBYz9 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) soon Robert Schumann (1810-1856) Symphony No. 1 in B-flat Major, Op. 38 "Spring" 00:00 I. Andante un poco maestoso. Allegro molto vivace 09:54 II. Larghetto 15:48 III. Scherzo. Molto vivace. Trio I. Molto più vivace. Trio II 21:26 IV. Allegro animato e grazioso The Cleveland Orchestra Conductor: George Szell Recorded in 1958, at Cleveland New mastering in 2025 by AB for https://classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): https://cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: https://cutt.ly/geathMhL ❤ Support us on Patreon https://cutt.ly/ZezaldhI The composition of the First Symphony in B-flat Major, Op. 38 is associated with the happiness of the recently married Schumann, the assumption being reinforced by the fact that a poem about Spring is said to have inspired him to write the work. On January 25, 1841 Clara Schumann wrote in their joint diary: "A poem about Spring (…) was the first inspiration for this composition." It must be conceded that there was something euphoric about the intensity of the composer's creativity in the years 1840 and 1841; in 1840, the year of his fiercely opposed marriage to Clara, he wrote no less than 138 songs, and the extremely rapid sketching and orchestration of the First Symphony recalls the speed at which Handel and Mozart worked. Schumann began the sketches on January 23, 1841 and, four days later, they were already completed; he only required three weeks for the orchestration which followed immediately, and on March 31, 1841 the work received its first performance by the Leipzig Gewandhaus Orchestra under Mendelssohn. Some years later Schumann wrote to the conductor Karl Gottfried Wilhelm Taubert: "Could you instil into your orchestra some longing for Spring; that was principally in my mind when I was writing it in January 1841. I should like the very first trumpet entry to sound as though it came from on high, like a call to wake up (…)." This trumpet entry opens the symphony and is a direct allusion to the poem about Spring by Adolph Böttger referred to above. The last verse of the poem begins "Im Thale blühet Frühling auf" (Spring blossoms in the valley); the speech rhythm of this verse corresponds to the fanfare-like opening on the trumpets. This striking rhythm provides the link between the Introduction, the main theme of the first movement and the coda of the Finale. The two inner movements, the Larghetto and the Scherzo, are also interconnected: Schumann composed a transitional passage in the Larghetto for the trombones, which can be distinctly heard in the theme of the following Scherzo. As early as 1839 Schumann complained: "Modern symphonies are to a great extent trivialized into the style of an overture, particularly the first movements; the slow movements are only there because they cannot be left out; the Scherzos merely bear that name; the last movements no longer recall what was in the earlier ones." 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. Other Album available // Schubert: Symphony No. 8 "Unfinished" & No. 9 "The Great" by George Szell 🎧 Qobuz (Hi-Res) https://cutt.ly/ue1ntx2R Tidal (Hi-Res) https://cutt.ly/9e1ntM1c 🎧 Apple Music (Lossless) https://cutt.ly/be1nyuqE Deezer (Hi-Fi) https://cutt.ly/Ie1nszYE 🎧 Amazon Music (Hi-Fi) https://cutt.ly/ie1nsCyk Spotify (mp3) https://cutt.ly/oe1ndUjF 🎧 Youtube Music (mp4) https://cutt.ly/Qe1nfgJs Idagio (Hi-Fi) https://cutt.ly/Qe1nfGog Robert & Clara Schumann PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxOoUF6exytTHfCssJcVdpZu