Schumann: Overture, Scherzo & Finale

Fue concebida como una Overtura a la que posteriormente se le añadieron dos movimientos más. Es prácticamente un sinfonía sin
movimiento lento. Terminó de componerla en 1841, llegó a llamarla “symphonette” o “suite”.

Published in 1846 by Kistner and dedicated to the Dutch violinist and conductor, J. H. Verhulst, the Overture, Scherzo and Finale in E major, Op.
52, was written in three weeks in 1841. The Finale was revised in 1845, shortly before publication. The Overture, Scherzo and Finale, Op. 52, is
essentially a symphony without a slow movement; Schumann even referred to it as his "Symphony No. 2" at one time. Earlier,
when Schumann offered it, unsuccessfully, to the Leipzig publisher Hofmeister, he called it a suite, pointing out that "the individual movements
can be played separately." Earlier still, he referred to the piece as a Sinfonietta. Compared to Schumann's four Symphonies, the piece is smaller
both in length and orchestration. Schumann's numerous ways of identifying his Op. 52 makes one wonder about any intended symphonic unity.
If the movements aren't meant to be together, why arrange them that way? However, close inspection of the piece reveals that beyond their lively
mood and light orchestration, the movements are related thematically. Throughout the piece, the playfulness and eloquence of Mendelssohn is
never far away.

Two important motives in the slow, E minor introduction to the Overture -- a graceful, leaping violin passage an aggressive, descending figure
for the cellos -- become important elements of the Overture proper, marked Allegro. A change to E major, as well as the increased tempo, mark
the beginning of the sonata-form movement, which opens with a vivacious primary theme of falling seconds. As in many opera overtures, the
development is minimal. In this case, the primary theme becomes entangled with the introductory motives for a short time before the
recapitulation.

Schumann's Scherzo is in 6/8, its main theme, very narrow in range, set in the strings. The personality of the Scherzo derives from its driving,
dotted figure, which becomes monotonous soon after the movement begins. In contrast, the trio section is lyrical and lovely, and on its second
appearance incorporates motives from the Overture and is introduced by the descending cello line. A return of the primary theme of the Overture
closes the Scherzo.

The Finale is one of Schumann's fastest movements. The main theme, a rising stepwise line in dotted rhythms played by the first violins, is
presented in fugato style. An elegant secondary theme provides welcome contrast and betrays Schumann's debt to Mendelssohn in its grace and
light orchestration. The Finale closes with a coda built of the main theme
PRIMER MOVIMIENTO: Forma obertura de concierto, parecida a la forma sonata pero con un pequeño desarrollo.

INTRODUCCION

c.1______________________________________c.9_____________________________________________________________________c.17
Tema I
Mi menor Si menor

EXPOSICION

c.18_____________________________c.50_______________c.59______________________c.74__________________c.89_____________
Tema II Transición Tema III Material Tema I Material Tema I
(Primera frase) (segunda frase)
Mi Mayor Sol # menor Re Mayor
(mediante)

DESARROLLO

c.109______________________________________________________c.128____________________________________________________
Tema IV Tema I Vs. Tema II
Si Mayor
 REPRISE

c.143.________________________________________c.183______________________c.188_______________________________________
Tema II Nuevo material respecto Tema III
Mi Mayor a la exposición. Do # menor

DESARROLLO FINAL

c.238_______________________________________________________c.257___________________________________________________
Tema IV Tema II
Mi Mayor

CODA

c.268_________________________________________c.299_________________________________________________________________
Material tema IV
Pedal Dominante Mi Mayor

SEGUNDO MOVIMIENTO: Suprime el movimiento lento Schumann y da paso directamente al scherzo como segundo movimiento de la obra.
 SCHERZO

c.1_________________________________________________c.8______________________________________c.47____________________
Tema I Variación Tema I Tema I
Do # menor

TRIO

c.55________________________________________________________________________________________________________________
Tema II
Re b Mayor

SCHERZO

c.72_________________________________c.80__________________________________c.119_________________c.127______________
Tema I Variación Tema I Tema I Codetta
Do # Mayor

TRIO

c.136_______________________________________________________________________________________________________________
Tema II
Re b Mayor

CODA

c.152_______________________________________________________________________________________________________________
Material Tema II Primer Movimiento
Dominante Si b Menor

TERCER MOVIMIENTO: Forma sonata. Dos temas, el primero en estilo fugato. Uno de los movimientos más rápidos en la obra sinfónica de
Schumann.

INTRODUCCION

c.1_________________________________________________________________________________________________________________
Mi M
Dominante/Tónica

EXPOSICION

c.5_________________________c.25_______c.33_________c.50_____________________________________________________________
Tema I (Fugato) Tema II Episodio Tema III
Mi Mayor Mi Mayor V/V

DESARROLLO

c.101____________________________________________c.213___________________c.231__________c.250_______________________
Pedal V Puente modulante Material intro. Mov. I Tema I añade nueva sección

c.270__________________________________________c.350________________________________________________________________
Tema II CODA
V. Mi Mayor