SCHUBERT Early Symphonies and Stage Music
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schubert
Genre:
Orchestral
Label: Pentatone
Magazine Review Date: 06/2019
Media Format: Super Audio CD
Media Runtime: 128
Mastering:
DDD
Catalogue Number: PTC5186 655
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 1 |
Franz Schubert, Composer
Copenhagen Philharmonic Orchestra Franz Schubert, Composer Lawrence Foster, Conductor |
Symphony No. 2 |
Franz Schubert, Composer
Copenhagen Philharmonic Orchestra Franz Schubert, Composer Lawrence Foster, Conductor |
Symphony No. 3 |
Franz Schubert, Composer
Copenhagen Philharmonic Orchestra Franz Schubert, Composer Lawrence Foster, Conductor |
Overture in the Italian style |
Franz Schubert, Composer
Copenhagen Philharmonic Orchestra Franz Schubert, Composer Lawrence Foster, Conductor |
Rosamunde, Fürstin von Zypern |
Franz Schubert, Composer
Copenhagen Philharmonic Orchestra Franz Schubert, Composer Lawrence Foster, Conductor |
Author: David Threasher
Foster, for example, doesn’t go in for Jacobs’s extremes of tempo. That doesn’t mean that these aren’t lithe, responsive performances. Strings are well drilled, woodwind chatty and personable. Foster knows how he wants this music to go and communicates his vision to his players. The gradual diminishing of Schubert’s reliance on the examples of Haydn and Mozart is traced well from First Symphony to Third; and, even against the constant presence of Beethoven, Schubert’s individual voice – absolutely there right from the beginning – gains in strength and confidence.
The perkiness of the Third’s woodwind solos carries over into the conscious italianità of the Rossini-influenced Overture, D590. The synthesis is represented by the three entr’actes and two ballet musics from the incidental music to Rosamunde. Is this the start of a cycle to run alongside B’Rock’s and complement Herreweghe’s for the same label? It’s more than adequately played and Pentatone’s sound is sympathetic to players and music alike, so a continuation from these quarters into Schubert’s symphonic maturity will be interesting to hear.
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