SCHUMANN: Symphony No. 3 'Rhenish"

Robert Schumman (1810-1856)

Symphony No. 3 'Rhenish' Op. 97
Overture, Scherzo and Finale, Op. 52
Symphonic Studies, Op. 13
(Adagio & Finale) (orch: Tchaikovsky - world premiere)

Royal Philharmonic Orchestra
Dirk Joeres - director

Symphony Recorded in 1999 and first issued here for the Schumann Anniversary 2006

Dirk Joeres and the RPO have begun a Schumann cycle, the first CD of which (2nd symphony) recieved international critical acclaim: "A fascinating account; Joeres is an exciting Schumann conductor and he goes for extremes."
Gramophone

"Here is a disc with a difference...Dirk Joeres easily joins the front rank."
Fanfare, USA

2006 marks the sesquicentenary of Schumann's death. Perhaps in recognition of this Regis have issued this impressive, imaginative reading by a less celebrated conductor who can easily stand comparison with any A-list conductors.

The most interesting item in this programme is Joeres' world premiere recording of Tchaikovsky's orchestrations of the final two parts of Schumann's Etudes Symphoniques Op. 13. These, so faithful to Schumann's style, if a little more colourful, were student exercises for Tchaikovsky. The lovely but brief Adagio is wistful and a little mysterious; the Allegro brillante bustling and joyous. Its fresh, out-of-doors spirit is very much akin to that of the composer's Overture, Scherzo and Finale Op. 52. Of the recording here the Overture moves eloquently through its dappled sunshine. Its phrasing is elegant, its rhythms springy. Joeres' carefree Scherzo vivo canters away blissfully while his Finale - Allegro molto vivace, after its portentous opening bars, scurries merrily away before the entry of Schumann's sublime lyrical melody.

The main item in the programme, Schumann's warmest, five-movement Rhenish Symphony has some three dozen recordings currently listed in the catalogues. This exultant reading by Joeres can hold its own with the best of them (see below for recent reviews of other recordings of the symphony). His exciting vision is as fresh as springtime leaves. In the outer movements it is so spontaneous-sounding, the music pointed so infectiously, the rhythms springy, the phrasing rapt and there is just the right amount of joyous abandon. The brass chorales and fanfares sounding across the stage are, especially in the coda of the concluding movement, quite thrilling. In between, the broad rhythms of the rather solemn, second, scherzo movement suggest the pitching and rolling of a mighty river. The lighter tripping measures might depict, as James Murray's notes suggest, a pleasant river-boat trip and vintage festivities. The lovely slow movement's coy tenderness is nicely caught. It contrasts with the solemn dignity of the fourth movement inspired by the celebrations surrounding the appointment of the Archbishop of Cologne to the rank of Cardinal. In fact Schumann is said to have received his first inspiration for this Symphony by the sight of Cologne Cathedral.

Fresh invigorating readings that can hold their own with the best in a crowded list of competitive recordings.
Ian Lace, MusicWeb