Franz SCHUBERT Symphonies Nos. 3, 5 & 6  London Sir Thomas Beecham conducting the Royal Philharmonic Orchestra  EMI (Great recordings of the Century) CDM 5 66984 2 [78:52]

Two Nikolaus Harnoncourt TELDEC readings

Franz SCHUBERT Symphony No. 8 ("Unfinished") With Rosamunde Music  Nikolaus Harnoncourt conducting the Wiener Symphoniker  TELDEC 8.43187

Plus:-

The 'Unfinished' Symphony in a complete collection of all

Franz SCHUBERT The Symphonies  Nikolaus Harnoncourt conducting the Royal Concertgebouw Orchestra  TELDEC 4509-91184-2 4CDs [266:09]

I was initially drawn to Harnoncourt's earlier (1985) Wiener Symphoniker recording of Schubert's Unfinished Symphony because it also had the Rosamunde music but I quickly opted for Kempe's lighter touch. Harnoncourt's view of the 'Unfinished' was a different matter, however; dark brooding and dramatic, so appropriate to the trauma of Schubert's early experience of his father's rejection his and subsequent nightmares. (These are recounted in the pre-concert talk transcription at the beginning of this file that quotes from Harnoncourt's absorbing essay, complete with numerous musical examples that comprise the bulk of the booklet notes.) This compelling performance led me to Harnoncourt's much-praised 4 CD complete set of Schubert Symphonies, this time recorded (in 1993 again for Teldec) with the Royal Concertgebouw Orchestra. It was even more interesting to compare Harnoncourt's readings of Symphonies 3, 5 and 6 with those of Sir Thomas Beecham conducting the Royal Philharmonic Orchestra in the acclaimed 1956 and 1960 recordings recently re-released in EMI's Great Recordings of the Century Series.

The author of the Harnoncourt 1993 set notes, Peter Härting, reminds us that the symphonies were not really recognised until much later in the 19th century and that they were adapted - their effect frequently softened - to suit the more Romantic tastes of that period. Beecham would probably have been influenced by such practises. We are also reminded that Schubert was writing for a bourgeoisie audience and that he would, certainly in his early symphonies write to their tastes and experience. And, as Härting reminds us, that audience would have been more of a classical disposition (although he tends to over-emphasise this point for like Beethoven, Schubert was a fulcrum point in the transition from the classical to the Early Romantic attitudes.) Harnoncourt went back to the original autograph scores. As he says, they "reveal an incalculable number of changes: changes to the dynamics, tempi, articulation markings and instrumentation, and even to the music itself" - all made to make the music palatable to the music lovers of the second half of the 19th Century. Harnoncourt's authentic versions performed here "are more consistent and sometimes also harsher and more abrupt in tone. Schubert frequently juxtaposes the most extreme dynamic contrasts, whereas the version normally used relies on a crescendo or diminuendo to mediate between such extremes." Harnoncourt goes on to give just a few specific examples of the changes.

Another point that note author Härting makes is that the whole symphonic set might be regarded like a novel or a developing saga with a dramatic breakthrough to the genius of the last two symphonies. Point well taken but then the same observation could equally apply to many composers from Beethoven to Bax.

But to the music. [For this set the old numbering that included Schubert's unscored Seventh Symphony in E major (omitted) is modified to place the 'Unfinished' Symphony in B minor as No. 7, and the Great C major as No. 8.] Having made all the above points, I will not weary readers with a blow by blow critique of all the symphonies but concentrate on general points. The first six symphonies have much in common, all save No. 6 have a third movement, marked Minuetto, in common for instance. Generally, their spirit is exuberant and sunny and dance-like with contrasting darker dramatic shadows. Harnoncourt gives a muscular reading of the strongly rhythmic, youthfully exuberant, Beethovenian first movement of Symphony No. 1 in D with a contrasting grace and delicacy for the Mozartian Andante. This is an astonishingly assured work for a 16-year old. Its harmonies are impressively sophisticated and there is real emotional depth. The Second Symphony's pastoral atmosphere is beguilingly captivated; wild and hectic out-of-doors joyfulness contrasted with soothing peace, only disturbed by a few fleeting clouds, and woodwind inter-twinings so suggestive of birdsong. This woodwind phrasing so vital in Schubert is exquisitely realised by Beecham in his readings which generally have more grace, charm and character; and are much more romantically inclined than Harnoncourt's. Beecham is consistently faster in the outer movements (editing out some of the repeats) and not surprisingly slower in the Andantes. Taking the 3rd Symphony, Beecham's opening Adagio maestoso, Allegro con brio has poise, wit and sparkle whereas Harnoncourt, not lacking in essential charm, settles for more classical dignity. The same applies in the following Allegretto where Beecham opens with dainty steps, such that one visualises crinolines, bonnets and parasoles with the trio suggesting the proud hauteur of the escorts. Harnoncourt is quieter, more restrained and he introduces a note of pathos; this is classical refinement but with some cocky humour in the trio. Harnoncourt's refinement yet brisk pace impresses more in the Menuetto and Presto vivace. Beecham is sublime in the beautiful opening Allegro of the Fifth Symphony but it is Harnoncourt who eclipses Beecham's elegant melancholy in the Andante con moto second movement with wondrous finesse and a reading distinguished by exquisite internal balance.

Schubert's somewhat darker and suffering yet defiant Fourth Symphony is given an appropriately intense reading by Harnoncourt. He adopts a strong clear pulse that indicates an urgent imperative. The opening movement of the Sixth Symphony in C major (the so-called "Little") finds Harnoncourt stern and sturdy while Beecham's more flexibly rhythmic reading is infinitely more human and his Andante is amusingly pert while Harnoncourt opts for restraint and classical delicacy.

It should be emphasised that Harnoncourt's Schubert is far from being turgid as one might infer from my remarks. On the contrary it is light-toned and bright; the Concertgebouw players urgent and virile without being heavy or over-emphatic or too forceful. But Harnoncourt also looks more deeply than is the norm into these first six symphonies to face their anxieties and ambiguities.

Harnoncourt's 'Unfinished' with the Concertgebouw may not be as darkly forbidding as his earlier reading with the Wiener Symphoniker but it is forceful and harrowing enough with an opening chill that suggests the grave and trombone figures in the codas that cast impenetrable shadows. The warmth of the contrasting lyricism is fleeting; the pathos palpable; this is a sombre view of the 'Unfinished' indeed. Harnoncourt's polished elegant Great C major is excellent. Attention is riveted throughout its 58½-minute span. This account is strongly outgoing with plenty of attack yet there are subtle shadings aplenty with keenly judged rubato so that the repetitions never sound tedious. All the wonderful tunes are resplendent. Harnoncourt imbues his Great C major with a stately grandeur to bring this marvellous set to a magnificent conclusion.

Reviewer

Ian Lace

Beecham

Harnoncourt:
(Wiener Symphoniker)

Concertgebouw

Reviewer

Ian Lace

Beecham

Harnoncourt:
(Wiener Symphoniker)

Concertgebouw

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