Four symphonies were enough for Robert Schumann to leave his mark. Without allowing himself to be overawed by Beethoven's shadow, he succeeded from the outset in coining a highly personal idiom, with an astonishing combination of formal rigour and freedom of inspiration. Pablo Heras-Casado and the Münchner Philharmoniker offer their interpretation of this corpus, more mysterious than it appears, which tells of it's composer's passionate and tormented soul.
1 * Schumann: Symphony No. 1 in B Flat Major, Op. 38 'Spring'
2 I. Andante Un Poco Maestoso - Allegro Molto Vivace
3 II. Larghetto
4 III. Scherzo. Molto Vivace
5 IV. Allegro Animato E Grazioso
6 * Schumann: Symphony No. 2 in C Major, Op. 61
7 I. Sostenuto Assai - Un Poco Più Vivace - Allegro Ma Non Troppo - Con Fuoco
8 II. Scherzo. Allegro Vivace
9 III. Adagio Espressivo
10 IV. Allegro Molto Vivace
11 * Schumann: Symphony No. 3 in E Flat Major, Op. 97 'Rhenish'
12 I. Lebhaft
13 II. Scherzo. Sehr Mäßig
14 III. Nicht Schnell
15 IV. Feierlich
16 V. Lebhaft
17 * Schumann: Symphony No. 4 in D minor, Op. 120
18 I. Ziemlich Langsam - Lebhaft
19 II. Romanze. Ziemlich Langsam
20 III. Scherzo. Lebhaft
21 IV. Langsam - Lebhaft
Four symphonies were enough for Robert Schumann to leave his mark. Without allowing himself to be overawed by Beethoven's shadow, he succeeded from the outset in coining a highly personal idiom, with an astonishing combination of formal rigour and freedom of inspiration. Pablo Heras-Casado and the Münchner Philharmoniker offer their interpretation of this corpus, more mysterious than it appears, which tells of it's composer's passionate and tormented soul.
