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Schubert: Waltzes & Ecossaises
Didier Castell-Jacomin
Classical - Released October 13, 2023 | Naxos
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Schubert: Lieder with Orchestra
Munich Radio Orchestra
Classical - Released October 6, 2023 | BR-Klassik
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One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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Schubert: German Dances, Ländlers & Écossaises
Liu Yang
Classical - Released May 27, 2022 | Naxos
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Schubert was known in his time primarily as a composer of songs, but he was also a master of the dance form and wrote prolifically for a middle-class society eager for domestic entertainment. He loved ländler (triple-time country dances), the "Écossaises" (supposedly Scottish), and the rich variety of genial German dances. Viennese pianos of the day produced a sound that was clear and transparent, very different from modern instruments, and in this recording Yang Liu plays on a Steinway grand and a copy of a mid-1820s fortepiano by Conrad Graf, a maker well known to Schubert. © Naxos
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Schubert: 38 Walzes, Ländler and Ecossaises, D. 145 - 6 German Dances, D. 970 - 12 Gräzer Waltzer, D. 924 - 12 German Dances, D. 790 “Ländler” - 8 Ecossaises, D. 735 - 17 Ländler, D. 366
Trudelies Leonhardt
Classical - Released July 12, 2002 | Cascavelle
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Schubert: Symphonies Nos. 8 "Unfinished" & 9 "The Great"
Herbert Blomstedt
Symphonic Music - Released July 8, 2022 | Deutsche Grammophon (DG)
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Choc de Classica
At ninety-five years old, Herbert Blomstedt still seems to be in his prime. Just last year, in November 2021, he recorded Schubert’s last two symphonies at the Gewandhaus in Leipzig. For his “debut” under the Deutsche Grammophon label, the Swedish conductor had originally chosen to rehearse and record both works in public, but the coronavirus epidemic had other ideas. The rehearsals and subsequent recording eventually took place behind closed doors.Blomstedt knows this prestigious German orchestra well, having conducted it from 1998 to 2005. In fact, he remains its conductor emeritus. This new recording serves as a life lesson as well as a music lesson, putting a whole new spin on Schubert’s melancholy. A luminous message of hope takes hold from the very first measures of “Unfinished” Symphony, which features a supple and lively tempo and is completely free of the morosity that most composers tend to imbue into this work.A sense of eternal youth dominates the entire performance of the great Symphony in C major, whose repetitions and lengthy developments are overlooked thanks to the weightless, lively tempos. Every section of the ensemble brings incredible life to the piece, especially the solo oboe in the wonderful Andante con Moto (which seems to take the form of a simple ländler under the artistic eye of this talented conductor). A bouncy Scherzo leads into an explosive Allegro vivace that oozes pure joy. The Leipzig Gewandhaus orchestra are truly at their best here, capturing every nuance and reaching every sudden crescendo Schubert intended. The harmonies are dazzling, the brass section is nothing if not divine and the string section possesses the uncanny ability to alternate between soft, silky sounds and unbridled power. Schubert would be proud of this work. © François Hudry/Qobuz
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Tchaikovsky: The Nutcracker
Antal Doráti
Classical - Released November 1, 1986 | Decca Music Group Ltd.
