Franz Schubert (1797-1828)
Symphony No. 5 in B flat, D485
Symphony No. 8 in B minor, D759, ‘Unfinished’
Rondo in A, D438
Stephanie Gonley (violin: Rondo)
Scottish Chamber Orchestra/Maxim Emelyanychev
rec 2023, Caird Hall, Dundee, UK
Linn CKD748 [68]
In 2019, Maxim Emelyanychev, just appointed Principal Conductor of the Scottish Chamber Orchestra, recorded Schubert’s Symphony 9 with them to my colleagues’ enthusiastic reception (review review). Now come the Fifth and Eighth symphonies. Symphony 5, Schubert’s ‘Pastoral Symphony’, benefits by being performed by a chamber orchestra because it was written for one: just flute, two oboes, two bassoons, two horns and strings, no timpani. The conductor has two key tasks: blending the woodwind and the strings’ interplay, and allowing the smooth linking of lyrical and spirited elements. Emelyanychev excels at both. The first movement is sweetly shining but there’s eagerness beneath, which bursts forth in the tuttis. The second theme (tr. 1, 1:09), more concentrated, remains both affectionate and relaxed. The development (3:58) is more ardent, the coda (6:39) a fitting apotheosis of the movement’s inherent pizazz. I even like Emelyanychev’s flute’s screaming, sustained top A.
I compare this with the Swedish Chamber Orchestra/Thomas Dausgaard recorded in 2009 (review). It is a close match in fine ensemble playing and balance, but Dausgaard, timing the movement at 6:20 to Emelyanychev’s 6:54, I find a touch over propelled, the tuttis seeming forced and change of mood of the second theme less apparent.
To the Andante con moto, Emelyanychev brings an intimate, domestic feeling through the crystal clarity of individual contributions to a communal richness and earnestness of endeavour. Come the first theme’s third reprise, all the wind joins the elaboration, echoing the strings before the coda (tr. 2, 8:20) nostalgically surveys the melody’s staying power, the fulfilment of the meshing of the parts gloriously appreciable. For me, Emelyanychev creates an inner spirituality I’ve never heard so strongly.
Dausgaard goes for a liltingly smooth technicolour of generally full-toned playing rather than Emelyanychev’s pastel shades. His entry of the second theme is still assured but his response to the developments fp attacks seems stroppy rather than Emelyanychev’s absorbing of them and then transforming the second theme’s recap to one of comfort.
The Minuet refers to Mozart’s Symphony 40 in its opening notes and key change from G minor Minuet to G major Trio. But there is no Mozart frenzied progression. Emelyanychev brings a sprightly dance with second strain of cooler, yet refreshing, flow. The beneficent Trio (tr. 3, 2:08) features a balmy bassoon doubling the first violins. Dausgaard starts with more bite, but his swinging phrasing is kindlier and second strain sweeter. His serenely confident Trio gives the bassoon more limelight in the first strain repeat.
Emelyanychev reveals the finale deliciously formulated in continual organic growth to the densest integration of the orchestra. First, there is a contrast of feathery, expectant strings and brighter tutti, then the second strain blooms, then there is still more energy in the second section (tr. 4, 0:55), the fzs at last stimulating rather than concerning. Now the gracious second theme (1:19) is both nonchalant and sweet before a frolicsome codetta (1:52) of descending triplets in quavers. The development’s modified opening theme (4:01) proves both benign and inventive.
Again, with appreciably well-balanced orchestra, Dausgaard, timing at 7:47 to Emelyanychev’s 7:00, is more formally shaped, less exciting. His second theme is pacier but less winsome than Emelyanychev’s. His development is weightier, but thereby more conventional.
Symphony 8’s greatness comes from the extraordinary tension and welding of its themes Emelyanychev vividly details. Possibly his pp opening is too spectral, but the feeling of something inexplicable emerging from nowhere creates maximum anxiety. It becomes explicit as a ‘first theme’ lament on oboe and clarinet (tr. 5, 0:24) but the second theme in G major on cellos (1:19) we welcome as potential happiness. An outburst of turmoil follows, but the second theme makes a triumphant rebuttal (2:34) infused with fzs. The development (6:51) brings a cataclysmic wail, robust articulation of the first theme (8:32) but matched by tutti strings’ paean of hope (9:22). The recap offers equal prospects for both sides but the coda’s focus (13:21) is an irrevocable, aching lament.
The slow movement is a heaven of E major after the hell of B minor. Wind and strings alternately float with curvaceous phrasing, but the first theme’s forte second part wind tutti paired with staccato strings (tr. 6, 1:09) is more celebratory. The first presentation prevails through a heavenly ppp glow and the second theme from the clarinet (2:21), which is gorgeously soulful long before Rachmaninov’s Symphony 2. It takes just a minute to attain ff tutti blast, but grandeur is more significant than density. Everyone wants to be involved, but together and Emelyanychev sensitively reveals how pockets of instruments relate to one another, e.g. first violins (3:56) responding to string bass, bassoon and horn (4:26) responding to flute and oboe. A curvaceous resolution is worked for the coda (9:04), ppp strings create an ethereal aura, Emelyanychev’s woodwind is more present before the affirmative glow of the final chord’s tutti crescendo and diminuendo.
Rondo (tr. 7) is sometimes called Adagio and Rondo because of its delicate, exploratory introduction from which the soloist emerges at 1:06 with equal fastidiousness plus the first extended hemidemisemiquaver twirls and highest notes. Emelyanychev creates a rarefied atmosphere and Stephanie Gonley plays exquisitely. The Rondo theme launches at 3:26 with quiet, somewhat wispy, jollity. At 4:04 comes a second theme, more challenge than episode, with a strutting, dance step, welcomed again at 5:16. More like an episode is a tutti spree of semiquavers at 6:05, returning at 10:17. The rondo theme had returned with gracious and elaborate soloist embellishment (6:45) followed by a suddenly disarmingly dolce expressive variant of longing and affection (7:30). In sum, this is a rather diffuse ramble, though welcome for allowing the soloist to display a variety of skills and feeling which Conley does.
I compare this with Sara Trickey with the Callino Quartet, recorded 2013 (review). Trickey, because the recording is close-miked with the more intimate matching of four solo strings, is more robust and the integration in texture of soloist and ‘accompaniment’ more evident. I admire Conley and Emelyanychev from afar whereas I feel more on Trickey’s and the Callinos’ wavelength. That said, Conley points more markedly the specialty of the second theme, the tutti spree and the dolce ‘interlude’.
Michael Greenhalgh
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