Schubert's 9th Symphony - Recordings that you like

[Gurn Blanston]

Composed over a 3 year period and completed in the year of his death (1828), the Great C major is the crowning instrumental achievement of Schubert's tragically short lifetime. Unpublished until 1840, it was premiered in 1839 by the Leipzig Gewandhaus Orchestra under Felix Bartholdy. The premiere was rather heavily cut, since there was already a perception that this was a huge piece of music and maybe the concert hall wasn't prepared for something of that scope. In any case, it was an instant success, and has rightly remained prominent in the repertoire ever since.

I have long wanted the consummate recording of this work, but really, only made a few stabs at it. I met with acceptable success by staying with Central European orchestras with one excursion to Western Europe. Versions I had were:

Staatskapelle Dresden / Sawallisch
Staatskapelle Dresden / Colin Davis
Wiener Philharmoniker / Muti
Hanover Band / Goodman (period instruments)
Royal Concertgebouw / Harnoncourt

Of those, the two I listened to most often were Davis and Harnoncourt. The playing of the SD, and the interesting directions taken by Harnoncourt make both of those versions well worthwhile. I was happy.

Then a couple of weeks ago, two posters whose tastes I value highly both recommended the SD / Sinopoli as a recording that shouldn't be missed.



I got it, I listened, I loved it.

Why? The same question I asked myself. I already had two (very good) versions with that identical orchestra dating from the same time period. Does a conductor alone make that much difference?

Well, to MY ear, the differences are subtle, it is their cumulative effect that makes the bottom line. From beginning to end, the tempi are exactly what I hoped they would be. I'm not a musician, and I can't rightly say that they were playing the metronome markings spot on, but I don't believe that this is what makes an ideal tempo anyway. The musical essence of "Allegro vivace" has a meaning all its own.  And Sinopoli got Allegro vivace down so perfectly that you can feel it is right. The same holds true throughout. The street carnival-like atmosphere of the 3rd movement Scherzo and Trio are redolent of the atmosphere of Biedermeier Vienna.

The playing is first rate, of course, but the inner voices are more "there". The various soloists throughout, particularly the oboe (Schubert must have loved oboes as I do, because he treated this one very well) which has a tone which defies description. Also the opening bars for the horns had the most visceral impact in this performance, drawing you in and making you listen.

Of course, there are probably hundreds of recorded versions of this symphony, and everyone here who has listened to Schubert probably has a favorite. I would be pleased to read about some of your favorites, and if you would, take the time to try and describe what it is about that performance that makes you like it.







----------------
Listening to:
Schubert: Symphony No. 9 - Staatskapelle Dresden / Sir Colin Davis - D 944 Symphony #9 in C 4th mvmt - Finale: Allegro vivace

[MN Dave]

I own the Berlin/Bohm recording of Schubert's 9th which satisfies my needs since it is a good album and I don't really listen to this symphony all that often. However it's nice to know that the DG Webshop has a copy of the Sinopoli to download should I ever require one.

[val]

In the first place Krips with the LSO and Bruno Walter in his version with the Columbia orchestra (I prefer it to the one that Walter recorded with the NYPO).

Then, Furtwängler with the BPO and Böhm with the BPO.

[david johnson]

Furtwängler/BPO
Szell/Cleveland

[Holden]

and



and



The top one is my favourite.

[Harry]

From this set...

[hornteacher]

A fantastic CD of the 8th and 9th:

http://www.arkivmusic.com/classical/album.jsp?album_id=2042

[J.Z. Herrenberg]

Furtwängler/Berlin Philharmonic Orchestra

Giulini/Chicago Symphony Orchestra

[Hector]

I have the Furtwangler/BPO/DG historic but I would not state that it was in among my favourites.

The sound is not up to much by todays standards and the opening is slack.

Bohm in Berlin has been my favourite for decades, far preferable to his Dresden recording.

I like Norrington's EMI recording with the LCP.

This gets played on the radio a lot. I get to hear a number of different recordings.

Last heard was Mackerass' with the OAE which I used to loathe but found quite - er - what's the word - enlightening?!

I shall regret this post as I was determined to avoid any comment on Austro/German music because of you-know-who.

[J.Z. Herrenberg]

I shall regret this post as I was determined to avoid any comment on Austro/German music because of you-know-who.

Lord Voldemort? 

[Harry]

Lord Voldemort? 

Argggghhhhh, don't mention his name.....ever!

[Gurn Blanston]

I have the Furtwangler/BPO/DG historic but I would not state that it was in among my favourites.

The sound is not up to much by todays standards and the opening is slack.

Bohm in Berlin has been my favourite for decades, far preferable to his Dresden recording.

I like Norrington's EMI recording with the LCP.

This gets played on the radio a lot. I get to hear a number of different recordings.

