Franz SCHUBERT (1797 - 1828)
Symphony no. 3 in D major, D200 (1815) [22:38]
Symphony no. 4 in C minor, Tragic, D417 (1816) [30:43]
Tonhalle Orchestra Zurich/David Zinman
rec. Tonhalle Zurich, 13-15 February 2012, DDD
RCA RED SEAL 88691 96379 2 [53:21]
A loud blast calls the listener to attention in Schubert’s
Symphony 3. I like the way David Zinman brings a sense of
improvisation to the demisemiquaver ascents of the woodwind soloists in the
introduction. It gives them personality anticipating that of the merrily
cavorting clarinet which ushers in the Allegro main body ofthe
opening movement (tr.1). This is the brio of exuberance, not
bullishness.The second theme, on oboe (2:44) is still more jocular,
the development (5:22) wittily toys with the clarinet’s original
dotted rhythm, but the second theme’s return in the recapitulation,
now on clarinet, has become more courtly. The coda, however, will have none
of this refinement, preferring joyous brass punctuation. This is
uncomplicated music and Zinman’s generally robust approach serves it
well. The recording I shall use for comparison, that made in 1987 by the
Chamber Orchestra of Europe/Claudio Abbado (Deutsche Grammophon 4778689) is
somewhat more refined in approach but thereby more calculated, less natural,
notably in the flow of the introduction and the ‘look at me’
kick to the step of the oboe in the second theme. Abbado’s coda is
staunch but also disciplined, lacking Zinman’s festive quality.
Paradoxically Zinman also achieves more of a chamber quality in the neat
scaling of his larger forces where Abbado places more dramatic emphasis on
dynamic contrasts.
To the second movement intermezzo Zinman brings an unassuming
simplicity which is very satisfying. This is the artlessness of great
artistry aided by gentle dynamic shading and light pointing. A well judged
Allegretto ensures cheerfulness. For sheer unalloyed joy the
ultra-smooth central clarinet solo would be hard to beat When repeated by
flute it’s benignly punctuated by the first violins who then (1:53)
have their moment of bright yet soulful reflection on this state of
happiness. In this movement Abbado’s lovely pointing is too conscious
of its own daintiness. Zinman brings to the Minuet all the exuberance and
bounce its frequent sforzandi openings create, but neatly tempered by
the following very soft phrases. The Trio, for oboe and bassoon is a
carefree folk-like outpouring of melody which is also exquisitely crafted.
Abbado’s Trio has a touch more suave style and lilt while his Minuet
is weightier but also more stiff. In a finale of scintillatingly cracking
pace a lightly articulated opening soon gives way to more vigorous
celebration. The two qualities continue to be interchanged, by turns a trim
dénouement and a merry send-off. Zinman’s energetic approach is
very engaging but in comparison with Abbado here it’s rather
effortful. With feathery opening but fiery continuation Abbado’s
chamber orchestra comes into its own in its capability of lightness and
effortless shimmering.
Symphony 4, the ‘Tragic’, raises the
question: how tragic is it? Zinman keeps a fairly open mind: he clarifies
the work’s ambivalence. So the first movement introduction (tr. 5) is
a carefully placed and considered articulation of disquiet. At the same time
it is an orderly progression, a phase which might resolve, just as the first
notable break at 0:39 has progressed from the opening C minor to G flat
major. Zinman’s objective approach makes you wonder whether the main
body will be in a major or a minor key. It is in C minor but the restless
Allegro extends the earlier chameleon manner with a second theme
(2:38). This is it does even if all too briefly, smoother in rhythm and in
the daylight of A flat major. Yet this is really the only preparation for
the suddenly grand, resolute and optimistic coda in C major. In the
introduction Abbado injects a deeper vein of melancholy: you can’t
imagine the mood ever lifting. His introduction is a truer Adagio
molto but his Allegro ignores the vivace aspect. While
more expressively downcast than Zinman’s, it is rather heavy with it.
The slow movement (tr. 6) is all tenderness and, marked
Andante, not really slow either. Zinman certainly keeps it flowing
which suits its striking feature of becoming more fervent in the elaboration
of the initial theme. Incidentally when the oboe solo early echoes the first
violins in it, the oboist adds ornamentation (from 0:24), an imaginative
embellishment. The opening theme is a rondo but with only one episode
(1:36). The interest here is how its opening acerbity melts into compassion
and retains this mood even as the melody almost evaporates. When this
episode is later repeated it opens more starkly but is subsequently filled
out by a busier accompaniment. Zinman takes all this in his stride and the
impression left is of a longing recollection of heartfelt feelings. I prefer
his approach to the less flowing Abbado who indeed brings more focus and
intensity to the dynamic contrasts but for me over-points and
over-calculates the effects.
The so-called Minuet opens in stormily resolute fashion. Its second
strain comes out briefly but assuredly into a sunlight which is there all
the time in a Trio whose second strain in turn grows more restless. So this
symphony’s juxtaposition of darkness and light continues. I prefer
Zinman here for his crisp, darting rhythms in the Minuet, still dance like
if a bit rebelliously so. Abbado I find too heavy and formal. Zinman’s
Trio is smoother and I prefer it to Abbado’s slower and over-pointed
effects. In the finale (tr. 8) the light peeps through quite early in a
happier extension at 0:29 of, or tail to, the opening theme. The lissom
second theme (1:16) is all hope, catching its breath in the urgency of
optimism and Zinman realizes this mood particularly vividly. It’s that
extension of the first theme, prominent at the end of the exposition and in
the development, that enables the piece to veer round unequivocally from C
minor to C major. This is a logical progression and conclusion, yet you
somehow feel it has happened surprisingly, without a deal of struggle.
Modulation has suppressed angst. This might be partly because Zinman stands
back and lets things take their course. Just as the instrumentation is
finely balanced, strings and woodwind in close alternation and sometimes
union, Zinman’s perspective has a similar equipoise. Is such an
approach too neutral? Turning to Abbado the answer would appear to be yes.
Abbado makes the first theme happier from the outset by giving it a more
skipping quality. Aided by the lighter articulation of the chamber strings,
the flute’s doubling of the first violins is clearer and creates a
brighter effect. The whole thing has more zip and a sense of tingling
expectation. Where Zinman is ever restless Abbado makes the exposition an
eager progression to a satisfying climax. It’s Abbado who produces the
electric tuttis that give the movement cogency.
To sum up, Zinman presents these two very different symphonies
engagingly. There’s sensitivity to their flowing lines, a welcome lack
of affectation in Symphony 3 and an intelligent clarification of the
ambivalence of Symphony 4. It’s just a pity he hasn’t quite
managed Abbado’s capability of creating really thrilling finales. The
recording is vivid in a quite reverberant acoustic and therefore firm bass.
Michael Greenhalgh
Zinman engagingly presents these two very different symphonies.
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