Customer Reviews

Schubert: Symphony No. 9 / Gesang der Geister über den Wassern ~ Gardiner

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

The previous reviewer states: "The slow opening to the first movement is taken in cut time, a dubious touch that robs the main Allegro of contrast."

Actually, that was Schubert's intent. Quoting from a recent program of the Los Angeles Philharmonic: "By the early years of this century, [Schubert's 9th] had settled comfortably into the repertory. What settled in, however, was hardly an accurate reflection of Schubert's intent. Until recently, the published editions have contained countless errors when compared to the original manuscript, which resides in the library of the Gesellschaft der Musikfreunde in Vienna. The simple correction of the score's opening marking, from the published versions' four beats in a bar to the manuscript's two (alla breve) - one of numerous errors rectified - greatly changes the character of the first movement, and by extension the entire Symphony, from Bruckner-like massiveness to something more nervy, lithe and springy, more athletic - more Schubertian, if you will."

All in all, I'm not overly enthusiastic about this recording, nor about the 9th in general, but this recording got the opening right with Schubert's cut time intent.

I'm willing to take my knocks as an avowed critic of Gardiner's amateurish conducting, which runs every piece through the same mill. Last week I heard him conduct the Schubert Ninth with the London Sym. in Barbican Hall, a performance so stilted and wooden that the only entertainment value was watching Gardiner's conducting style, which resembles a drowning man flailing for help.

This DG recording from 1998 is a few notches better. The strings exhibit a modicum of expressive vibrato, as you'd expect from Vienna--who slipped up? The tempos are quick and steady, which may be "period style" but is out of touch with the spirit of Schubert's supple melodies and the need for variety in any music this repetitive. The slow opening to the first movement is taken in cut time, a dubious recent fad that robs the main Allegro of contrast. Almost all the phrasing throughout is clipped and terse rather than tender. The Vienna Phil. follows the conductor's directions as to specifics, but their overall style remains, as always, the same warm, yielding one we expect, thank goodness.

Enough. Carping about Gardiner earns one a volley of poison darts, but his Schubert cost me a disagreeable hour in the concert hall, and this is the only way I can exact revenge.

This performance is a hybrid. There is of course, Gardiner's experience with period performance which you can hear in the interpretation of this marvellous symphony. However, this performance uses modern day instruments, and does not include the massive repeats in the 3rd and 4th movements. So this is a combination of two styles of performance. So the movements go skipping along without losing their gravity-and we do not get bored! I have always enjoyed recordings by Norrington (with all repeats included) Bruno Walter (very staid, validictorian, almost, but with glowing orchestral playing! ) and Toscanini (who of course, is fiery if with coarse recording quality) and I also enjoyed Gardiner's very well. Apparently there exists an older recording by Gardiner of this symphony on Erato also which I have not heard. Recommended!

This is an interesting coupling, and an effective one. Gesang der Geister über den Wassern was composed for male voices and lower strings (in one of its versions, at least), and there is no doubt that Gardiner has added to the numbers Schubert originally indicated. Nevertheless it is a stirring work of remarkable textures and fine themes - the effect is slightly odd in an otherworldly sort of way, and there is something about the work that remains a little elusive (which could be the composer's intention given the topic). What is certainly the case - and as other reviewers (e.g. JS in Gramophone) has pointed out, is how well it goes together with the symphony - the weird, fleeting images of the song, ending in C major, giving way to the serene but earthier slow opening of the symphony.

So how does Gardiner fare in the much recorded symphony? Well, I should perhaps come clean right away: my current favorite interpretation is Sinopoli, and overall I strongly prefer conductors whose view of the work lean towards the proto-Brucknerian, or as a remarkable premonition of late romanticism, rather than interpretations that root it in the classical (Norrington's EMI version is for me something of a nightmare). It might strike some as slightly surprising that Gardiner's version comes closer to Sinopoli than to Norrington. He keeps a relatively brisk pace, true, and doesn't take any (well, many) of the liberties with the score that older masters would have no problems doing, but there is no `messing' with textures, the phrasing of themes or their development. In some ways one might even claim that Gardiner's version hold the best of both worlds, and that any less than complete satisfaction from my side is probably due to the fact that I remain uncompromisingly rooted in one of those worlds.

