- Finally, it comes to the fifth movement. Obviously, you know, five
movements, that's unusual. People weren't writing five
movement symphonies, but Schuman did and the fifth movement
starts out with a wonderful, simple melody, and he writes dolce. Dolce means sweetly. It's usually played in
a kind of joyous way. He didn't write that. He wrote it without any staccato
marks, without any marks to say you should play short. The second half of this melody
is written with the staccato marks is more angular and
lighter and more effervescent, more joyous in a sense, and
this juxtaposition of these two ideas, this sweet dolce
idea and this joyous idea, permeates the whole
beginning of this movement. ("Symphony No. 3, Rhenish"
by Robert Schumann) The second theme does the same
idea of the long, contrasting theme with occasional short
notes, but he's always bringing you back and forth. ("Symphony No. 3, Rhenish"
by Robert Schumann) The development section
is quite extensive. Schumann had tremendous
imagination and he was able to combine this kind of dolce
with the kind of staccato sections with short
notes and it works really quite remarkably well. ("Symphony No. 3, Rhenish"
by Robert Schumann) Finally, the initial theme
comes back with the strings playing tremolo and aggressively
and the horns answering the theme, but it comes
back quite loudly now. So in other words, instead
of being this dolce melody, it is an aggressive melody. ("Symphony No. 3, Rhenish"
by Robert Schumann) And again, he brings back the second theme and the original key. Now, what's most interesting,
obviously, as we've seen, Beethoven develops the
coda, so the whole ending of this is fantastic. It starts with the glorious
fanfare and the brass with the strings answering
and then the strings joining into that fanfare. ("Symphony No. 3, Rhenish"
by Robert Schumann) And then, the whole end is
based on the corral theme from the fourth movement. ("Symphony No. 3, Rhenish"
by Robert Schumann) If I didn't tell you that,
and now show it to you, you wouldn't even notice
probably, but in the back of our minds, we hear that and
there's a certain familiarity that makes us feel very
happy and content in hearing the music because it seems
to make sense to us somehow and this ends in a fabulous
way with a tremendous activity by the full orchestra and
the horns with their fanfares that we hear throughout and the
brass to be one of the great masterpieces, I think,
of middle 19th century symphonic music. ("Symphony No. 3, Rhenish"
by Robert Schumann)