Sinfonía nº 3 en Mi bemol M, op.

97, “Rheinische” [Renana] (1850)

• 1. Lebhaft [Animado]: Mi b M. Forma “sonata”

• 2. Scherzo (Sehr mässig) [Moderado]: Do M

• 3. Nicht schnell [No rápido]: La b M

• 4. Feierlich [Solemne]: Mi b menor

• Elevación cardenalicia de J. von Geissel, 12-11-1850.
• 5. Lebhaft [Animado]: Mi b M

– Plantilla: 2 Fl, 2 Ob, 2 Cl Si b, 2 Fg, 4 Tp Mi b, 2 Tpt Mi b, 3 Trb, Tim, Cuerda

– Inspirada en traslado a Düsseldorf, Renania con su esposa. [Catedral de Colonia]
– Compuesta entre el 7-11 y 9-12-1850.
– Relación con 3ª Sinfonía de Beethoven, especialmente en el 1º movimiento.
– Relación con la Pastoral:
• 5 movimientos, con los movimientos 4º y 5º enlazados sin pausa;
• 2º movimiento representa fluir de agua;
• titulo en 2º mov.: “la mañana a orillas del Rhin”, retirado (en Beethoven, 2º mov.: “Szene am
Bach”);
• 4º mov. muy especializado (tormenta en Beethoven, procesión en la elevación de un cardenal en
la catedral de Colonia en Schumann);
• 5º mov. muy contrastante con el anterior.
– Estreno: Düsseldorf, 6-02-1851, dir: Schumann
Table 6.7: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft

m M R/H Comment

1 M1 E♭ Exp., Gr. 1 (ABAB’)/Th. 1

19 Trans.
25 M2.1 Gm Gr. 1/Th. 2
35 M2.2
43 M2.3/M1 Return of Th. 1
53 Trans. Table 6.8: Schumann, Symphony No. 3 ‘Rheinische’, Mvt. 1 Lebhaft (cont’d)
57 M1 E♭ Th. 1
75 Trans. m M R/H Comment
77 M2.1’ Cm
83 M2.2’ Gm 368 M1 E♭ C7 − False Recap., Gr. 1
375 M4 Fm Gr. 2
95 M3 Gm Gr. 2 (AA’BA”)/Th. 1
387 M4 Cm
103 M3’ Cm
399 M1’ Trans.
111 M4 B♭ Gr. 2/Th. 2
127 M3” Gm 411 M1 E♭ Recap. Gr. 1
139 Trans. 429 Cm A♭ F m G7 − Trans., Seq.
143 M2 B♭ Final statements Gr. 1
153 M2/M1 457 M3 Cm Gr. 2
165 M3 B♭ Final stat. Gr. 2 473 M4 E♭
177 M1 489 M3’ Cm
185 M2 G G7 − Dev. Gr. 1
505 M2 E♭ Gr. 1
193 M2 C C7
515 M2/M1
201 M3 Fm Gr. 2
215 M3’ Trans., Seq. 526 M1/M4 E♭ Coda
231 M2 G♭/B♭ F7 − Gr. 1 547 M1/M4
239 M2/M3 B♭ 563 M1 E♭ (585 m.)
253 ⊥ Trans.
259 M3’ E♭7 − Trans., Seq.

273 M1’ A♭m Gr. 1

281 M1 B
295 B7 B♭ B♭7 − Trans
311 M1’ E♭m
319 M1 G♭
329 F ♯7 F7 − Trans.

337 M3 B♭m Gr. 2

351 M3’ Fm Trans.
 201 Cyclical thematic processes in the nineteenth century

Example 9.8a Schumann, Symphony No. 3, I, bars 1–5.

   

  
1 3 6 5

    

Lebhaft
    
                              


            
    
I 6 5 R V6
2 3

Example 9.8b Schumann, Symphony No. 3, I, bars 411–16.

   
1 3 6 5
     
 
 
(Lebhaft)

     
     
 

 
411  
              
    
     
fff

           
         
  
Julian Horton. “Cyclical        

    

  
V6 9 8 u V4 3
thema4c process in 4

the nineteenth-
century symphony”. Example 9.8c Schumann, Symphony No. 3, V, bars 394–9.
Julian Horton (ed.).
  
The Cambridge 6 5 1

       

(Lebhaft)

               

 
394   Schneller
Companion to the                          
         
Symphony. Cambridge 3 3
3

University Press, 2013. first movement first theme

    
                 
V 9 8 I
N 5
4 3
 202 Julian Horton

Example 9.9a Schumann, Symphony No. 3, II, bars 16–18.

        
Sehr mässig anticipation of 'x'
 
        
17
     
     
         

        
p

anticipation of 'x'

 
             





  
 

X: tema del Example 9.9b Schumann, Symphony No. 3, IV, bars 1–8.
Preludio en Mi b M Feierlich 'x' 'x' (initial fourth omitted) 'x' (diminished and extended)
de El Clave bien                    
1

temperado, libro I,        
          
 
             

de Bach f
pp

                    

Julian Horton. “Cyclical          
thema4c process in the
nineteenth-century
symphony”. Julian Example 9.9c Schumann, Symphony No. 3, V, bars 97–9.
Horton (ed.). The
 
(Lebhaft)

       

'x'
Cambridge Companion

98

      
to the Symphony.  
Cambridge University p p

    
Press, 2013.      
 203 Cyclical thematic processes in the nineteenth century

Example 9.9d Schumann, Symphony No. 3, V, bars 271–9.

