Schumann - Symphony No. 1 & Overtures


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Schumann - Symphony No. 1 & Overtures


Gramophone Magazine

Editor's Choice - May 2008



Catalogue No:




Release date:

28th Jan 2008




77 minutes


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Schumann - Symphony No. 1 & Overtures


Symphony No. 1 in B flat major, Op. 38 'Spring'

Overture to Schiller’s Die Braut von Messina, Op. 100

Genoveva Overture

Symphony in G minor 'Zwickau'

Overture, Scherzo, and Finale, Op. 52



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Robert Schumann: Symphony No. 1 in B flat major, Op. 38, "Spring"

I. Andante un poco maestoso - Allegro molto vivace

II. Larghetto

III. Scherzo: Molto vivace

IV. Allegro animato e grazioso

Robert Schumann: Die Braut von Messina (The Bride of Messina), Op. 100

Die Braut von Messina (The Bride of Messina), Op. 100

Robert Schumann: Genoveva, Op. 81: Overture

Genoveva, Op. 81: Overture

Robert Schumann: Symphony in G minor, "Zwickau" (fragment)

I. Moderato - Allegro

Robert Schumann: Overture, Scherzo and Finale, Op. 52

I. Overture: Andante con moto - Allegro

II. Scherzo: Vivo

III. Finale: Allegro molto vivace

Gramophone Magazine

May 2008

“Clarity is a given with this particular band (their coupling of Symphonies Nos2 and 4 has already proved that) and here the same impressions of transparency, watertight ensemble, dovetailed phrasing and buoyant rhythms pertain.”

Gramophone Classical Music Guide


“To call a performance 'well made' might seem like a half-hearted compliment but in the case of Thomas Dausgaard's account of the Spring Symphony it's only part of the story, albeit a very important part. Clarity is a given with this particular band and here the same impressions of transparency, watertight ensemble, dovetailed phrasing and buoyant rhythms pertain.
The first movement is kept on its toes and 'in tempo', and likewise the Scherzo where the Trios are skilfully integrated into the rest of the movement, the first of them opening, unusually, to a gently brushed legato. The Larghetto is streamlined without sounding cold, the important horn and pizzicato string parts always crystal-clear, whereas the finale's prime virtue is its judicious pacing, especially the idyllic horn passage just after the halfway point, and the symphony's closing pages, which are thrillingly played.
Dausgaard's understanding of tempo relations is even better demonstrated in the Zwickau movement of an early G minor symphony.
There are reminders of early Schubert and Bruckner in that rays of light are crossed with moments of darkness, for example the unresolved bassoon motif that closes the exposition, very imaginative (and unsettling), and so is the return of the stern introduction towards the end of the movement.
The Mendelssohnian Overture, Scherzo andFinale is again beautifully shaped, the introduction unusually pensive, the ensuing Allegro full of life, the Scherzo crisp but unhurried. The two relatively late overtures again benefit from smaller-than-usual orchestral forces and perceptive direction, Dausgaard generating bags of energy while allowing textures to breathe. So all we need now is an equally compelling Rhenish Symphony to round off the cycle. The recorded sound is superb.”

Andrew McGregor

7th March 2008

“Right from the opening fanfares, there's a sense of joy and exhilaration, and the openness of the orchestral textures brings freshness and clarity. The ensemble’s lithe flexibility is used to the full by Dausgaard, whose instincts on tempo are persuasive, and the dramatic tension underpinning the work isn't allowed to evaporate.”

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