Grove's dictionary of music and musicians

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SYMPHONY 789
In one or other of these forms it continues
almost ceaselessly throughout the whole movement,
either as actual subject or accompaniment
; in the second section it serves in the
latter capacity. lu the latter part of the working-out
section a fresh subject of gentler character
is introduced, seeming to stem and
mitigate the vehemence expressed by the
principal figures of the first subject ; from the
time this new subject makes its appearance there
continues a sort of conflict between the two ;
the vehement subject constantly breaking in
with apparently xmdiminished fire, and seeming
at times to have the upper hand, till just at
the end the major of the original key (D minor)
is taken, and the more genial subject appears
in a firm and more determined form, as if
asserting its rights over the wild first subject
and thereupon, when the latter reappears, it is
in a much more gonial character, and its reiteration
at the end of the movement gives the
impression of the triumph of hope and trust
in good, over the seeds of passion and despair.
The result of the method upon which the movement
is developed is to give the impression of
both external and spiritual form. The requirements
of key, modulation, and subject are
fulfilled, though, from the point of view of
classical orthodoxy, with unusual freedom.
The spiritual form,—the expression in musical
terms of a type of mental conflict, so depicted
that thinking beings can perceive the sequence
to be true of themselves—is also veryprominent,
and is the most important element in the work,
as is the case in all Schumann's best works ;
moreover in this movement everythingis strongly
individual, and warm with real musical life in
his own style ; which was not altogether the
case with the first movement. of the Bb. In
the C major Symphony (op. 61) the first allegro
is ushered in by a slow introduction of important
and striking character, containing, like those
of the two just mentioned, anticipations of its
principal figures. In the allegro the two
principal subjects are extremely strong in
character, and the consistent way in which the
whole movement is developed upon the basis
of their constituent figures, with allusions to
those of the introduction, is most remarkable.
Here again there is a sort of conflict between the
principal ideas. The first subject is just stated
twice (the second time with certain appropriate
changes), and then a start is instantly made in
the Dominant key, with new figures characteristic
of the second section ;
transition is
made to flat keys and back, and an allusion to
the first subject ends the first half ;
but all is
closely consistent, vigorous, and concise. The
development portion is also most closely worked
upon the principal subjects, which are trea,ted,
as it seems, exhaustively, presenting especially
the figures of the second subject in all sorts of
lights, and with freshness and warmth of
imagination, and variety of tone and character.
The recapitulation is preceded by allusions to
the characteristic features of the introduction,
considerably transformed, but still sufiiciently
recognisable to tell their tale. The coda is
made by fresh treatment of the figures of the
principal subjects in vigorous and brilliant
development.
The Symphony in El> has no introduction, and
Schumann seems to have aimed at getting his
strong effects of subject in this case by means
other than the vigorous and clear rhythmic forms
which characterise the firat movements of the
earlier symphonies. The effect is obtained by
syncopations and cross rhythms, which alternately
obscure and strengthen the principal
beats of the bar, and produce an effect of
wild and passionate ett'ort, which is certainly
striking, though not so immediately intelligible
as the rhythmic forms of the previous symphonies.
The second subject is in strong contrast,
having a more gentle and appealing
character ; but it is almost overwhelmed by the
recurrence of the syncopations of the principal
subject, which make their appearance with persistency
in the second as in the first section,
having in that respect » very clear poetical or
spiritual meaning. The whole development of
the movement is again consistent and impressive,
though not so fresh as in the other symphonies.
As a point characteristic of Schumann, the
extreme conciseness of the first section of the first
movement in the B[), D minor, and C major
Symphonies is to be noticed, as it bears strongly
upon the cultivated judgment and intelligence
which mark his treatment of this great instrumental
form. The first half is treated almost as
pure exposition ; the working-out having logically
the greater part of interesting development
of the ideas. The recapitulation is generally
free, and in the D minor Symphony is practically
supplanted by novel methods of balancing the
stmcture of the movement. The coda either
presents new features, or takes fresh aspects
of the principal ones, enhanced by new turns
of modulation, and ending with the insistence
on the primary harmonies of the principal key,
which is necessary to the stability of the movement.
In all these respects Schumann is a
most worthy successor to Beethoven. He represents
his intellectual side in the consistency
with which he develops the whole movement
from a few principal features, and the freshness
and individuality with which he treats the
form ; and he shows plenty of tlie emotional
and spiritual side in the passionate or tender
qualities of his subjects, and the way in which
they are distributed relatively to one another.
Schumann's symphonic slow movements have
also a distinctive character of their own. Though
extremely concise, they are all at the same time
rich and full of feeling. They are somewhat in
the fashion of a Romanz'e,' that '
in the D minor