(Lebhaft)
    
271

     
sf
'x'
'x'
   
  
sf
     

   
   
  
sf
'x'

                        

           
      
 
Julian Horton. 'x'
“Cyclical thema4c 
                                
275 sf
process in the   

nineteenth-century
symphony”. Julian

Horton (ed.). The                                    
Cambridge
Companion to the  
Symphony.                                                
      
Cambridge
University Press,
2013.
Finale as the substance of its transitions and development, subsequently
combined with the movement’s first theme, in diminution, in the devel-
opment. This line of thematic action culminates in the standing on V that
supplies the transition to the coda in bars 271–398 (Example 9.9d), above
 Middleground Structure in Schumann’s Sonata Expositions 253

Table 12.3. Schumann, Rhenish Symphony, Op. 97, I, Formal Outline of Exposition
Measure Numbers Formal Function Harmonic Orientation

Tonic Key Area In Ef:

1–21 (A) Main theme (1a) I
21–57 (B) I–iii (tonicized)–ii–V
57–77 (A’) 1a returns I
77–94 Transition (based on material from B G: iv–Ger. 6/5–V
section of tonic area: compare mm. 77–91
and 25–43)
Mediant Key Area In G:
95–101 Second theme (2a) i
102–110 2a III (tonicized)
111–127 Based on 1a III–V/v–v
127–133 2a v (tonicized)–V–i
Dominant Key Area In Bf:
134–165 Motion to closure V
Codetta
165–183 I

Peter H. Smith. “Associa4ve Harmony, Tonal Pairing, and Middleground Structure in Schumann’s Sonata
Exposi4ons”. Roe-Min Kok & Laura Tunbridge (eds.). Rethinking Schumann. Oxford University Press, 2011.

final structural cadence. Motivic liquidation conventionally functions in

 254 Analytical Approaches

Figure 12.11. Schumann, Rhenish Symphony, Op.

97, I. (a) Graph of exposition with bass
arpeggiation. (b) Graph of exposition with
emphasis on IIn.

Petermultiple
H. Smith. “Associa4ve Harmony,
keys and thus onlyTonal Pairing,
weakly and Middleground
articulate Structure
an apparent in Schumann’s
secondary Sonata
tonal center
Exposi4ons”. Roe-Min Kok & Laura Tunbridge (eds.). Rethinking Schumann. Oxford University Press, 2011.
within an expository I—IIn–V progression. Furthermore Schumann prepares
the entrance of his G Stufe with a prolongation of its dominant, which is itself
 256 Analytical Approaches

Figure 12.13. Schumann, Rhenish Symphony, Op. 97, I, graph of mm. 1–57.

Peter H. Smith. “Associa4ve Harmony, Tonal Pairing, and Middleground Structure in Schumann’s Sonata
Exposi4ons”. Roe-Min Kok & Laura Tunbridge (eds.). Rethinking Schumann. Oxford University Press, 2011.
continuity across various formal levels. Here on the lower level there is really no
 Figure 12.12. Schumann, Rhenish Symphony, Op. 97, I, graph of mm. 57–135.

Peter H. Smith. “Associa4ve Harmony, Tonal Pairing, and Middleground Structure in Schumann’s Sonata
Exposi4ons”. Roe-Min Kok & Laura Tunbridge (eds.). Rethinking Schumann. Oxford University Press, 2011.
 258 Analytical Approaches

Figure 12.14. Schumann, Rhenish Symphony, Op. 97, I, motivic connection of Bf

passages.

within the tonic area, where the modulation to G highlights the recently exited
Peter Ef
H. Smith. “Associa4ve
by means Harmony,
of a V-VI Tonal Pairing,
progression atand Middleground
measure Structure and
39. Similarly in Schumann’s
across aSonata
still
Exposi4ons”. Roe-Min Kok & Laura Tunbridge (eds.). Rethinking Schumann. Oxford University Press, 2011.
larger formal level, the development begins at measure 185 with an immediate
outburst on G (subito fff ), which functions as V/C but nevertheless enters via a
 Example 6-11a: Schumann, Symphony No. 3 (“Rhenish”), first movement, mm. 1– 6
b 3 œ ˙ œ œ œ . n œJ ˙œ œ œ œ. œ
b
& b 4 œ̇ œ œ œ. J J
œ œ

Example 6-11b: Schumann, Symphony No. 3 (“Rhenish”), first movement,

mm. 449– 56
˙. œ ˙. œ
b ˙. ˙.
& b b 34 œ Œ Œ œ Œ Œ
449
∑ ∑ ∑ ∑

b 3 ˙. ˙.
& b b4 ∑ ∑ ∑ ∑ n˙ . n œœ Œ Œ n ˙ . n œœ Œ Œ

b 3
& b b4 Œ Œ ∑ ˙ œ œ j
John Daverio. œ nœ . nœ ˙ . ˙. ˙. ˙.
Crossing Paths:
? b b 34 ˙ œ œ n œ . n œj .
Schubert, Schumann b ˙ ˙. ˙. ˙. ˙˙ .. ˙˙ ..
and Brahms. Oxford
University Press,
2008
Example 6-11c: Brahms, Symphony No. 3, first movement, mm. 3 – 4
√˙
Violins:

6 j
& b 4 œ Œ œ. œ ˙
3