One may of course suspect that the Vienna Philharmonic's familiarity with the work may have tempered Gardiner to a certain extent. What is definitely the case is that they sound thoroughly committed and provide marvelous playing throughout. The Vienna strings cannot be praised highly enough, of course, and the woodwinds are wonderfully colorful and characteristic. As such, this should be an eminently recommendable release in all respects. Still, I cannot make myself compare it favorably to Sinopoli or Giulini and will - with some hesitation - relegate it to the class of "very worthy alternative versions". In any case, the sound is very good (it is supposedly a live performance, but one has to use one's imagination to hear that), open, clear and with plenty of presence.

John Eliot Gardiner clears some of the cobwebs lingering in this venerable warhouse, leading the Vienna Philharmonic in one of the most exciting performances I have heard of Schubert's last symphony. He omits some of the repeats usually performed in the third and fourth movements, but more importantly, opts for brisk tempi. What you have is an exhilirating performance of epic proportions, in which Gardiner manages to coax the Vienna Philharmonic into sounding like a large chamber orchestra. Without question, this is one of Gardiner's most successful Deutsche Grammophon recordings, and proves that he has come a long way from being known as an period instrument interpreter of Baroque music.

This would be a wonderful CD if only for the powerful performance of Schubert's ninth symphony in C major by the great Vienna Philharmonic Orchestra. The added "treat" is hearing an unaccompanied Schubert choral work, "Gesang der Geister den Wassern," composed for eight-part men's chorus on a text by Geothe. (This version features some string orchestra accompaniment, much in the manner of J.S. Bach.) I've heard very little of Schubert's choral music, but it's clear he wrote as well for chorus as he did for solo voice. The performance by the Monteverdi Choir is crisp and clear.

Schubert's ninth symphony was a "hidden" treasure until it was discovered in a trunk in 1838 and finally given a premiere performance, 20 years after the composer's death. Remarkably, one of the initial criciticms of the symphony was its length, although it is actually shorter than Beethoven's ninth. It clearly pays tribute to Beethoven, whom the younger composer so admires, and includes a final theme that reminds the listener of the "Ode to Joy" theme of Beethoven's ninth.

It is a very dramatic, energetic, and exciting work and the Viennese musicians give it a first-rate performance, ably led by John Eliot Gardiner, who has done so much for his original instrument performances of music from the Romantic Era. Schubert was an early Romantic; his music definitely looks ahead, even more than Beethoven did in his late works.

This recording, which is very well recorded, is almost as impressive as the wonderful 1953 recording by Arturo Toscanini and the NBC Symphony Orchestra under RCA Victor (also available in a digitally remastered collection from BMG).

The booklet for this CD suggests that with the Great C Major symphony, Schubert finally got out from under the shadow of Beethoven. It goes on to state that Schubert created his epic symphony from long-breathed melodies unfolding in a song-like structure at leisurely length--quite unlike Beethoven's approach of creating drama from musical motifs.

What a shock it is to listen to this recording, then. Gardiner plays this symphony as echt-Beethoven with clipped phrasing and a stern approach to the musical material. This isn't simply a matter of playing the piece fast, either. Everything here is quite hard-boiled.

Sample the entrance of the song-like melody that appears about a third the way into the second movement. This melody can be played quite fast, but it must be sweet and serene--a balm from the care of the world. Gardiner plays it fast, but steamrolls through it. There's no sense of peace or warmth.

In fact, Schubertian warmth is conspicuously missing from this performance, which is a surprise considering it's the Vienna Philharmonic. The scherzo absolutely fails to dance and the glorious trio is just bland.

The only reason I gave this 2 stars is that the setting of "Gesang der Geister uber den Wassern" is a fascinating piece that ought to be played far more often. Gardiner is less hard-edged here although he remains better in the dramatic parts than in the serener sections.

Overall, though, I wouldn't buy this just for the choral work. Perhaps by scouting around, one might find this piece in a collection of Schubert's music for male chorus. (I've noticed a few recordings over the years although I've never explored them.) The 9th symphony is an absolute loss as far as I'm concerned, but if you like your Schubert ala Beethoven, you might give it a whirl.

I have alway thougt this symphony was a little boring, but Gardiner and the VPO have changed my mind completely. By omitting some of the repeats, as noted by another reviewer, Gardiner has made this a much more approachable and enjoyable work. Also, the piece moves along at a nice pace, not dragging but not frenetic either. The wonderful color, string and brass sound from the VPO comes through in glowing recorded sound. This is really one of DG's best discs of late, and although I once believed Gardiner should stick to conducting Baroque music on authentic instruments, I have been forced to admit his versatility and imagination with music from many time periods especially after efforts like this. This is a fine disc.