Symphony In D Major D615: Adagio - Allegro moderato
Symphony In D Major D615: (Allegretto)
Symphony In D Major D708A: (Allegro vivace)
Symphony In D Major D708A: (Andante con moto)
Symphony In D Major D708A: (Scherzo & Trio: Allegro vivace)
Symphony In D Major D708A: (Presto)
Symphony No.10 In D Major, D936A: (Allegro maestroso)
Symphony No.10 In D Major, D936A: Andante
Symphony No.10 In D Major, D936A: Allegro moderato
Schubert almost composed three symphonies (aside from the official "Unfinished" symphony) that exist in varying stages of completion. Many musicologists have had a hand in arranging them for performances, and this fine dis... more »c offers what must be the best selection on disc of these tantalizing bits and pieces. For anyone interested in this composer, this disc will be self-recommending. --David Hurwitz« less
Schubert almost composed three symphonies (aside from the official "Unfinished" symphony) that exist in varying stages of completion. Many musicologists have had a hand in arranging them for performances, and this fine disc offers what must be the best selection on disc of these tantalizing bits and pieces. For anyone interested in this composer, this disc will be self-recommending. --David Hurwitz
CD Reviews
Symphonic Life Beyond the Great C Major
07/12/2002
(5 out of 5 stars)
"If, like me, you think Schubert's Ninth Symphony is the capstone of the symphony in the Classical Era, pointing forward as it does to the Viennese symphonic school as represented by Bruckner, Mahler, et al., you may be disappointed to find there is an unfinished Schubert symphony postdating this towering achievement. But give Brian Newbold's completion of the Tenth Symphony a listen. Through Newbold's capable hands and ears, it emerges as real Schubert, with a sober, reflective slow movement a la the Ninth--and just about as effective--and a majestic first movement that features a singing second melody that only Schubert could have penned. Comparing Mackerras' tempo in this movement with that of Marriner in an out-of-print recording, I find the Scotsman's tempo to be a trifle slow, but then again Mackerras truly draws the maestoso out of this Allegro maestoso. He's abetted by some wonderfully characterful playing by the Scottish Chamber Orchestra and what seems a well-nigh perfect recording, lending great impact to the prominent brass. This includes a choir of trombones that intone a beautiful, sad chorale--recalling the operatic Schubert--toward the end of first movement development section. The third and last movement is an unusual scherzo-cum-finale Schubert would probably have developed further, but it is sprightly and appealing in this performance.The disc features two other incomplete D major symphonies; the sketches for all of these works were found in a single folder in the Schubert archives. The first work, completed in 1818, is slight and shows little advance over Schubert's youthful first six symphonies; this one is very reminiscent of the lilting Sixth Symphony. The other symphony, dating from 1820/21, is an altogether more emotionally charged work showing Beethoven's influence. And it contains the single complete movement in either of these works, a scherzo that was later recycled as the Herculean scherzo of the Ninth Symphony. In all, this disc is a fascinating document for Schubertians, and given Mackerras' sure hand, the very capable playing of the Scottish Chamber Orchestra, and some of the best sound ever lavished on a Schubert symphony recording, I give it a strong recommendation."
Interesting, but not the only version of "No. 10"
Paul S. Rottenberg | Ft. Lauderdale, FL | 05/13/2008
(4 out of 5 stars)
"Listeners may find it interesting that Riccardo Chailly has recorded a very fine performance of Lucianno Berio's "Rendering for Orchestra" on Decca,which is his reconstruction of this Schubert fragment for a symphony in D, called "Symphony No. 10." When you compare these two versions (keeping in mind the radically different method Berio uses), you'll be rewarded with coming much closer to the mind of the composer.
By the way, the sketch for D. 708 is given a much better performance by Neville Marriner on his Phillips CD including the Symphony in B Minor."
Where Schubert was going
D. A Wend | Buffalo Grove, IL USA | 04/10/2007
(5 out of 5 stars)
"I have had a longtime interest in music that composers have left unfinished and has subsequently been put into a performance edition. Often, the realization is very successful as with Mahler's Tenth Symphony and Elgar's Third. I would also include this disc of unfinished symphonies of Franz Schubert.
The three works on this disc are all in D major, which was a key Schubert was fond of using, and exist in piano sketches. Initially, the manuscripts, all found in the same folio, were thought to be a single work but close examination of the manuscript paper watermarks has shown the sketches were not one but three symphonies. The works were assigned Deutsch numbers with the earliest of the fragments from 1818, written just after the Sixth Symphony. These are brief fragments (with a performance time of just over 7 minutes) that provide hints about the contemplated work. The next symphony (D708A) comes from 1820-21 with the Scherzo existing in an almost completed state (about 8 minutes) with the other three movements together just about as long.
