Franz Schubert (1797-1828)
Symphonies Volume 3
Symphony No. 1 in D, D82 (1813)
Symphony No. 4 in C minor, D417, Tragic (1816)
Overture to Fierrabras, D796 (1823)
City of Birmingham Symphony Orchestra/Edward Gardner
rec. 2022, Town Hall, Birmingham
Chandos CHSA5265 SACD [67]
For a 16-year-old, Schubert’s Symphony 1 is terrific. An Adagio introduction: double-dotted rhythms and double-appoggiaturas honour baroque practice, but Gardner’s bright-eyed swagger suggests Schubert mischievously sends these up. Come the main body Allegro vivace, the second theme (tr. 1, 1:55) proves the more memorable for demure strings’ start, smoothly luxuriant woodwind choir repeat and ambitious tutti extension. In Gardner’s development I admire the ingenuity, not the repetition, and yearn for the recapitulation which surprises as the introduction returns first.
For comparison, sampling couplings of Symphonies 1 and 4, I was most impressed with Frans Brüggen’s 1996 live recording with the Orchestra of the 18th Century (Philips 4466882, download only in the UK). Its strengths are more extreme dynamic contrasts and from period instruments a lighter, more incisive overall sound, more lilt to the second theme, a development of eager exploration, invigorating. Gardner’s modern orchestra produces a more glowing sound, tempering the sforzandos yet flaring up unexpectedly to surprise. His SACD recording constantly secures the joys of detail, such as the flute and oboes’ fanfares from 11:24 in the coda.
In Gardner’s Andante slow movement, I sense most a rarefied atmosphere even in the exquisite playing. An episode in the minor (tr. 2, 1:04) is followed by two disorienting false recapitulations before an interlude (3:58) offers solace. Gardner conveys a sense of constraint not relieved until the pp closing rising chromatic scales from first violins then oboe. Brüggen, timing 5:38 to Gardner’s 6:01, more lilting with the main theme’s siciliano rhythm and freer with ornamentation, brings for me a more welcome, resolute progression.
In the Allegretto Minuet Gardner emphasises its overall powerful sweep rather than trumpets and timpani bluster. He treats the softer second strain opening mercurially. His suddenly more sedate Trio is rather a jolt, albeit savouring bassoon, flute and oboe solos. Again, I find Brüggen’s faster tempo, 3:40 against Gardner’s 3:58, more cogent.
The Allegro vivace finale is the first of Schubert’s moto perpetuo settings of irrepressible enthusiasm, a romp tempered by the ease and conviviality of the second theme (tr. 4, 1:20), lusciously realized by Gardner’s bassoon doubling the first violins and then the beautiful interplay between flute, oboe, clarinet and then first violins. Gardner’s tuttis are dapper but for me over disciplined. The woodwind and brass descending fanfares at 5:03 need more devil-may-care, the scampering phrase of three quavers as a triplet followed by a crotchet at 5:25, the latter extended and accented, should seem more abandoned, though Gardner points the ff climax effectively. Brüggen, timing at 5:21 to Gardner’s 5:57, is less plush than Gardner but has more riveting pulse.
Symphony 4 is Schubert’s only one in a minor key and to which he gave a title, Tragic. From Gardner its Adagio molto introduction is a blasting ff C minor tutti chord, timid, sighing melody with a bravely continuing insistence, beaten down yet not thwarted by brutal fzs. Rescue comes with the Allegro vivace main body (tr. 5, 2:17) of resolute tuttis. The first theme elides into the second, the transition starting from 2:51 but only distinctive in its relaxation from 3:00. The development is one purposeful phrase (6:12) followed by the first theme, now self-assured, the second theme silkier from Gardner and coda (8:41) a yell of triumph. Schubert overcomes tragedy by coping with it, success at 8:16, with key change from C minor to C major.
Gardner’s introduction displays the desolation of bereavement, Brüggen shows eloquent sorrow in remembrance. I prefer Brüggen. Timing at 8:43 to Gardner’s 9:04, his extra vivace impetus infuses the robust tuttis with compelling drive and fire.
Serene and pastoral, the slow movement in A flat major. Gardner’s strings begin its main theme reverently in softness before the woodwind take over and all blooms. An episode (tr. 6, 1:43) introduces disturbance soon expunged by tender violins while fresh variations in accompaniment of the main theme demonstrate Schubert’s longing to parade it.
Brüggen’s faster Andante, 7:41 to Gardner’s 8:21, has more warmth of impetus. A lighter, more lilting main theme, Brüggen’s oboe less beautiful than Gardner’s but complementing rather than a beacon over the first violins. Brüggen’s episode is brisk, less threatening, easily accommodated by the gentle pondering into which the opening theme naturally returns.
In the Allegro vivace Minuet Gardner excels in teasing, wonderfully alert contrast of bluster and shimmy. The Trio begins innocently, its second part gradually gaining substance then satiated lolling. Gardner brings more panache and bolder dynamic contrasts than Brüggen, but the latter begins the Trio more cheerily where Gardner seems sluggish, the price of securing vertical as well as horizontal clarity.
The finale is again Schubert’s favoured moto perpetuo, just 4 seconds of introductory phrase shivering reminiscence of tragedy. The second part of the opening theme (tr. 8, 0:30) is more decorative and Gardner reveals its growth in both agitation and bloom. The second theme is burgeoning hope (1:18) and Gardner gradually works up the excitement well to a stiff-upper-lip tutti, the earlier decorative theme yielding woodwind fanfares to close. As in the first movement, there’s transformation from C minor to C major (7:29).
Brüggen times this finale at 6:52 against Gardner’s 10:30 through omitting the exposition repeat, otherwise Brüggen’s comparative timing would be 9:31. I like the cut: Brüggen achieves more restlessness and urgency, scarier loud tutti chords, his second theme a more striking, roseate contrast, his coda more gripping.
The heroic-romantic opera Fierrabras first blossomed with the Chamber Orchestra of Europe/Claudio Abbado in 1988 (Deutsche Grammophon 4595032, download only in UK). Its Overture journeys from darkness to light, from the often-alternating initial probing of the very soft opening theme in F minor of the Allegro ma non troppo main body and (tr. 9, 2:27) cheery bluster of the very loud F major responding tutti. A freer second theme from solo oboe (3:26) is further encouragement. Climaxes of increasing endeavour and triumph (7:39) anticipate the Great Symphony. Gardner’s account and recording has more grandeur than Abbado’s, but the latter has more edge of battle-hardened rigour.
Michael Greenhalgh
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