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.

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