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The Radio 3 Boards > The Music Boards > Music Through The Ages > Classical / Romantic > Schumann: the centre of everything?
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Author Topic: Schumann: the centre of everything?  (Read 788 times)
Baziron
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« Reply #15 on: 23:34:13, 24-08-2007 »
I wonder whether Ollie has ever played in the Rhenish Symphony? Schumann manages (it seems to me) to write here a work deliberately contrived to PREVENT any of the wind players from resting! It's all to do I think with his relentless doubling. Some may put this down to 'progress', but I cannot resist the temptation to imagine that - perhaps - Robert didn't really understand how to orchestrate effectively.

Baz
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oliver sudden
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« Reply #16 on: 23:41:05, 24-08-2007 »
I've never played in a Schumann orchestral work I'm afraid. But the Fantasiestücke for clarinet and piano are quite tricky enough on the lacking-in-rests front. As indeed are the Romances (especially the second).

I have on the other hand never been tempted to cast nasturtiums on the effectiveness of Schumann's orchestration. Smiley
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Tony Watson
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« Reply #17 on: 23:54:36, 24-08-2007 »
I've played clarinet in the Schumann piano concerto and you get long rests in the third movement, about 80 bars or so at a time.

Also, I've nothing against an appreciation of Schumann thread but I'm a bit surprised by this one. I don't rate the symphonies as highly as some people do here.
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Colin Holter
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« Reply #18 on: 00:28:55, 25-08-2007 »
I can't speak firsthand, but I've heard tell that Schumann's symphonies sound much better when a genuine effort is made at historically informed performance (in terms of proportions among sections, softer instruments, etc.).
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richard barrett
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« Reply #19 on: 00:40:56, 25-08-2007 »
I think that's borne out quite well by both Gardiner and Herreweghe in their recordings, in different and complementary ways.
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harmonyharmony
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« Reply #20 on: 12:44:18, 25-08-2007 »
Someone was talking about Schumann's orchestration recently but I can't actually remember who it was...
Something about the acoustics of the halls with which Schumann was familiar, or something about the standard of the orchestras with whom he worked, that led him to double everything just to make a decent sound. I think that they also said that early versions of a lot of the symphonies are much clearer in orchestration. If this turns out to have been a dream, I'm very sorry...
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