Last heard was Mackerass' with the OAE which I used to loathe but found quite - er - what's the word - enlightening?!

I shall regret this post as I was determined to avoid any comment on Austro/German music because of you-know-who.

Nonetheless, Hector, I think you for it. You at least gave me a bit to go on. I'm interested in the Mackerras, actually, it could well be my next acquisition in this piece. The other being Berliner Philharmoniker/Wand. That you found it enlightening is... enlightening.

[MN Dave]

Nonetheless, Hector, I think you for it. You at least gave me a bit to go on. I'm interested in the Mackerras, actually, it could well be my next acquisition in this piece. The other being Berliner Philharmoniker/Wand. That you found it enlightening is... enlightening.

Bohm is his favorite, Gurn.  0:)

[dirkronk]

My favorites haven't really changed:

Munch/Boston on RCA--I like his phrasing and forward propulsion more than any other stereo-era recording; no risk of nodding off during this performance. Still my first pick.

Krips/LSO on Decca--slower pace and not always to my mood, but when it is, this one is so beautifully done!

In the historic realm: Mengelberg/COA (there's a live Philips and a studio Telefunken--I tend to like the latter a bit more); Furtwangler/BPO (either his wartime version or his early '50s); Toscanini/Philadelphia (this is really quite special).

On the reminder of Holden's listing, I'll go back and listen to Leibowitz once again--it's been a while for me. Also for Holden: what felicities lead to your recommendation of the Abbado? I see it's a chamber orchestra playing...so are we talking clarity, openness and rich textures in this one? Certainly, Gurn's advocacy makes me want to hear the Sinopoli.

So many great Greats...so little time!



Dirk

[uffeviking]

How refreshing to read your informative review, Gurn; my sincere thanks and compliments on a well-written and incisive report of Schubert's master piece.

With the exception of very few replies, the follow-ups are simple listings of available recordings, not at all informative on the 'why' a certain performance is valued. You took the time to go into musical theory part, you did tell me why you prefer one rendition over another, and where this issue varies from another, and this is exactly what I am looking for when I plan on purchasing a recording.

Keep on, Gurn! 

[Dancing Divertimentian]

I've owned various 9ths over the years, including a couple of Furtwängler's (wartime and post-war live), Kappertsbusch w/ the VPO, Krauss (of Ring fame), etc...

All extremely satisfying and edifying.

But the recording that sets me abuzz is a dark horse of sorts as I don't typically associate the conductor with mainstream repertoire (though the byways are his domain!): Bernstein w/ the Concertgebouw. 

[bhodges]

Well, to MY ear, the differences are subtle, it is their cumulative effect that makes the bottom line. From beginning to end, the tempi are exactly what I hoped they would be. I'm not a musician, and I can't rightly say that they were playing the metronome markings spot on, but I don't believe that this is what makes an ideal tempo anyway. The musical essence of "Allegro vivace" has a meaning all its own.  And Sinopoli got Allegro vivace down so perfectly that you can feel it is right. The same holds true throughout. The street carnival-like atmosphere of the 3rd movement Scherzo and Trio are redolent of the atmosphere of Biedermeier Vienna.

The playing is first rate, of course, but the inner voices are more "there". The various soloists throughout, particularly the oboe (Schubert must have loved oboes as I do, because he treated this one very well) which has a tone which defies description. Also the opening bars for the horns had the most visceral impact in this performance, drawing you in and making you listen.

Excellent post, Gurn!  And I'll be interested to hear opinions, since I don't think I have a recording of this piece.  (Have heard it live 2-3 times.)

--Bruce

[Moldyoldie]

I've heard several recordings and must say that I've almost invariably found the "Great C Major" Symphony to be boring, repetitious, and monotonous.  That was until I heard the aforementioned Furtwängler/BPO on DG!  For the first time in my experience, I was hearing this often unwieldy work performed with some much needed interpretive panache!

[Tyson]

2nd the Szell/Cleveland rec - he manages to keep Schubert rhythmically firm and primarily forward thrusting, but he slows down and makes very beautiful sounds when appropriate.  A fine sense of romantic ardour as well.  One of Szell's very best, and that's saying something.

[Holden]

On the reminder of Holden's listing, I'll go back and listen to Leibowitz once again--it's been a while for me. Also for Holden: what felicities lead to your recommendation of the Abbado? I see it's a chamber orchestra playing...so are we talking clarity, openness and rich textures in this one? Certainly, Gurn's advocacy makes me want to hear the Sinopoli.

So many great Greats...so little time!



Dirk

The COE has plenty of grunt for this work (as they did in the Harnoncourt LvB) but yes, that clarity is there. Also, previously undiscovered revisions that Schubert supposedly made were included and while not major, they are enough to make it a pleasant change from what we normally hear.