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ماخذ

Symphony No. 3 E flat Major op. 97. Robert Schumann.

ترجمه

سمفونی شماره 3 E عملیات عمده صاف. 97. روبرت شومان.

ماخذ

Symphony No. 3 E flat Major op. 97. Rheinische. Composed by Robert Schumann. Edited by Linda Correll Roesner. For orchestra. This edition. RSA 1003. Cloth-cover. Complete edition. Complete Editions. Robert Schumann - New Edition of Complete Works Band 3. Score. Composed 1850. 364 pages. Duration 28 minutes. Published by Schott Music. SD.49011961. ISBN 9790001114905. The title of this symphony goes back to the conductor W. J. von Wasielewski, alluding to the Rhenish cheerfulness of Dusseldorf where Robert Schumann had found a new home, although this goes against Schumann's disapproval of programme music. The symphony was createdin only a few months, a fact commented on by the composer as being in harmony with Romantic aesthetics in art. 'The faster, the better. The flow ofideas and train of thought are more real and more natural than with long reflection. ' This is the first time that Schumann does not start a symphony with a slow introduction. The rhythmically distinctive first movement, whose sonata form and optimism correspond with the fifth movement, is followed by three rather slow middle movements, each of them arranged clearly in ABA form.

ترجمه

سمفونی شماره 3 E عملیات عمده صاف. 97. راینیشه. آهنگساز: رابرت شومان. ویرایش توسط لیندا کورل Roesner. برای ارکستر. این نسخه. RSA 1003. پارچه پوشش. نسخه کامل. زبان کامل. روبرت شومان - نسخه جدیدی از آثار گروه کامل 3. نمره. تشکیل 1850. 364 صفحه. مدت زمان 28 دقیقه. منتشر شده توسط SCHOTT موسیقی. SD.49011961. ISBN 9790001114905. The title of this symphony goes back to the conductor W. J. von Wasielewski, alluding to the Rhenish cheerfulness of Dusseldorf where Robert Schumann had found a new home, although this goes against Schumann's disapproval of programme music. The symphony was createdin only a few months, a fact commented on by the composer as being in harmony with Romantic aesthetics in art. 'The faster, the better. The flow ofideas and train of thought are more real and more natural than with long reflection. ' This is the first time that Schumann does not start a symphony with a slow introduction. The rhythmically distinctive first movement, whose sonata form and optimism correspond with the fifth movement, is followed by three rather slow middle movements, each of them arranged clearly in ABA form.