ONE COMPOSER. ONE SYMPHONY. TWO VERSIONS.

What are the particularities of Schumann’s 1841 1st version versus the 1851 revised version of the Fourth Symphony?
The 1851 version is a revision of the original 1841 symphony in D minor, composed during what was Schumann’s “Year of the Symphony”. This was another productive and manic year after his “Year of the Song”, full of professional compositions, including his 1st symphony “Spring” amongst other works, as well as personal celebration: the birth of his daughter and the 1-year anniversary of his marriage to Clara Schumann, born Clara Wieck. What is important to understand with both versions is the narratology that Schumann intended, for the work to be performed without pauses between the movements, and to portray through music a narrative or story.
What is the story? Robert and Clara’s romance and their struggle to marry. Indeed, it is a classic love story. The 1st and last movements are considered public movements, setting the structure for the emotional challenge to marry over the objection and legal process of Clara’s father, Friedrich Wieck, and their victory of love. The 2nd and 3rd movements are private, with the solo instruments of the 2nd movement, the oboe and cello, representing the characters of Clara and Robert, and the solo violin portraying their intimate promenades that facilitated their romance. Even her obstinate father is heard in the temperament of the main Scherzo and her comforting mother in the lullaby of the Trio.
The transition to the finale speaks of a bel canto melodrama opera. There is even a structural change in the transition between the 3rd and 4th movements, noted as Largo in the 1841, perhaps indicating two lovers eloping at night, and Langsam in the 1851, heard perhaps as the “psychotic melancholia” Schumann was diagnosed as having, leading to a bittersweet finale that, despite the D major ending, confirms a love doomed by death.
Many differences in the two versions are revealed through the instrumentation, style and composition. The 1841 has a chamber orchestra quality, consistent with an early 19th century classical aesthetic. The 1851 reflects a post 1850 soundscape with a deep and dark sehnsüchtig German romanticism.
Most striking is the beginning. The 1841 original starts with an open A chord on the beat of the first measure, reminiscent of Beethoven’s 7th Symphony, leading into the D minor “Clara’s Theme”. The 1851 version starts with the 3rd beat of a preceding empty measure, like an anacrusis, yet weighted in sound to suggest a more expansive opening. And even the tempo is different. The 1841 is Sostenuto (Sustained) leading to an Allegro di molto (very fast). The 1851 is wholeheartedly German: Ziemlich Langsam (quite slow) leading to Lebhaft (Lively).
The premiere of the 1841 version on December 6 was not a success, in part because the conductor, Ferdinand David, was unable to convince the public of this surprising structure of a symphony without any stops between its movements. The original publisher, Peters, also felt that publishing two symphonies in one year would negatively impact sales. Thus, Schumann withdrew what should have been his 2nd Symphony to return to it 10 years later and perform under his own baton on March 1, 1852, what is now known as the 4th Symphony. It is no surprise that when the symphony was revised and published, Clara considered it not only the definitive version, but the only acceptable version. It must be added that it was Johannes Brahms, Schumann’s protégé, who championed the original 1841 version and had it performed and published in 1891, 50 years after the premiere. Brahms believed that the original version was superior to the revision—that in revising the music, Schumann thickened the orchestration and, in making the structure more comprehensible, eliminated some of its transparency and innovative qualities. However, it caused an irreconcilable conflict in the relationship between Brahms and Clara as she was also protective of her memory with Robert of that fateful year. Clara ultimately forgave Brahms, and loved him till her last day, but Robert remained her true beloved.

How does this symphonic work reflect the bipolarity of this composer?
Today, Schumann’s condition would be diagnosed as bi-polar. However, in the 19th century they had no terms. Shortly before he finally married Clara Wieck in 1840, Robert Schumann wrote a poem in which he identifies himself with “Florestan the wild” and “Eusebius the mild”, urging Clara to take both together, thus uniting “joy and sorrow”. This poem essentially describes the narratology of his 4th Symphony, written in two versions, under the influence of Florestan for the first in 1841 and Eusebius for the revised in 1851. Most musical biographers confirm his manic-depressive split personality. As the esteemed concert pianist and psychiatrist Dr. Richard Kogan states in his presentations and lectures, “Schumann’s music illustrates the complex relationship between creative genius and psychiatric illness.” He believes that Schumann’s music is a “dramatic example of bi-polar disorder on the creative process”. Bipolar disorder, also known as bipolar affective disorder, is a psychiatric disorder characterised by frequent mood swings that range from periods of euphoria to periods of depression. The disorder can severely impact a person’s life, affecting relationships, daily activities, and the ability to work or learn. Robert Schumann’s music was influenced by this illness, and this symphony, like much of his music, can be seen as an expression of it. This recording, perhaps the only time in discography that both versions are included together, represents a joint effort to portray Schumann’s work and to better understand his illness and its impact on his life and music.

What more can this recording tell us?
The purpose of this recording is to present two scores of the same symphony as different takes on the same idea, one score with two versions, and to appreciate them equally for their contrasting perspectives. Art lovers have long taken the same attitude to different versions of famous paintings —why not symphonies? This unique combination demonstrates how the biography of the composer cannot be separated by from the work itself, and how his intention to make a narrative story out of his own desperate struggle to marry Clara is put into music. His manic energy and depressed condition were partly reasons why Frederic Wieck, Clara’s father, objected to their marriage. Robert drank, was not consistent in his composing, had too original a voice for public acceptance and did not offer the financial protection most fathers hope for their daughters. But love is love. And Clara, though grateful to her father, was committed to Robert and to their marriage, consummated on September 12, the day before Clara turned 21, which would have allowed them to marry without her father’s permission. Yet, the symphony in D minor was born from this triumph of love. And the revision revealed its destiny. We can be grateful to both Clara and Brahms for bestowing upon us both works for posterity.
“Personally, I am deeply motivated by this project,” says Maestro Axelrod. “After previously recording the Brahms symphonies and the songs of Clara Schumann, I am partnered with the Bucharest Symphony Orchestra and Classeek Music, who have joined me to continue this musical journey and delve deeply into Robert Schumann’s life, his love, and his long struggle with mental health. While much of his music and writings reflect his bi-polar condition, these two publications, one written during a manic creative year and the other in the depths of his emotional despair, provide for me the most telling representation of this radical romantic. While it was endlessly interesting for me, I hope to share this musical discovery with my fellow musicians, our audience and listeners. In the process, perhaps we will all appreciate that even those who suffer from bi-polar illness can create works of genius. Ultimately, we may learn something new about this extraordinary man, who for many remains an enigma.”