Schubert’s unfinished symphony in D-major, catalogued as D. 708a (note that I did not type in capital letters, as this is not THE Unfinished Symphony that is so celebrated), is a bridge between his Symphony No. 6 and what will ultimately become his Symphony No. 9, the Great C-major Symphony. D. 708a is one of the two symphonies that now bear the No. 7 designation (that would be my next post on classical music). The sketches – dated to 1820 and 1821 – reveal that there are substantial chunks for the 1st, 2nd and 4th movements, while the 3rd movement was almost completed. This performance was made possible in 2012 by the BBC Radio, played by the BBC Philharmonic Orchestra and conducted by the Spanish conductor Juanjo Mena (this recording was issued on one of the two extra CDs that came with one of the issues of the BBC Music magazine – the other disc is a sampler of various new releases featured in the magazine – every issue gives you these free CDs, one CD of at least one live performance played by one of BBC’s orchestras, while the other disc gives you samplers of various new releases critiqued in the issue). The British musicologist, composer and conductor Brian Newbound was commissioned to produce a completed version for this performance. So, here it is. https://youtube/watch?v=C_cc0OKmKxw The first movement does not feature a slow introduction. Indeed, this is the only Schubert symphony that does not begin with a slow introduction or a prefatory preface (Nos. 5 and 8). It is in sonata form. The air is optimistic and the mood is spirited (the music is very rhythmic). In the sketch, Schubert sketched out the exposition in full but broke off shortly afterwards. It’s interesting to note that he started the second theme in A-flat major (1:00), which was unconventional, before modulating to A-major, which arrives at 1:40 (during this time period, convention had it that the second theme is usually in the dominant key of the home key – A-major is the dominant key of D-major – if you have a piano, youd see that the fifth note above D is A). Coda begins at 1:59. Since the rhythmic figures of Theme I act as accompaniment for Theme II, this coda is thematically rich and exciting. The exposition repeats at 2:54, with first time ending. The second ending leads to the development section (from 5:35 onwards). At the end of the development section, a few phrases based on Theme I (7:35), along with two strikingly dissonant chords, lead to the recapitulation of Theme I (7:46). Theme II recaps at 8:46 and the coda at 9:47. The second movement is in the dominant key of A-major. It sounds lusher than any of his previous slow movements. A bridge (11:10) acts as transition, marvelously constructed, with subtle harmonic shifts and featuring contrasts between strings and woodwinds. The theme returns, but in F-major (12:13). A new theme actually goes with it in counterpoint. Schubert’s sketch ends here. The rest had to be composed by Newbound. Newbound’s treatment is more regulated rhythmically: an executive decision he took. He turned it into a thematic fantasia of sorts, while maintaining the sonata form structure. Woodwinds are given interesting parts. The third movement has a rhythmic vigor that foreshadows the third movement of the Great C-major. It is rhythmic and motoric, as well as contrapuntal. It follows the usual structure of the early 19th Century scherzo, which is the extension of the 18th Century Minuet and Trio form (|:A:|:B:|:C:|:D:|A|B|| – note: |: :| means repeat, as some of you may have observed from printed sheet music for your music-making; and, || at the end means the end, which is colloquially referred to as the double bar line). As mentioned above, this movement was almost complete. So, Newbound didn’t have to do too much. The Trio section is relaxed in mood (it is also contrapuntal, as melodic materials lay on top of one another in the second couplet). The woodwinds are invited to shine. The finale is in sonata rondo form. This means that there would be the usual Theme I and Theme II, but, they will alternate with alternate themes back and fort. The music sounds like it’s in 6/8, but its actually in 2/4, just that the triplet rhythmic figure pervades through the whole movement. Rossinian charm and optimism are infused into its expressive fabric. Some of the modulations are very telling, which include far-flung harmonic regions (in relation to the home key of D-major) such as A-flat major (a phenomenon already encountered in the first movement) and C-sharp major. Schubert considered using trombones for the symphony, as seen in the sketches (for that matter, Schubert crossed out his first sketch/version; so, Newbound’s completion is based on Schubert’s second version), but he abandoned the idea. However, in his next symphony (also incomplete – but, pretty well complete in terms sketches, with extensive indications of orchestration), another Symphony No. 7, he called for trombones. In any event, this finale is irresistible with its joyful playfulness and proclamations. Thanks to Newbound’s realization, we can bathe in its radiant warmth “whole”. On the overall, it is quite an energetic work. In fact, this energetic trait has been part of his symphonic language all along. Here, the 1st, 3rd and 4th movements are self-explanatory in this context. As for the second movement, as it is marked “con moto”, its forward pulse and flow are unmistakable. We have the same *problem* here as the Allegro vivace indication of the first movement of Symphony No. 4. Indeed, the first movement of this symphony is also marked Allegro vivace and written in 4/4. But, this performance does it as 2/2 and in context. It would be unbearable if otherwise. By the way, these are not the only instances of such in the repertoire.
Posted on: Sat, 10 Jan 2015 06:51:27 +0000
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