SCHUBERT Symphony - The »Great« / Abbado

FRANZ SCHUBERT

Symphony in C major D 944
The »Great«
Orchestra Mozart
Claudio Abbado
Int. Release 24 Jul. 2015
2 LPs
0289 479 5087 5
Recorded live in September 2011
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トラック・リスト

LP 1 / Side 1: Schubert: The "Great" C Major Symphony, D. 944

Franz Schubert (1797 - 1828)
Symphony No.9 In C Major, D. 944 - "The Great"

Orchestra Mozart, Claudio Abbado

再生時間合計 16:28

LP 1 / Side 2: Schubert: The "Great" C Major Symphony, D. 944

Franz Schubert (1797 - 1828)
Symphony No.9 In C Major, D. 944 - "The Great"

Orchestra Mozart, Claudio Abbado

再生時間合計 15:28

LP 2 / Side 1: Schubert: The "Great" C Major Symphony, D. 944

Franz Schubert (1797 - 1828)
Symphony No.9 In C Major, D. 944 - "The Great"

Orchestra Mozart, Claudio Abbado

再生時間合計 14:43

LP 2 / Side 2: Schubert: The "Great" C Major Symphony, D. 944

Franz Schubert (1797 - 1828)
Symphony No.9 In C Major, D. 944 - "The Great"

Orchestra Mozart, Claudio Abbado

再生時間合計 16:05

. . . rusticity and irresistible energy . . . what his performance conveys most powerfully is the sense of a symphony bursting at its classical seams and pushing its expressive language as far as it will go.

. . . [Schubert's "Great" C Major Symphony is presented] at its most cultivated -- gentle lyricism, bucolic rhythms, affectionate phrasings, aristocratic playing. The whole breathes an air of discriminating musicianship.

. . . [Abbado's approach of viewing a well-known score with a fresh eye] is exemplified here in the acute clarity of detail and inflection that Abbado elicits from the orchestra, as well as the sophistication of the phrasing and the judicious pacing that seems precisely to nail the allegro ma non troppo marking of the long first movement and the healthy walking tempo of the second movement's andante con moto. An ear‑opening performance.

. . . a gloriously life-affirming swansong . . . a reading of the Great C Major that is as remarkable for its robust pacing, ardent phrasing and unflagging energy (especially in the finale) as for the translucent, fastidiously balanced textures that grace almost every Abbado interpretation . . . [the Orchestra Mozart's virtuoso quality is evident everywhere:] The character in the oboe and clarinet solos that open the second movement, the fierce splendour of the thumping brass entries in the finale, the silky string playing -- all this attests to Abbado's alchemical ability to bring out something special in the players he conducted. What I most love, however, is that the performance perfectly places the Great C Major on the cusp of classical poise and romantic passion. Janus-like, it acknowledges Schubert's debts to Mozart and Haydn, yet has a grandeur that seems to beckon Brahms and Bruckner from over the horizon of time. A fitting memorial to a master musician.

Abbado draws his usual taut playing from his orchestra. There is such fine care of rhythm, phrasing and dynamics; nothing is ever routine, Abbado finding so many points of interest to reveal. This relatively small orchestra really delivers the goods in the broader, more dynamic passages with this conductor beautifully developing the movement throughout . . . [in the opening movement] the strings of Orchestra Mozart provide some fine moments, a beautifully silken sound yet with a firmness. There are many fine hushed passages with Abbado revealing all the orchestral lines. He allows the movement to breathe, building centrally and revealing some lovely details. The "Scherzo Allegro vivace -- Trio" is terrifically paced with Abbado's subtle flexibility of tempi, his beautiful shaping of phrases as well as some lovely dance like episodes . . . Abbado builds the music to perfection showing just how naturally Schubert's symphony develops over its glorious length. The hushed section towards the end brings a fine tension before we are slowly led to the coda. This is another recording to treasure. Abbado always seems to bring something special to a performance and in this newly released recording he does so in spectacularly fine fashion . . . This is a masterly performance from the hands of a master. I should not forget to mention what a fine orchestra Orchestra Mozart are. The live recording is first rate, very detailed and clear in a lovely acoustic.

