Franz SCHUBERT (1797-1828)
Symphony No. 9 in C major, D 944 Great (1825/26) [22.07]
Symphony No. 8 in B minor, D 759 Unfinished (1822) [54.50]
Wiener Symphoniker/Philippe Jordan
rec. live, 15-16 November 2014 (Unfinished), 11-12 April 2015
(Great), Musikverein, Vienna, Austria
WIENER SYMPHONIKER WS009 [77.02]
New on Wiener Symphoniker this release comprises Schubert’s two greatest
and much loved symphonies: Nos 8 and 9. It is worth pointing out that the
cover of this release describes the symphonies as No. 7 Unfinished
and No. 8 The Great using the numbering of the revised Deutsch
catalogue and the Neue Schubert-Ausgabe (New Schubert Edition) complete
catalogue of works mainly used today in Austria and Germany.
With regard to the universally esteemed Symphony No. 8 Unfinished
its history continues to be a matter of much debate. Schubert authority
Nikolaus Harnoncourt recognises the symphony was intended as a four movement
score although he is convinced there must have been a point when Schubert
decided the two completed movements were perfect on their own. In the first
movement Allegro moderato chief conductor Philippe Jordan ushers
the listener into Schubert’s enthralling and dramatic sound-world with a
reading that maintains a remarkable inner tension. Marked in the Andante
con moto is the bitter-sweet quality of drama and breathtaking allure
that Jordan imparts. The woodwind playing is top drawer.
Harnoncourt firmly believes that the ‘Great’ C Major is “a colossal
edifice in which Schubert remakes the symphony … anyone who has experienced
this masterpiece is no longer the same as before.” Schubert’s final symphony
is a work the composer described in his personal letters as “a grand
symphony.” Here maestro Jordan gives a disarming reading that in turn
combines magnificent drama and deep compassion. It is hard to ignore the
Beethovenian/Wagnerian influence on the opening horn calls. The resolute
playing of the expansive opening movement is tinged with a dark hue. Jordan
excels in the Andante con moto maintaining an exemplary pulse
throughout. I savour the encounter between the primarily pastoral quality of
the fresh outdoors and the dramatic squally extremes. The dignified march
theme on the oboe is a highlight. The spirited dance melodies of the
Scherzo receive polished playing and resolute bite. Jordan
exercises judicious control of the bold and courageous Finale:
Allegro Vivace a movement full of colourful incident that feels
both compelling and expressive.
Despite its excellence this Wiener Symphoniker coupling has to compete
with a wealth of rival accounts. My first choice recording for the
Unfinished is from the Berliner Philharmoniker under Günter Wand:
raptly beautiful playing engages the listener from start to finish. Wand was
recorded live in 1995 from the Philharmonie, Berlin on RCA Victor Red Seal.
My single standout recording of the ‘Great’ C Major is from Claudio Abbado
with the Orchestra Mozart assembled at live concerts in 2011 at Bologna
Auditorium Manzoni and Bolzano Auditorium, Italy. Recently released Abbado’s
captivating DG account with a wealth of orchestral detail is quite superbly
played and recorded.
On the other hand it may be more sensible to buy a complete set of the
Schubert symphonies. Although the competition is extremely fierce I can
suggest four recommendable boxes. My first choice is conducted by Karl Böhm
and the Berliner Philharmoniker recorded in 1963/71 in the exceptional
acoustic of Jesus-Christus-Kirche, Berlin. As a Schubert conductor Böhm has
few peers. He conducts typically warm and polished performances on Deutsche
Grammophon. On Decca there is an excellently played and recorded set from
István Kertész and the Wiener Philharmoniker recorded in 1963/71 at the
Sofiensaal, Vienna.
There is a quite outstanding set from the Berliner Philharmoniker under
Harnoncourt recorded live in 2003/06 at Philharmonie, Berlin on the
orchestra’s own label. Harnoncourt has made lengthy and serious study of
Schubert’s manuscripts removing the unauthentic revisions that have become
part and parcel of the scores. From start to finish the well prepared
Berliner Philharmoniker plays magnificently with a sense of spontaneity that
carries the listener along on an enthralling journey. Rather under the radar
but well worth investigating is the impressive 2013 release conducted by
Lorin Maazel with the Symphonieorchester des Bayerischen Rundfunks. All the
symphonies were recorded live by them in 2001 at the Prinzregententheater,
Munich and after a decade have finally been issued on BR-Klassik.
Returning to this Wiener Symphoniker release, the recording engineers can
be congratulated for a satisfying sound quality that is especially clear and
well balanced. Jordan draws expressive yet firmly controlled playing from
his Vienna orchestra. The tempi, rhythm, phrasing and dynamics are shaped
into one impressive whole. This is an engaging CD that will grace any
serious collection.
Michael Cookson
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