Schumann (1810-1856) composed his Symphony No. 1, “Spring,” in 1841. The work feels fresh, crisp, exhilarating, balmy. The 1st mvmt is vivacious, with an animated coda. The 2nd mvmt is lyric and serene; the 3rd vigorous; the 4th exultant and vivacious. Symphony No. 2 was actually the third completed (in 1846). The 1st mvmt opening suggests a Bach chorale prelude, followed by drama and turbulence. The 2nd mvmt is rapid and playful, the 3rd mvmt elegiac. The finale has a robust march-like beginning and a joyful ending. Symphony No. 3, “Rhenish” is the last composed (1850). The 1st mvmt begins with a heroic theme and contains soaring melodies. The 2nd mvmt opens with a German folk dance theme, followed by a rustic 2nd theme. The 3rd mvmt creates calm repose. The 4th mvmt opens with an expansive bass theme, gradually accelerated and with contrapuntal treatments. The 5th mvmt returns to the rustic dance feel from earlier, followed by a lighter but spirited theme. Both are then varied and imitated, leading to an exuberant, heroic conclusion. The mvmts of Symphony No. 4 (from 1841, revised 1851) are played without pause. The symphony opens with a slow falling and rising melodic line, giving way to a fiery melody and robust chords. The 2nd mvmt begins plaintively, followed by a lyrical contrast. The 3rd mvmt opens powerfully, while its central section is based on the violin solo of the 2nd mvmt. After a brief intro, the 4th mvmt breaks into an incisive march; the 2nd theme’s heroic melody evolves into a fantasia, before the finale ends triumphantly. The Genoveva Overture opens mysteriously, becomes passionately moving, moves to hunting horns, and builds to an exciting, triumphant end. The Manfred Overture, Schumann’s most popular, was influenced by Goethe’s Faust and follows a poem by Lord Byron. After a brief, fierce start, a long slow intro leads to alternation of the impetuous opening and a gliding 2nd theme. The overture ends morosely.