Schumann Symphonies Nos. 1-4

December 2022
When it comes to interpreting the works of a complex composer like Robert Schumann, various perspectives can illuminate different facets of his music. In this notable release from Deutsche Grammophon, maestro Daniel Barenboim and the Staatskapelle Berlin present Schumann’s Symphonies Nos. 1-4 with a more traditional approach, inviting listeners to immerse themselves in the rich orchestral textures and indulgent pacing that this interpretation offers.

Alfred Brendel’s observation that great music transcends any specific performance finds resonance in this recording. While the lean and quirky interpretation of Schumann’s symphonies, as championed by John Eliot Gardiner’s iconic DG set, has brought new dimensions to the composer’s repertoire, Barenboim’s rendition stands as a counterpoint—a Schumann that is magisterial, embracing unhurried tempos and a sense of unhindered expression.

Barenboim’s ability to craft a compelling long line in his interpretations shines brilliantly throughout this recording. His skillful phrasing creates a sense of continuous, unbroken melody, akin to experiencing a Wagnerian music-drama as one sustained lyrical journey. Moments such as the languid slow movement of the Second Symphony and the grandiose ‘cathedral’ fourth movement of the ‘Rhenish’ Symphony are imbued with a profound emotional depth, stirring both conviction and sentimentality.

The warmth and depth of the orchestral sound presented in this rendition may initially surprise those accustomed to the more modern, revisionist interpretations of Schumann’s symphonies. However, with time, the listener becomes attuned to the indulgence in sonic richness that Barenboim and the Staatskapelle Berlin deliver. The horns and flute ‘awakening’ in the finale of the ‘Spring’ Symphony, for instance, are treated with loving attention, inviting us to appreciate these fleeting moments of beauty.

Yet, in this departure from the edgy, quick-witted Schumann unveiled by Gardiner’s interpretation, certain aspects do recede. The internal struggle within the Second Symphony, which Gardiner masterfully illuminated, takes on a softer hue here, trading intensity for a more lush resonance. Similarly, the Fourth Symphony, historically known for its ability to confound and challenge audiences, emerges from Barenboim’s baton with a sense of grandiosity and confidence that some may find more assertive than introspective.

In a world where Schumann’s symphonies can be dissected and presented through a variety of lenses, Barenboim’s recording stands as a tribute to the enduring power of tradition. While some of the intricate and provocative elements of Schumann’s compositions may be smoothed over in this rendition, what remains is an unabashed celebration of orchestral beauty and melodic lyricism. For those seeking a different angle on these masterworks, Barenboim’s take provides a sumptuous and emotive journey that reminds us that even amidst evolving interpretations, the heart of Schumann’s music still beats with timeless vigor.