|
Review by krisjan March 12, 2010 (8 of 9 found this review helpful)
|
Performance: Sonics (S): |
Part of BIS's "Opening Doors" series of chamber orchestra recordings, this enticing set of masterwork symphonies from Franz Schubert presents these works with about 30 or so players. This, of course, has a big impact on the ensemble sound. Those who have become accustomed to large orchestra, string-heavy performances may not take too kindly to this approach. Me, I found it utterly delightful. Thankfully, they play modern instruments at modern pitch with no pretensions to historically informed performance practices - just plain 'ole high calibre, exuberant music-making. Despite the small orchestra, there is no lack of dynamics in Dausgaard's conducting. He shapes the music beautifully though some of the tempos are on the fleet side. The great C major clocks in at 58 minutes which seems to be typical for this work so some of this fleetness may just be an impression due to the smaller ensemble size and the great clarity Dausgaard achieves (I don't own the score so I can't say how repeats are handled).
The recorded sound is magnificent! Two different engineers worked these sessions (Martin Nagorni for the "Unfinished" and Andreas Ruge for the "C Major") and they were recorded at the Orebro Concert Hall, Sweden. A near-perfect blend of direct and hall sound - not over-resonant - make for an immediate and satisfying listening experience. If you are curious about how these works sound in chamber orchestra garb, rush out and buy this. You won't be disappointed!
EDIT: after posting this, I saw that Robert from BIS had already commented that all repeats are taken in these performances. That, then, explains why the performance sounds so fleet yet the total time is in line with typical timings for the Great C major (where some repeats are not taken).
|
Was this review helpful to you?
|
|
|
Review by Arthur May 31, 2010 (5 of 5 found this review helpful)
|
Performance: Sonics (MC): |
When listening to the final Schubert Sonata, I've often found myself wondering how the final two movements really fit with what went before. Oh, yes, they are pure Schubert! But the music of the first two movements is of another world! The question is made pertinent by thoughts about the "Unfinished" Symphony (I don't know whether to call it the 7th - considering that this is a "reconsidered" performance - or the more traditional 8th). Anyway, it seems to me that unlike the case of the final Sonata, in this case Schubert realized that he had created something so extraordinary that it would be pointless, even foolhardy, to append anything else. And so we have the "Unfinished"!
But what of Dausgaard? Well, he undoes everything that makes it extraordinary! It's not the small vibrato-less band, it's the fast, expressionless playing that does this performance in! I've played it over and over trying to understand how what he's doing somehow pulls us to the heart of what Schubert is expressing; but despite my efforts, I just don't hear it! (I can't believe it, I'm actually agreeing with David Hurvitz about something!)
However, the "Great" (9th/8th) is another matter! Here Dausgaard captures something essential! It seems to me in the depth of his despair about his illness and understanding of his soon-to-be-fulfilled early demise, Schubert expressed things that have only rarely and fleetingly been expressed by others. I'm thinking of the 2nd movement of D. 959, the first two movements of D. 960, Die Winterreise, the 1st movement of the "Unfinished", etc.
But the Great C Major Symphony was not one of those works! And yet, it always stood out as a work not fitting the picture we have of Schubert in his despair OR his joy!. We have a huge orchestra and hunting horns giving us a big - no make that Grand - allegro in the finale! What is that! There is nothing in his music that enters this dimension, and somehow it always sounded forced to me. It was as if Schubert was trying to outdo Beethoven, but somehow never quite got there.
Well, Dausgaard makes it all intelligible! Written on a summer holiday, it was a time of peace and relative joy for Schubert. His palette was expanding, and so we have an orchestra such as Beethoven might have used. But the sound is still Schubert. Dausgaard's performance makes this work "of a piece" with the first six Symphonies. And that is just fine by me. It IS grander and "Greater". But is still from the world of those earlier works! Fast tempi don't preclude expression, unlike in the Unfinished. What we are given is a true Great Symphony from an early 19th Century Master!
I simply loved the fact that all the interior voices were clearly audible and we heard counter-melodies along the way. Strings become an equal voice, not a dominating feature (as in efforts such as Karajan's)!
Sound is excellent! I recently got several Bis discs and the dynamic range of all of them so far is unbelievable! I normally set my volume at 60 to 65, but these discs disappear unless I crank it up to at least 72, and yet at that volume I am blowing up the neighbors when the ensemble plays full bore! None-the-less the sound picture is clear and clean, and the surround image is very realistic!
Despite my reservations about the Unfinished, I'm glad I got this disc and don't hesitate to recommend it highly!
|
Was this review helpful to you?
|
|