. . . [this live recording] is on a grand expressive scale . . . there's true pathos after the Andante's big climax.

. . . a reading that is mellower, though with no loss of textural transparency, and more measured, though with no loss of cogency and drive . . . in the slow movement the newer performance has the edge. Not only is the text to be preferred but the performance itself is deeper and more serene . . . This, then, is a version which complements rather than yields to or replaces Abbado's earlier recording. Admirers of the conductor -- and the symphony -- will want both.

Abbado imbues the second movement "Andante con moto" with the affect of a genial, folksy "laendler" on a large scale. The woodwind and flute principals deliver loving soli in the course of the martial rhythm. Rossana Calvi performs the lovely oboe work with lyrical dignity. The color scheme remains attractive, the sense of intimate music-making entirely genial and "gemuetlich". Engineer Stephen Flock's sonic balances make the sheen of Orchestra Mozart eminently attractive . . . the deft lightness of the ensemble string section and tympani deserve honorable mention, especially in the "Trio" waltz-like melodies.

The result, beautifully recorded, is so fresh and so well-paced that the very idea of monotony -- a word sometimes, and erroneously, conferred on the piece -- never enters the mind. Few readings of Schubert 9 so perfectly demonstrate how appropriate is the famous description of "heavenly length". The tone is set by the winsome opening, heightened by the bloom of the solo horn; and as the movement expands, through the repeat and the development section, a plethora of the most delectable playing can be relished, woodwinds and strings notably, the latter being particularly rich-toned. Abbado builds the first movement with the surest of hands, grandeur and intimacy in close proximity as the music strides towards its gloriously uplifting peroration with an unarguable sense of inevitability. The opening of the "Andante con moto" is very attractive, a gentle and amiable stroll in the countryside, and then beauty and energy alternate amidst an array of exquisite contributions from Orchestra Mozart . . . This is infectious stuff -- relieved by gentler passages full of balm -- and the progression towards the ebullient close is judged to perfection. I never before enjoyed this Symphony so much. In his final years, Claudio Abbado was blessed with a wonderfully heightened sensibility and here he has bequeathed us something altogether special.

. . . wonderful . . . [Abbado] reaches extraordinary heights . . . Every bar surges with energy, thrust, warmth of tone, miraculous detail in even the fastest passages and, all told, what I can only say is a huge joy in living, which must leave every sensitive listener stirred to the depths . . . [Abbado directs beautifully tailored rallentandos] and vast thrilling climaxes which lift you out of your seat . . . [the Orchestra Mozart] is well up to every challenge that Abbado offers them, and there are plenty. Fortunately, Deutsche Grammophon's superb recording is fully able to cope with the immense volume . . . This is without doubt one of the records of a lifetime.

Abbado again sees rapt heavenly light, with the playing even more chamber-like than before . . . recommended to fans of this most humane maestro.

. . . a remarkable account of Schubert's greatest symphony under Abbado.

. . . affectionate and yet lively . . . his approach has the brisk appeal of fresh spring water. Excellent recorded sound brings out the flavor of each solo woodwind, which adds to the color of the entire reading . . . This is a streamlined Romantic reading handled with expert care and assured musicality. I'd go so far as to call this CD the best of the Abbado tribute discs, audio or video, to come my way. It earns a strong recommendation as one of the most successful Schubert Ninths in recent years . . .

