Franz Schubert (1797-1828)
Symphony No. 9 in C, D944, The Great (1825-28)
Residentie Orkest The Hague/Jan Willem de Vriend
rec. 2019, Atrium, Meppelweg, The Hague, The Netherlands
The Complete Symphonies, Vol. 3
Challenge Classics CC72863 SACD [57]
Listening to Jan Willem de Vriend’s introduction with the Residentie Orkest, The Hague, to the first movement of Schubert’s Ninth Symphony, I was thrilled – what a magnificent organic development it displays. By the main Allegro body of the movement (tr. 1, 2:57), you feel that the whole orchestral world is caught up in the ongoing drama. The horns’ famous opening theme is the lynchpin; de Vriend presents it firmly yet flowingly, a mellifluous song to this Andante with a strong hint of a swing. This theme has three variations: a smiling oboe leads Variation 1 (0:25) with enjoyable harmony from other woodwinds, especially bassoons, and later the cellos; Variation 2 (1:11) terrifies and excites equally through the ff awesome might of de Vriend’s brass. Nevertheless, uncowed, his woodwinds sweetly hold their own. Variation 3 (2:23) has the woodwinds presenting in effect a serene p chorale the pp violins complement with quavers in triplets which soon become the driving force in the crescendo bringing all to ff. Get this right, de Vriend does; the rest of the movement satisfyingly follows. The second theme, first heard on oboes and bassoons (3:43) joins the spree. The trombones become cheerleaders with an insistent four-note motif (4:46), pinched and slowed down from the opening theme, finally outpacing it. A rehearsal for the faster coda (13:15) and apotheosis of the triumphant closure of the opening theme, ben marcato, in full woodwinds and then orchestra. Plenty of guts and gusto here, which I love.
I compare this with Roger Norrington with the Radio-Sinfonieorchester Stuttgart des SWR recorded live in 2001 (SWR 18506CD). Timing at 13:52 against de Vriend’s 14:45, Norrington is more agile and exciting. His horns’ theme goes for clarity rather than de Vriend’s swing. His oboes in Variation 1 are eager. His tuttis in Variation 2 are raw blasting, but his woodwinds also remain unmoved. Norrington grows more strikingly exciting from Variation 3 with a more marked pull and staccato to the violins’ triplets – yet his second theme has less character than de Vriend’s. You’re swept along by the livelier brass, an effect of the brighter, though less dense, recording. Norrington brings more fizz, de Vriend more weight. Norrington shows more finesse in dynamic contrasts.
For me the slow movement charts the ambivalence of military life. The oboe first theme (tr. 2, 0:14) is the outward eagerness of bravado. Carefully following the Andante con moto marking, de Vriend makes it jaunty, though in A minor. The theme’s second part (0:14) then seems an internal prayer of hope to mask anxiety. The second theme, introduced by the strings (3:05), is a more stabilizing benediction. The marching is never far away, the military climax a fff timpani cannonade. Yet the return of the second theme, now in A major (9:04) means some acceptance is found, including ending the movement in A minor. Make believe or mature response? For me, de Vriend brings the latter.
Norrington, timing at 12:10 to de Vriend’s 12:59, is less jaunty, with oboe and companion woodwinds more regularly carefree interplay. Norrington’s military tuttis are less brutal than de Vriend’s but encouragingly crisp and steely. The second theme is clearly the essence of Norrington’s contentment and A major serenity its guarantee. There’s more drama in the ambivalence de Vriend emphasises.
Scherzos are generally boisterous, Schubert’s here a mammoth example. Yet equally important, as de Vriend reveals, are the contrastingly diaphanous and graceful passages. The opening determinedly loud strings alternate with softly merry woodwinds and in the second strain (tr. 3, 0:24) the strings have the soft, but ever upward-tending, melody. There’s comparable counterbalance in the second section (e.g. from 2:57) when the original melody is deftly displayed, softly and staccato, in turn from highest to lowest strings. The gorgeous swing of the Trio (6:23), the melody presented opulently by the woodwinds, is sustained by the combination of distinctively different brass and strings’ accompaniments. Significance of light and shade is also here clarified by de Vriend, like the quasi-development nature of the suddenly soft passage early in the second section (7:52). Timing at 12:36 against de Vriend’s 13:57, Norrington’s pacier approach makes for a more enthusiastic dance. There’s more grandeur from de Vriend, but might you prefer Norrington’s more convivial manner.
Now comes the most extravagant of Schubert’s perpetuum mobile symphony finales. Its first theme is an extended, elaborate fanfare. At its height (from tr. 4, 1:07) there’s a contest of fast alternating fzs between woodwinds and strings on the one hand and brass on the other). The second theme (1:41) is from de Vriend both a glorying in power and joyously swinging dance. Its developed tail quietly quotes the ‘Ode to joy’ from Beethoven’s Symphony 9 (1:55). Schubert’s theme is then beautifully articulated pp by de Vriend’s first oboe (1:59).
Now de Vriend shows glory can only be won by a fight: all the wind’s fffzs grittily embattled against ff strings (from 3:02) and that earlier Beethoven tail becomes an fff tutti climax (3:16) which might from de Vriend have been more stunning; Norrington gives it more punch. The development starts with the fullest Beethoven quote, lusciously presented by de Vriend’s duetting clarinets (7:34), beginning terse variations on that theme, concluding spookily in a pp tremolando version in upper strings (8:02) followed by the brass powerfully stomping the opening repeated chords of Schubert’s second theme. The final coda presentation of these by de Vriend (14:04) is thunderous, but glorious, too.
Nevertheless, ultimately I prefer Norrington in the finale because he goes all out to enjoy himself, his overall tone brighter and lighter, stomping heartier, more bantering, his relaxation seeming natural rather than just there for contrast. His timing of 11:10 is arguably more inviting, achieved by omitting the exposition repeat, including which de Vriend times at 13:52. Otherwise, with regard to repeats, both conductors make the first movement exposition repeat and in the return of the scherzo omit the original repeats, today’s standard practice and sensible in such a large-limbed movement.
Michael Greenhalgh
Buying this recording via a link below generates revenue for MWI, which helps the site remain free
