Schubert Symphonies

Thomas Dausgaard's recordings with the Swedish Chamber Orchestra of three of Franz Schubert's middle symphonies are displays of authentic period practice in state-of-the-art reproduction, and it's a winning combination. The watchword here is clarity, because these symphonies are models of Classical form and precision, with orchestral writing that is utterly transparent and ideally balanced, so the music is only enhanced by the spacious multichannel recording and direct stream digital processing. The Swedish Chamber Orchestra offers pristine string sonorities, and the winds have the distinctive and slightly pungent timbres of the 18th and early 19th century instruments Schubert knew. Dausgaard's interpretations are clearheaded and meticulous, and it's obvious that his musicians respond to his cogent direction with energy and enthusiasm. BIS recorded these performances on different occasions between 2009 and 2011 in the Örebro Concert Hall in Sweden, so in spite of the breaks between sessions, there is consistently superb sound quality, thanks to the first-rate engineering team and the unchanging venue. Highly recommended.

Abbado’s complete Schubert symphony cycle is a benchmark recording, exhibiting a “freshness of approach and authentic Schubertian warmth and glow” (Gramophone). Not only does this collection contain the entire collection of Abbado's Schubert symphonies, it also features the added bonus of Joseph Joachim’s great orchestration of the "Grand Duo", originally for piano duet, now a virtual symphony in its own right.

Acclaimed for his great recordings of works by Mozart and Berlioz, it is a little surprising that Sir Colin Davis is not equally hailed for his superb renditions of Schubert's symphonies, a repertoire for which this conductor's blending of Classical elegance and Romantic passion is perfectly suited. Previously released as a box set in 1996, this RCA Complete Collection reveals Davis as a masterful interpreter of Schubert's unique uses of symphonic form; and his performances have real momentum and coherence, the two qualities that hold these symphonies together. Davis' sense of trajectory is plainly evident in the first six symphonies, which adhere to Classical models and depend on forward motion and clear structures to convey the unity of their movements. But propulsion is even more critical in the more expansive frameworks of the Symphony No. 8, "Unfinished," and the Symphony No. 9, "The Great".

It’s a shame that Végh never recorded a complete Schubert symphony cycle: he was virtually unmatched as a conductor of classical period music. No one knew better how to float a melody (to hear his way with the opening of the Fifth Symphony check out my review of the dreadful Minkowski cycle). It was a combination of characterful phrasing, perfect balances, and (crucially) players encouraged to get involved in the interpretation and characterize their individual parts. In other words, these performances are true collaborations.

'The 94-year-old elder statesman of classical music' (The New York Times) joins forces with the Gewandhausorchester for a Schubert programme of Symphonies No. 8 ('Unfinished') and No. 9 ('The Great'), released just in time for his 95th birthday on 11th July 2022. The choice of repertoire for his late debut with Deutsche Grammophon was quickly made: Herbert Blomstedt, at 94 the world's 'longest-serving' conductor and still one of the most vital, chose Franz Schubert's last two symphonies, the 'Unfinished' in B minor and the 'Great' in C major. With the Gewandhaus Orchestra, which he presided over as Gewandhauskapellmeister from 1998 to 2005 and has since been closely associated with as honorary conductor, he had at his disposal an orchestra that is very familiar with Schubert's music.

Sir Thomas Beecham is strongly identified with the orchestral music of Schubert, largely from these final recordings made over a period of years at different locations. In fact, it is amazing that these performances sound so cohesive, since bits and pieces were recorded over such a long time span. But Beecham was that rare performer who could make fastidious work sound spontaneous–and there are many such moments among these three symphonies. Indeed, these recordings could be recommended just for the wonderful woodwind solos. On the other hand, I find the string playing a little harsh and overdriven.

These performances of three early and one "late" symphony of Schubert are both bracing and youthfully brisk, done on tart "period" instruments of Schubert's time. This produces what Schubert would have heard and expected to hear. Just listening to each performance convinces that these are "right." Sound is good. Warm and focused.

After the success of his recordings of Symphonies nos. 1, 3 and 4, released on the Phi label in 2016, Philippe Herreweghe offers us the next instalment of Schubert’s orchestral output with the Royal Flemish Philharmonic: the Symphony no.2 D. 125 and Symphony no.5 D. 485 – both in B flat major. Like those on the previous disc, these works from his youth – written when the Viennese composer was not yet twenty years old – mark the promising beginnings of an already highly accomplished composer.

Schubert's two greatest orchestral works on one CD at budget price–if the performances were indifferent this would be no bargain at all, but they are superb. In fact, these versions may have been equaled, but they have never been surpassed. George Szell understood intuitively how to balance Romantic passion with intellectual discipline. In difficult pieces like the Schubert Ninth, he rose to the challenge like an Olympic athlete after a new world record. The recordings he made in his prime with his own Cleveland Orchestra comprise one of the most satisfying legacies in the history of classical music on disc. Within even this impressive legacy, these performances stand high.