It was composed from 2 November to 9 December 1850 and premiered on 6 February 1851 in Düsseldorf, conducted by Schumann himself,[1] and was received with mixed reviews, "ranging from praise without qualification to bewilderment".

However, according to A. Peter Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting "hurrah!".

Although Schumann wrote an incomplete G minor symphony as early as 1832–33 (of which the first movement was performed on two occasions to an unenthusiastic reception),[3] he only began seriously composing for the symphonic genre after receiving his wife's encouragement in 1839.

The symphony is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, four French horns in E♭, two trumpets in E♭, three trombones, timpani and strings.

The transition moves from the tonic to mediant, G minor, with the use of a newly introduced motive in the strings consisting of energetic ascending eighth notes juxtaposed with material from the main theme.

Schumann does not repeat the exposition, but rather has the strings and bassoon drop from unison B♭ to an F♯, leading to a triple forte explosion in the unexpected key of G major marking the beginning of the development.

The omission of timpani and brass in combination with the static harmony (the movement never strays far or for long from A♭), creates a moment of calm repose in the middle of the symphony.

The thematic construction uses long beautiful themes that are constantly being pushed along by this friendly little motif of four chromatically ascending sixteenth notes, often on the fourth beat of a measure.

The movement begins with a sforzando eighth-note E♭ minor chord in the strings that moves immediately into a pianissimo French horn and trombone chorale.

This beautiful and hauntingly quiet low brass writing is a notoriously difficult spot in performances since the trombones have yet to play at all up until this point.

[6] Schumann's reason for removing the title was his belief that providing the extramusical program would force a certain opinion of the music upon the listener.

"[7] Schumann also once said that "we must not show our heart to the world: a general impression of a work of art is better; at least, no preposterous comparisons can then be made.

"[6] The symphony was reorchestrated by Gustav Mahler, who thinned out and lightened the textures while allowing for the increased possibilities of the brass instrumentation of a late 19th/early20th century orchestra.