シューベルト:交響曲 第1-第10番(交響的スケッチと断章付き) Box set, CD, Import
シューベルトの交響曲の全容を知るのは、実は並大抵のことではありません。良く知られる「未完成」は、彼が何らかの理由 で、途中で作曲をやめてしまった曲ですし、他にも交響曲になるはずだったいくつかの断章も残されています。また後期の作 品は何度も番号が変更されており、昔は第9番として知られた「グレート」も現在では第8番とされています。この交響曲全 集は、なぜか第10番まで収録されていてびっくりしますが、これはシューベルトが「グレート」を完成した後に着手した交響 曲のスケッチを、研究家ニューボールト博士が復元したもの。マーラーを予感させるゆっくりとした楽章は日の極みです。
3件中1 - 3件目のレビューを表示
I don't have a lot to add to D. Whittaker's excellent review of the Academy of St Martin-in-the-fields' recordings of the Schubert symphonic oeuvre. But to really appreciate the set of recordings to the fullest, one should also get the book "Schubert and the Symphony: A New Perspective," by Brian Newbould. Prof. Newbould has made a special study of Schubert's symphonies and is the one who has completed the Unfinished Symphony 8 and provided orchestrations of the sketches of Symphonies 7 and 10. His book devotes a chapter to each symphony and is intended to be read in conjunction with hearing recordings of them. Newbould's book can also be ordered through Amazon.com.
The most interesting music is on CD-5 of the set: Symphonies 7 and 10. Symphony 7 has a long, dramatic introduction that was completely orchestrated by Schubert himself, but the rest of the symphony is more like his earlier works than the masterpieces that followed. That may be partly a result of the way Newbould decided to orchestrate the part that Schubert didn't, but No 7 seems rather lightweight after such a portentous opening, although there are some beautiful Schubertian moments in the score. On the other hand, Symphony 10, which Schubert worked on right up to his untimely death, is a real gem. Schubert left piano sketches (with some orchestral notations) of only 3 movements, and it's unclear whether he intended the last movement to be a combined scherzo-finale (it's a sonata-rondo) or planned to add another movement. This movement is unusual in that it uses more counterpoint than any of his other orchestral works. But the most memorable movement is the second with its haunting double theme and plucked bass. On hearing it for the first time, I immediately thought of Bruckner!
One could probably find more impressive individual recordings of several of these symphonies elsewhere, but as a set these recordings are of consistently high quality. The Academy and Marriner tend to take tempi on the fast side, which generally suits me and, I think, is closer to what Schubert intended than some of the draggy tempi that one sometimes hears in the 8th and 9th. Occasionally, however, Marriner is too fast, for example in the first movement of the 10th. Schubert's marking is "allegro maestoso," but the way Marriner takes it, much of the maestoso is lost. By and large, though, his tempi fit the music well, in my opinion.
The recorded sound is generally excellent; the recordings were made in 1981-84. This is the only set of all 10 symphonies currently available. I recommend it for the serious student of Schubert and his symphonic output.
My only quibble is that the set doesn't have much documentation about the reconstructions in the booklet.
It turns out the story is more complicated. After writing his first six symphonies, Schubert completed a full outline for a seventh that he set aside and for some reason never returned to. He then completed the first two movements of a new symphony, which was eventually numbered "8" by musicologists and given the title "Unfinished." There was also a sketch for the third movement of the 8th that Schubert never completed, and a separate overture that musicologists have long suspected was originally intended to be the finale to the 8th. Schubert then composed his great symphony in C Major, now numbered 9 (although it has historically also been numbered 7 or 8). And finally, he completed the piano score for a tenth symphony. His sketchbooks also contain other symphonic fragments.
This set of recordings not only presents Schubert's completed symphonies, but also a remarkable achievement -- the recreation or realization, by musicologist Brian Newbould, of the 7th, the full 8th, and the 10th symphony. These realizations are not, in a strict sense, true authentic works of Schubert, but rather, as Newbould acknowledges, speculative "educated guesses" as to what those symphonies would sound like had they been completed. But they are nonetheless fascinating, and very listenable.
The performances of all tens symphonies, and the symphonic fragments, are solid, as one would expect from Neville Marriner and the Academy. All around, a unique experience.