Franz Schubert (1797-1828)
Symphony No.2 in B flat, D.125 (1815)
Symphony No. 6 in C, D.589 (1818)
Bamberger Symphoniker/Marcel Couraud
rec. 20-22 September 1956, Bamberg, Germany
Forgotten Records FR2345 [53]  

Marcel Couraud is now remembered as a choral trainer and conductor. He had a superb education, learning the craft of composition with the legendary Nadia Boulanger and conducting from the great Charles Munch. Couraud made records with his own Ensemble Vocal for Les Discophiles Français, including pioneering sets on shellac of music by Lassus, Monteverdi and others. He formed a strong partnership with the Stuttgarter Bach-Chor und Orchester with whom he recorded a range of repertory for Philips. Along the way, he made discs with some legendary names such as tenor Fritz Wunderlich and violinist Michele Auclair. Later, he made a small number of recordings for Archiv and a few other labels.

The French-based label Forgotten Records has released four previous CDs featuring Marcel Couraud in Brahms’ Ein Deutsches Requiem, Stravinsky’s Perséphone and discs of Rameau and Mozart. This new release features Schubert from original Vox recordings made with the Bamberg SO in 1956.

The Bamberger Symphoniker, as they are known in Germany, are now proud Bavarians but the orchestra has a fascinating history going right back to the after-effects of the founding of the National Theatre in Prague in 1881; that story will have to wait for another time. On this new record, the orchestra present two delightful symphonies by Schubert.

Symphony No.2, begun in December 1814 when Schubert was still only 17 years old, was finished the following March. At this time, Schubert was a busy bee, teaching at primary level in his father’s school during the day and engaged with his musical activities in the evenings and at the weekends.

The symphony is indebted to Haydn in its orchestration and form, whilst aspiring to the model Beethoven had made manifest in his bold advances with harmony and drama. The first movement begins with a largo introduction heralded with bold timpani, brass and wind chords and opening out with a charming dialogue between flute and strings. The first theme is lively. Couraud is not strictly in-tempi throughout the exposition of this theme, instead responding to the music’s contours and changes in direction. There is an unusually long transition passage to the second theme which is characteristically Schubertian and charmingly phrased here. The soaring strings are sweet-toned and the winds come over clearly. The original Vox recording does not overload in the climaxes; indeed, in this transfer there is space around the forte chords at 4:02. There is a coda that brings the section to a close based on the first theme making it on the whole one of the longest expositions for the time. If the repeat was taken, the movement would be huge but most conductors, even today, do not.

After an extended laying out of the ideas Schubert’s development is short but effective. Here one can see how he is trying to push boundaries in the way he treats his principal subjects even though he manages to engage in the process for only a brief time (no “heavenly lengths” yet, as Schumann would later refer to the Great). The recapitulation is wonderful, with plenty of lovely touches and mirrors the double appearance of the first theme in a display of mathematical symmetry Schubert’s young pupils would perhaps recognise from the classroom.

The andante is a theme and variations in the Haydn manner. Couraud is no slouch but the lyrical songful theme does not come over as rushed. The orchestra tenderly express these beautiful variations with care and gentleness. At this time, the orchestra was led principally by the great Joseph Keilberth and one can tell that they are listening to one another and anticipate. The third movement is a heavy minuet with a lovely contrasting trio that looks back again with affection to the “father of the symphony”. Schubert finishes his work with a rondo finale infused with energy and vigour. The best word I can find to describe it is “equestrian”. Couraud and his players relish all the galloping and bring the performance to a close with joy.

In the late 50s, the Schubert lover had more choice in the catalogues for this symphony than you might have guessed. Couraud’s mentor Charles Munch had set it down in Boston on 78s for Victor very early and this was now on LP, too. Beecham’s version on Philips dates from 1954 and is indispensable for lovers of the work and the art of the great magician.

If you like me you are interested in discographies you would be hard pressed to do better for Schubert’s Symphony No.6 than this article by Christopher Howell of MWI especially if you enjoy exploring the nooks and crannies of record history.

Schubert wrote his sixth symphony in the winter of 1817/18. Only three years had passed since the second, but in the meantime the young composer had written a copious amount of music including over 200 songs. The symphony is a delight and is better known than the earlier work heard on this CD. Haydn is still a flavour but there is a heavy whiff, too, of a certain Rossini who was all the rage in Vienna at the time with his opera Tancredi.

After a very effective adagio introduction we are plunged into the bright and cheerful allegro with its two very similar themes, the first led by flute and oboe, the second by flute and clarinet. Couraud takes this at a fast tempo. The woodwind are very prominent indeed in this movement and the balance in this record accentuates this really well. There is precision in ensemble, too, and attention to the inner lines, which is impressive. The individual timbres and characteristics of the Bambergers can be heard naturally in surprisingly good mono sound considering its vintage.

The symphony is pure elegance and youthful allure. The second movement andante illustrates this. Couraud sets a fresh pace again and the strings are lightness exemplified. Indeed, a modern chamber orchestra performance would not sound too dissimilar to this account from nearly 70 years ago. For the first time in a symphony, Schubert attempts a scherzo. Here, Beethoven is the model but we can still hear the unmistakable voice of this master of the Lied. Couraud is fleet of foot once again and his players follow him with bouncy zest. 

Getting the right tempo for the finale is a problem. It is a long episodic movement, rhythmically complex and not easy to bring off convincingly. Much of the string writing is accompanying in dotted rhythms. Couraud approaches it jauntily like Krips and Keilberth in their versions which is faster than Beecham did it. I think he pulls it off reasonably well, though if I am being honest, it has been done more effectively. There is a little congestion at the end of the movement as the grooves run close to the middle of the record but as I have hinted earlier, the sound is impressive in this transfer.

Gramophone magazine carried a review of the Vox record in its June 1958 issue. In discussing the disc, the reviewer compared it with Beecham’s No.2 and Harry Blech’s recent No.6 which had been released on HMV shortly before (both great versions of the symphonies). The review completely writes off the record in withering lines. He describes Couraud as clattering through like a typist trying to finish an article with non-existent care, just a dash to the finish. The Bamberg musicians are not spared either. 

There are two Beecham versions of the sixth. He made it soon after his return to the UK in 1944 with the LPO and then in 1955 with the RPO. Issued first in mono, this famous version is now available in stereo and has very rightly rarely been out of the catalogue in that format. I remain loyal to Sir Thomas in my affections but have enjoyed getting to know this forgotten record in this fresh, sparkling-new presentation.

Philip Harrison