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The Qobuz Ideal Discography
Schubert Transfiguration: Symphonies Nos. 8 & 9
Jordi Savall
Symphonic Music - Released October 7, 2022 | Alia Vox
Booklet
Distinctions
Choc de Classica
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All Baroque roads lead to Romanticism, and Jordi Savall knows this all too well. His rendition of the Beethoven Symphonies revisits the original manuscripts, dynamics, tempos and instruments, and Savall enacts this same approach with Franz Schubert, who died a few months after the great German composer. With this recording, made in September 2021 in the collegiate church of Cardona in Catalonia, the valiant octogenarian brings his own spiritual vision to Schubert. This is further affirmed by the album’s title: Transfiguration.The Catalan violinist is, above all, a humanist and a lyricist, two qualities that resonate particularly well with the music and spirit of Franz. Savall graces us with a vision of the Unfinished Symphony that contemplates the infinite without ever feeling heavy, instead turning towards the inner light.Music served as a vessel for Schubert, an outlet for his existential pain. Throughout his work, which culminates in the Ninth Symphony in C major, the Viennese composer expresses his aspiration for a youth freed from the inexorable presence of illness. This zest for life finds a particular resonance here in Jordi Savall’s poignant vision of the last two symphonies. Savall provides much more than just another version, creating an interpretation that penetrates deep into the depths of Schubert's distress, whilst still maintaining the lively desire for brotherhood that also fills the composer's great creations. © François Hudry/Qobuz
All Baroque roads lead to Romanticism, and Jordi Savall knows this all too well. His rendition of the Beethoven Symphonies revisits the original manuscripts, dynamics, tempos and instruments, and Savall enacts this same approach with Franz Schubert, who died a few months after the great German composer. With this recording, made in September 2021 in the collegiate church of Cardona in Catalonia, the valiant octogenarian brings his own spiritual vision to Schubert. This is further affirmed by the album’s title: Transfiguration.The Catalan violinist is, above all, a humanist and a lyricist, two qualities that resonate particularly well with the music and spirit of Franz. Savall graces us with a vision of the Unfinished Symphony that contemplates the infinite without ever feeling heavy, instead turning towards the inner light.Music served as a vessel for Schubert, an outlet for his existential pain. Throughout his work, which culminates in the Ninth Symphony in C major, the Viennese composer expresses his aspiration for a youth freed from the inexorable presence of illness. This zest for life finds a particular resonance here in Jordi Savall’s poignant vision of the last two symphonies. Savall provides much more than just another version, creating an interpretation that penetrates deep into the depths of Schubert's distress, whilst still maintaining the lively desire for brotherhood that also fills the composer's great creations. © François Hudry/Qobuz
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Tchaikovsky: The Nutcracker, Op. 71, TH 14
Gustavo Dudamel
Classical - Released November 16, 2018 | Deutsche Grammophon (DG)
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This new version of Tchaikovsky's famous ballet has been released hot on the heels of Disney's Nutcracker and the Four Realms, whose original music by James Newton Howard reprises and updates some of the themes from the Russian's score. Recorded by Gustavo Dudamel with Lang Lang at the piano and Andrea Bocelli singing the titles, this film's soundtrack is made to measure for these three global stars. This recording of the original material was carried out at the Walt Disney Concert Hall in Los Angeles in December 2013 during a Christmas celebration. The concert marked ten years of fruitful collaboration between Gustavo Dudamel and the Los Angeles Philharmonic Orchestra. The Venezuelan maestro brings us a hedonistic vision of this German fairytale by ETA Hoffman, re-imagined by Alexandre Dumas and so wonderfully turned in to music by Tchaikovsky. It was one of the Russian's last masterpieces, coming just before the "Pathétique" Symphony which would be his musical testament. But here, all is hardly fairytale and sugar thanks to an extraordinary melodic inspiration which is brought out by a light orchestration with unique timbres, like in the Dance of the Sugar Plum Fairy which popularised the Celesta, an odd instrument invented in 1886 (an improbable lovechild of the glockenspiel and the piano that Tchaikovsky encountered in Paris). Dudamel is playing with dreams here. We are treated to a supple, refined conducting style that looks towards Vienna more than it does to St Petersburg, but it never loses sight of a childlike spirit that's sure to delight. © François Hudry/Qobuz
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Beethoven, Schubert & Weber
Otto Klemperer
Classical - Released March 7, 2024 | Warner Classics
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Schubert: Symphonies Nos. 3 & 8 "Unfinished"
Wiener Philharmonic Orchestra
Classical - Released January 1, 1979 | Deutsche Grammophon (DG)
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Schubert: Schwanengesang & String Quintet
