Günter Wand is a natural Schubertian whose interpretations
have given much joy and inspiration over the years. The present performances
come from Deutsche Harmonia Mundi originals and represent the Maestro’s
thoughts from the late nineteen-seventies to the early eighties on these
pieces (a coupling of Eight and Nine on RCA Red Seal from 1995 with
the Berlin Philharmonic exists on 09026 68314-2, a two-disc set, and
Wand’s 1991 performance of No. 9 is newly available as part of RCA’s
Artistes et Répertoires series). To have these symphonies on
one disc at low price is a bargain indeed, and one which should be snapped
up immediately.
Over many years of experience, Wand has managed to
find seemingly ideal speeds for late Schubert, which while giving space
for all detail to come through still convey the strength as well as
the lyricism of these pieces. There is a supreme inevitability to the
Eighth, and yet all the drama is fully there. So the cello second subject
of the ‘Unfinished’ is full of warmth and gentilité, and wind
solos throughout are finely honed. But the master-stroke comes at the
end of the repeated exposition. The effect of observing this repeat
is to put into relief the descent which leads into the development:
the ensuing passage finds Wand at his most inspired, the tempo slightly
but poignantly withheld over ominous bass tremolandi. It is a reminder
of a BBC Symphony Orchestra performance I heard in the RFH some years
ago, where the effect was absolutely breath-taking. The reappearance
of this passage in the coda is ghostly. The second and final movement
is scarcely less impressive. A full dynamic range is employed on a movement
almost preternaturally lavished with care. The close is incredibly powerful.
The Ninth is a comparable achievement, a million miles
away from Mehta’s live 1985 VPO performance I recently reviewed on Orfeo.
Many of the traits which so marked out Wand’s Eighth are found here,
too: the pacing once more appears perfect and again Wand has the ability
to relax the tempo without ever losing the symphonic thread (try the
third movement for evidence of this). Wind are delightfully pointed
in the second movement and for once the coda of the first movement is
not rushed. Although the finale could perhaps have been a touch more
rustic at times, this remains an impressive achievement.
A true bargain: there is precious little symphonic
Schubert as satisfying as this, at any price.
Colin Clarke
