The idea of a “complete” set of Schubert’s
symphonies bears qualification. Schubert’s efforts in
the genre include works that the composer failed to bring to
completion, including Symphony in D major (sketch), D. 708a;
Symphony in D major, D 615 [fragments]; Symphony in D major,
D 708a [fragments]; Symphony in E Major "1825"; Symphony no
7 in E major, D 729 [sketches]; and Symphony no 10 in D major
completed by Brian Newbould, D 936a. That aside, the present
set of recordings represents all the conventionally “complete”
symphonies by Schubert, which include the two-movement “Unfinished”
D. 759. These appear here in previously andseparately released
performances by Roy Goodman and the Hanover Band (Symphonies
1-4) and Sándor Végh with the Camerata Salzburg
(Symphonies 5-6, 8-9). They are issued in a neat box of four
discs. It is useful to have these fine recordings available
together.
The first four symphonies Schubert brought to completion fit
well into the milieu Roy Goodman and the Hanover Band bring
to music of this style. Their recordings of Beethoven’s
symphonies are a useful point of reference, with the chamber-music
style evident there lending itself well to early Schubert. That
approach works well with these scores, which benefit from the
intimate ensemble that Goodman achieves. The phrasing and textures
are idiomatic, with the Third Symphony particularly engaging.
The string playing is clear and recorded effectively, with the
transfer working well in this set.
The Hanover Band’s approach is satisfying in various ways,
with phrasing that suits the music. The first movements have
a nice weight, with the contrasts between theme-groups differentiated
without being overstated. While this holds good for all four
works, the performances of the Third and Fourth Symphonies are
particularly effective in this regard. With appropriate tension
to effect the recapitulations each of them resolves well to
produce a rounded whole.
With the other four symphonies, the chamber-music ensemble of
the Camerata Salzburg works with equal efficacy for Symphonies
5 and 6. Yet with the last two symphonies, the smaller sound
of the Camerata Salzburg strikes a contrast with the big symphonic
tradition that exists for those scores. As much as the Camerata
Salzburg’s performances are certainly effective, they
fall short in terms of the sound which has become associated
with those two scores, especially Symphony no. 9. The outer
movements of the Great C-Major require a larger sound-world,
one not far removed from the full symphony orchestra of modern
practice. At the same time, Végh’s interpretation,
while appealing, is hinged on the more intimate sonorities of
the Camerata Salzburg. This certainly gives a good result with
the inner movements, which benefit from tight ensemble and crisp
playing.
It is useful to note that the recordings of the Camerata Salzburg
date from the late Sándor Végh’s tenure
as its leader from 1978 to 1997. The performances were issued
on Capriccio in 1995, and were included in the present Brilliant
set in 2011. While the Goodman recordings are also available
as individual releases (along with the Symphonies nos. 5, 6,
8, and 9), it is convenient to have them in this box. Priced
affordably and easily available, the Brilliant set is a good
choice. With fine interpretations and excellent sound this collection
of Schubert’s Complete Symphonies has much to offer.
James L Zychowicz
Full contents list
CD 1 [61:44]
Symphony no. 1 in D (D. 82) [28:02]
Symphony no. 2 in B-flat (D. 125) [33:42]
CD 2 [53:50]
Symphony no. 3 in D (D. 200) [22:05]
Symphony no. 4 in C minor “Tragic” (D. 417) [30:58]
CD 3 [62:51]
Symphony no. 5 in B-flat (D. 485) [29:32]
Symphony no. 6 in C (D. 589) [33:19]
CD 4 [76:19]
Symphony no. 8 in B minor “Unfinished” (D. 759)
[24:47]
Symphony no. 9 in C “Great” (D. 944) [51:22]
The Hanover Band/Roy Goodman (1-4)