Julian Prégardien
Classical - Released September 10, 2021 | Alpha Classics
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Here are two works composed by Schubert at the very end of his short life. Schwanengesang (Swansong) was written in Vienna in the autumn of 1828. He died on 19 November at the age of thirty-one, and Die Taubenpost (Pigeon post), which closes the collection, is said to be his very last composition. The fourteen songs, by turns light-hearted, sombre and melancholy, are settings of poems by Ludwig Rellstab, Heinrich Heine and Johann Gabriel Seidl. In the summer of the same year he composed his String Quintet in C major, scored for two cellos, which was not premiered until 1850, at the Vienna Musikverein. The power and orchestral dimensions of the work make it a pinnacle of nineteenth-century chamber music. We could not have dreamt of a finer line-up of musicians to record these two Schubert monuments. Fanny Mendelssohn’s Schwanenlied (also to words by Heinrich Heine) completes the programme, along with Felix Mendelssohn’s Song Without Words No. 1 (for solo piano), composed a year after Schubert’s death and Schubert’s own setting of an unrelated Schwanengesang (D. 744, on a poem by Johann Senn). © Alpha Classics
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Schubert: Unfinished and Great Symphony
B'Rock Orchestra
Symphonies - Released December 8, 2022 | PentaTone
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René Jacobs and the B’Rock Orchestra complete their Schubert cycle on Pentatone with the composer’s two most famous symphonies, the "Unfinished" and "Great". In his extensive liner notes, Jacobs develops a theory that the B Minor Symphony did not remain “unfinished”, but was deliberately left unfinished, because Schubert shaped its two movements in analogy to Mein Traum ("My Dream"), an autobiographical narration in two parts, written in 1822, simultaneous to the creation of the symphony. While the first half of Mein Traum tells about his mother’s decease and his problematic relationship to his father, the second part enters a magical, Romantic realm, and eventually brings a reconciliation with his father. On this recording, the two parts of the narration precede the two movements of the "Unfinished" Symphony, and are recited by Tobias Moretti. Jacobs argues that, after the dream-inspired "Unfinished", the "Great" C Major Symphony, with its solemn character and sublime dimensions, served as a liberation for Schubert. Presenting these contrasting works forms a fitting apotheosis to a cycle that has been designed from the onset as a series of symphonic pairs. The players of the B’Rock Orchestra present these works on period instruments; transparent, but full of fire. © Pentatone
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Schubert: Symphony No. 8 "Unfinished" & No. 9 "The Great" by George Szell
George Szell
Classical - Released October 12, 2023 | Alexandre Bak - Classical Music Reference Recording
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Beethoven: Symphony No. 5 in C Minor, Op. 67 & Schubert: Symphony No. 8 in B Minor
Seiji Ozawa
Classical - Released April 21, 2017 | Sony Classical
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Schubert: Die schöne Müllerin, Winterreise & Schwanengesang
Nathalie Stutzmann
Classical - Released November 10, 2014 | Erato - Warner Classics
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4F de Télérama
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Schubert: Symphonies 8 and 9
Günter Wand
Symphonic Music - Released December 2, 1994 | RCA Red Seal
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Franz Liszt: Schubert & Wagner Transcriptions
Jean-Nicolas Diatkine
Classical - Released May 27, 2022 | Solo Musica
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Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations. Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire. © solo musica
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Schubert: Symphonies Nos. 6 & 7 (8)
Royal Flemish Philharmonic
Classical - Released August 7, 2012 | PentaTone
Booklet
After his collection of nine Beethoven symphonies, conductor Philippe Herreweghe tasked himself with a collection of Schubert’s. Released under Pentatone are symphonies n° 6, 8 (incomplete) and 9 (the “Great”). The rest were released under Herreweghe’s label, Phi, in 2015 and 2017. Schubert’s universe, from the early symphonies heavy with the spirit of Haydn and Mozart to the vast pantheistic scores that make up the final two 8th and 9th, certainly suit Herreweghe better than Beethoven. The spirit of the lied which continues to live within Schubert’s orchestra inspires the conductor with most natural phrasing. The architecture is rolled out with great suppleness, and in the eighth, the conductor creates a particularly sombre palette, in a “molten” and silky style that evokes primarily Bruckner, who’s work the conductor is familiar with. An interpretation to rediscover, rich and passionate. © Qobuz
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Schubert: Symphonies Nos. 8 "Unfinished" & 9 "The Great"
Charles Mackerras
Classical - Released October 1, 1998 | Telarc
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Schubert: Symphonies Nos. 5 & 8 "Unfinished"
Otto Klemperer
Classical - Released May 28, 2021 | Warner Classics
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