Schubert / Munchner Symphoniker / Edusei - Symphony 4 & Symphony 7 - COMPACT DISCS [CD]
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Schubert / Munchner Symphoniker / Edusei - Symphony 4 & Symphony 7 [COMPACT DISCS] date 11/17/2017
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- GenreClassicalDescriptionSchubert / Munchner Symphoniker / Edusei - Symphony 4 & Symphony 7 [COMPACT DISCS] date 11/17/2017ArtistSCHUBERT / MUNCHNER SYMPHONIKER / EDUSEITitleSymphony 4 & Symphony 7FormatCDLabelSolo Musica
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Schubert / Munchner Symphoniker / Edusei - Symphony 4 & Symphony 7 [COMPACT DISCS] date 11/17/2017
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Philippe Jordan has already established himself as one of the most gifted and exciting conductors manning the podiums before the world's great concert hall stages. At present, he is Music Director of the Opéra National de Paris and Music Director of the Wiener Symphoniker, but his many past and present European orchestral engagements suggest a conductor highly respected and in great demand. Giving it's first concert in it's earliest incarnation at the very turn of 20th c., the Wiener Symphoniker, led here by Mr. Jordan in Schubert's final two, and greatest, symphonies, handles the lion's share of symphonic activity that makes up the musical life of the Austrian capital. The preservation of the traditional, Viennese orchestral sound occupies a central place in the orchestra's various artistic pursuits.
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The recording presented here is dedicated to the last two symphonies of Franz Schubert's earlier compositional period. Both are united by their emergence in the atmosphere of the amateur orchestra founded by Otto Hatwig, in which Franz played the viola, and his brother Ferdinand the violin. This orchestra was a stroke of luck for the young Schubert, akin to a laboratory where he could thoroughly test his compositions against the works of composing contemporaries such as Haydn, Mozart, Beethoven and Méhul, and in real world conditions. Nevertheless, in their compositional intent, the symphonies are so fundamentally different that it is tempting to present these two dissimilar siblings on one album. Looking at the entire cycle of the Schubert symphonies, and the existential crisis in which Schubert found himself after 1818, this criticism seems in hindsight to be justified only to a certain extent. The creative chasm that opened up in front of Schubert is documented in his many symphonic drafts and abandoned works. In chamber music and in song composition, his productivity likewise decreased considerably. At that time, there was also the break with his father. Against this background, the Sixth seems like a charming Inchcoming-of-ageInch work that demonstrated to the composer - with the utmost severity - the creative limits of youth-fuelled ardor.
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