The most substantive of the sketches is the Symphony No. 10 (D 936A but should be D985C) that Schubert was writing up to the day of his death and represents his final thoughts on the symphonic form. At over 29 minutes this is an impressive realization that shows the maturity of the composer's music. While listening to the music I was struck by similarities to Brahms but only just; Schubert's voice shines through the three movements. The first movement opens with a distinctive fanfare-like theme and develops an interesting lyrical melody that is passed between various instruments, then returns to the fanfare-like theme for development. The second movement opens with a reflective melody for the woodwinds that gradually develops into a stately mood for the horns that sounds much like music for a procession. The music continues in a gently reflective mood. The booklet suggests tat the second movement looks forward to Mahler but this is pushing the idea; for me, again, there is more of Schumann and Brahms to the music, however, this is only an impression. The final movement begins with an energetic dance melody played by strings and woodwinds and gradually build brining in the horns followed by more and more instruments of the orchestra.
The music is highly interesting and well-played by the Scottish Chamber Orchestra conducted by Sir Charles Mackerras. The music is certainly of more than pure academic interest and is very appealing and thought provoking. I would also be interested in hearing the unfinished Seventh Symphony (D 729) that Schubert wrote in full score. The booklet is very informative and has several photographs of Schubert's birthplace.
"
Schubert's 10th = Pure Gold...
Sébastien Melmoth | Hôtel d'Alsace, PARIS | 01/15/2007
(5 out of 5 stars)
".
Newbould's realization of Schubert's 10th Symphony (D.936) is worth it's weight in pure gold.
Especially fine is the prescient-Mahlerian andante: this exquisitely elegiac piece with its plangent English horn solo over extensive pizzicato strings sounds as if it were contemporary with the Kindertotenlieder--how marvelous! This 10 min line is worth the price of admission alone.
The other two allegro movements are memorable as well. Total time: 30 mins.
."
Mahler foreshadowed for curious ears
Steve Wyzard | Lomita, CA | 01/29/2010
(4 out of 5 stars)
"While many will look upon these recordings with immense skepticism, I purchased this disc before ever hearing one note simply because I greatly enjoyed Brian Newbould's 1997 book, "Schubert: The Music and the Man". In his booklet notes for this CD, Newbould admits that his reason for realizing/orchestrating these symphonic fragments was simply to make them accessible to "curious ears". Of course, some will angrily insist, "It's not real/pure Schubert!", close their ears, and point to Newbould's use of justifying phrases, such as "necessarily speculative" and "conscientious speculation". For this listener, Newbould's efforts and Mackerras's recordings are definitely worth the time and effort involved, with Symphony #10 in particular being a major find.
The first two works, D615 (7:05) and D708A (17:00) are true fragments and sound that way. While enjoyable to listen to, the movements come to abrupt ends where the composer laid down his pen. Newbould confesses these two works were found in "a less finite form", and they will probably not occupy the listener as much as the final work on this disc, the Symphony #10.
Clocking in at 29:45, this work was left incomplete not because of disinterest or writer's block, but the composer's death at the age of 31 in 1828. For those who are fascinated by a composer's final musical thoughts (even with the help of another's realization), you've come to the right place. The first movement sounds very Schubertian, but without the usual slow introduction (perhaps he would have added one later). It is the second movement, however, that is the most amazing, with its haunting passages for the clarinet, the oboe, the horn, and the flute. One is reminded not only of the "Unfinished" symphony from 6 years earlier, but also of the stately tread from the third movement of Mahler's Symphony #1, a work written 60 years later. In his last days, Schubert began a course of study with Simon Sechter, who would later instruct Anton Bruckner. This influence is felt in the last movement, a contrapuntal scherzo-finale. Newbould concedes that there are "no helpful precedents" in realizing these sketches as Schubert was breaking radical new ground and looking toward the future. This is ultimately an exploratory yet still very accessible work, well worth learning, playing, recording, and performing.
If the potential purchaser has shown any inclination toward the orchestral works of Franz Schubert, this disc will be greatly rewarding and is highly recommended. The Symphony #10 was the only work in progress when he died, and while we will never know exactly how he would have completed it, we can be thankful that this recording gives the listener the opportunity to hear and decide for themselves, and to of course wonder, "What if....."
Track Listings (9) - Disc #1