The Estonian star conductor and Grammy Award winner Paavo Järvi has been Artistic Director of The Deutsche Kammerphilharmonie Bremen, one of the world’s leading chamber orchestras, since 2004.
Together they perform two of Schumann’s most famous symphonies: Symphony No. 1 “Spring” & Symphony No. 3 “Rhenish”.
Paavo Jarvi and The Deutsche Kammerphilharmonie return with Schumann’s Symphonies 2 & 4 in 2012.
Schumann: Symphony No. 3 In E-Flat Major, Op. 97 "Rhenish"
II. Scherzo. Sehr Massig
III. Nicht Schnell
Schumann: Symphony No. 1 In B-Flat Major, Op. 38 "Spring"
I. Andante Un Poco Maestoso - Allegro Molto Vivace
III. Scherzo. Molto Vivace
IV. Allegro Animato E Grazioso
1st December 2011
“What these Schumann performances are going to take account of, apparently, is yet more newly published research into the pathology of Schumann's "madness", which proposes that he was neither bipolar or syphilitic but an alcoholic...Both the First and Third Symphonies receive agile, cogent accounts, but there's nothing to recommend them over a number of other recent recordings.”
5th January 2012
“this [recording] shows that, when played with Mendelssohn-like delicacy and precise phrasing, Schumann’s orchestral writing can sound beautifully transparent. But despite lovely moments, there’s a coolness here that misses the surging romanticism in the music.”
“Järvi is always animated and alert to the music's expressive potential: he achieves the best of both worlds. His tempi are swift but never rushed; he runs the cursor along significant inner voices (these are extremely transparent readings), and his judgement of key musical transitions attests to genuine musical intention.”
“The accelerando build-up to the Allegro in the first movement of the Spring Symphony is very exciting: you can sense the life force quickening and finally boiling over. So why is the opening brass fanfare so unarresting?...The last two movements of the Rhenish Symphony are also very compelling: the sense of life suddenly bouncing back after the funereal solemnity of the slow fourth movement is right on target.”
Click on any of the works listed above for alternative recordings.