Schubert: Symphonies Nos. 1, 3 & 8 'Unfinished': Complete Symphonies Vol. 2

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The string playing is so crisp and clear, even at faster than-average tempos, that, at least in the two early symphonies, the section sounds smaller than it actually is. Here, he does what Harnoncourt... — Fanfare, January/February 2020 More…

Release Date: 14th Jun 2019
Catalogue No: CC72802
Label: Challenge Classics
Length: 73 minutes

Usually despatched in 3 - 4 working days

Schubert: Symphony No. 1 in D major, D82

Work length27:08

$5.00

$7.00

$8.75

Residentie Orkest The Hague
Jan Willem de Vriend

I. Adagio – Allegro vivace

Track length11:41

$2.00

$2.80

$3.50

II. Andante

Track length5:46

$1.00

$1.40

$1.75

III. Menuetto. Allegro – Trio

Track length3:48

$1.00

$1.40

$1.75

IV. Allegro vivace

Track length5:53

$1.00

$1.40

$1.75

Schubert: Symphony No. 3 in D major, D200

Work length22:23

$4.50

$6.30

$7.85

Residentie Orkest The Hague
Jan Willem de Vriend

I. Adagio maestoso – Allegro con brio

Track length8:42

$1.50

$2.10

$2.60

II. Allegretto

Track length3:43

$1.00

$1.40

$1.75

III. Menuetto. Vivace – Trio

Track length3:38

$1.00

$1.40

$1.75

IV. Presto vivace

Track length6:20

$1.00

$1.40

$1.75

Schubert: Symphony No. 8 in B minor, D759 'Unfinished'

Work length24:14

$3.50

$4.90

$6.10

Residentie Orkest The Hague
Jan Willem de Vriend

I. Allegro moderato

Track length14:38

$2.00

$2.80

$3.50

II. Andante con moto

Track length9:36

$1.50

$2.10

$2.60

About
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This is the second volume in de Vriend’s complete survey of Schubert’s symphonies and includes two youth symphonies (nos. 1 and 3) and the masterpiece that is the “Unfinished” Symphony No.8.

While offering little suggestion of the symphonic mastery he would attain less than a decade later, the First Symphony, influenced by Mozart’s last symphonies and completed in October 1813, is a remarkable achievement. Schubert composed his Third Symphony over a period of about two months, completing the work in July 1815. The Third Symphony is generally characterised by an increased rhythmic intensity, at times bordering on obsession. We may well think of Schubert primarily as a wonderful melodist, but driving, sometimes overpowering rhythm is just as strong a feature of many of his greatest works. The question of why Schubert left this B minor symphony unfinished has continued to exercise scholars. The most convincing explanation is that he simply found himself unable to continue on the same exalted level and resigned himself to leaving the symphony as it was - two movements of breath-taking quality and imagination.

Residentie Orkest The Hague has the reputation as one of the finest orchestras in Europe makes it an appropriate figurehead for The Hague as a cosmopolitan city of justice, peace, and culture. The orchestra performs concert series in the Zuiderstrandtheater in Scheveningen and in addition performs at venues such as Concertgebouw Amsterdam, TivoliVredenburg Utrecht and De Doelen in Rotterdam. The Residentie Orkest performs regularly at various other major concert halls abroad. Tours have brought the orchestra to New York, Boston, Chicago, London and Vienna amongst others and the orchestra also performed in countries like Japan, China, Germany, France and South America. There are also many prolific collaborations with a wide range of partners, including the Dutch National Theatre, Gemeentemuseum and the Dutch National Opera. Recent seasons have seen a much acclaimed production of Messiaen’s rarely performed opera Saint Francois d’Asisse, Poulenc’s Dialogues des Carmélites and Puccini’s La Boheme and Madama Butterfly.

Jan Willem de Vriend was appointed as principal conductor of Residentie Orkest The Hague in 2015 and as principal guest conductor of the Orquestra Simfonica de Barcelona i Nacional de Catalunya. From 2017 he has also been principal guest conductor of the Orchestre National de Lille.

Reviews

January/February 2020

The string playing is so crisp and clear, even at faster than-average tempos, that, at least in the two early symphonies, the section sounds smaller than it actually is. Here, he does what Harnoncourt did in some of his recordings—observe the customs of the composer’s time, but with modern instruments. Although I was uncomfortable with the performances at the outset, I soon became accustomed to the sheer brio of his approach, which included striking variations in volume, decisive accents, and many lickety-split finales.

Schubert: Symphonies Nos. 1, 3 & 8 'Unfinished'

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