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A new dimension is added to the marvellous transition from the simple horn melody to a symphony when it is played on natural horns. Why did Schubert choose horns? Three notes sound open, the next stopped, the next stopped in a different way, like a melody roughly hewn from marble. Only when the oboe takes over is the unevenness polished away, removing limitations and barriers and transporting us into a magical realm of eternity. I must say that I find this transition most touching if the natural horn players do their best to equalize, to overcome their natural unevenness – like handicapped athletes do. Small C-clarinets and narrow trombones give this symphony a special colour. The woodwinds have a leading role, playing all the Viennese songs, serenades, popular tunes and dances. Even if it is an orchestral work, here and there it feels like the seventh volume of Schubert’s Lieder. Iván Fischer
Iván Fischer The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past 25 years of classical music. Fischer introduced several reforms, developed intense rehearsal methods for the musicians, emphasizing chamber music and creative work for each orchestra member. Intense international touring and a series of acclaimed recordings for Channel Classics have contributed to Iván Fischer's reputation as one of the worlds most visionary and successful orchestra leaders.
Schubert: Symphony No. 9 - I. Andante - Allegro ma non troppo
Schubert: Symphony No. 9 - I. Andante con moto
Schubert: Symphony No. 9 - I. Scherzo. Allegro vivace
Schubert: Symphony No. 9 - I. Allegro Vivace
Schubert: Five German Dances - I
Schubert: Five German Dances - 2
Schubert: Five German Dances - 3
Schubert: Five German Dances - 4
Schubert: Five German Dances - 5
19th June 2011
****
“With every new release - and occasional reissue - Fischer's Budapest Festival Orchestra throw fresh light on the standard classical works...Here, Schubert's "Great" seems so natural - every tempo judged to perfection, the balance between strings and winds an ideal equilibrium - and yet so utterly different from the classic interpretations on record.”
23rd June 2011
****
“Fischer's beautifully judged and lucidly presented performance takes the work's length as something utterly inevitable and authentically Schubertian in its own right. The textures are wonderfully transparent, and by getting his players in the Budapest orchestra to use natural horns, narrow bore trombones and clarinets in C, he gives an extra buoyancy to the sound, so that every line has its own character and rhythmic profile.”
August 2011
“Fischer looks deep into the music; his conducting empowers the musicians...the SACD sound revails detail and refinements in expression. The fill-ups are fetching.”
August 2011
****
“Do you perform music written in the 1820s on period instruments, or modern ones? Ivan Fischer here opts for compromise...The result is a bizarre non-mix. But in every other way this performance convinces, with gorgeously in-tune woodwind, a lovely emphasis on the music's Viennese, dance-like grace, and tempi from Fischer that build momentum while also allowing plenty of space.”
August 2011
*****
“As so often with Ivan Fischer, it's the breadth of insight that impresses here...the outer movements and Scherzo have plenty of muscular energy, and yet the lines can sing too...The recorded sound is likewise outstanding: warm and atmospheric but clear throughout the texture.”
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Schubert: Symphony No. 9 - I. Andante - Allegro ma non troppo