Remarkably elegant, luminescent, and transparent orchestral sonorities serve as the foundation for Abbado's genius in revealing each and every instrumental voice . . . Also emblematic of Abbado's patrician music-making is a complete absence of bombast in his interpretation . . . And yet, Abbado's elegant approach never compromises the fiery momentum and drama of Schubert's grand score . . . This is due in no small part to Abbado's unerring sense of pace and subtle flexibility of phrasing. That Claudio Abbado could achieve all these qualities not only in the Schubert Ninth, but in just about everything he conducted, speaks to his unique greatness among the conductors of his era, as well as the devotion he inspired among his orchestral collaborators. Both the Chamber Orchestra of Europe and Orchestra Mozart play like angels . . . Claudio Abbado lived a long and full life, and in the service of composers like Schubert, I find it bittersweet that superb recordings like this document the close of a unique legacy.

An almost spiritual rapport is palpable arising from Abbado's close relationship with the Orchestra Mozart . . . Abbado directs a fresh and captivating account with rhythmic security, ardently characterful playing and impeccable integrity. Noticeable is Abbado's resolute emphasis on cleanly sprung rhythms. Especially satisfying is an innate sensitivity that reveals vivid colours and a wealth of detail. In the lengthy opening "Andante -- Allegro ma non troppo" there's a steady forward momentum with unquenchable vitality. With its glorious lyricism and broad dynamics the second movement "Andante con moto" is compellingly interpreted. In the generously-sized "Scherzo" Abbado is in his element imbuing delightful expression to the splendid Ländler-like dance rhythms. Rather than force a breakneck pace, unlike many interpreters, here is a conductor who takes the substantial "Finale" at a level-headed pace. He prefers to concentrate on maintaining an unforced intensity and tension. This works admirably . . . I do not think Schubert's Ninth has ever been more beautifully played and recorded than on this gold standard Deutsche Grammophon release.

This Schubert recording is one about which it's not really necessary to say a great deal. It is, quite simply, probably the best played performance of the Ninth that I can recall hearing and Abbado's direction of it is masterly. His pacing of each movement seems well-nigh ideal and he frequently uses dynamic contrast for effect or moulds the music with subtle tempo modifications in the way that a conductor such as Furtwängler would have done. The introduction to the first movement is beautifully poised; already the sheer quality of the orchestral sound and the detail that emerges effortlessly suggests we're in for something rather special . . . this is one of the finest recorded performances of the Schubert Ninth that I've heard. It's superbly played and the conducting is fresh and supremely musical. The performance has been captured in excellent sound . . . Even if you already have several recordings of this symphony in your collection I urge you to make room for this one too.

There are echoes of Beethoven in Schubert's Symphony which is played with transparency by the Orchestra Mozart and Claudio Abbado.

. . . musikalisch ist die Aufnahme ein Glücksfall. Die Übergänge vor und nach den großen Steigerungen klingen so erfüllt, das Miteinander von Streichern und Bläsern so kammermusikalisch, das Ganze so ehrlich, so tiefgründig, dass Abbado seine frühere Aufnahme mit dem Chamber Orchestra of Europe deutlich übertrifft. Schuberts Musik atmet und lebt, sie führt in Abgründe und in Zwischenreiche aus Trauer und Melancholie, Freude und Trost . . . hier geschieht so viel Eindringliches, dass dieser Mitschnitt nur als etwas Besonderes gelten kann.

Diese Aufnahme ist hinreißend. So stimmungsvoll, so ehrlich, so berührend hat man Schuberts neunte Sinfonie, obwohl die Diskographie wahrlich prall ist, selten gehört . . . Das kammermusikalische Miteinander, die Stimmungswechsel, die hinreißend innigen Antworten auf Tutti-Höhepunkte -- das ist so empfindsam gespielt, so klangschön und klangintensiv . . . Schon die Antwort auf den ersten Hornruf in der Einleitung zum Kopfsatz ist ein Muster erfüllten Musizierens . . . Das permanente Wechselspiel der Holzbläser und die zarten Andeutungen der Streicher münden in einer ungetrübten Spielfreude im Finalsatz . . .

. . . eine Trouvaille . . . ein gleichermassen transparentes wie körperhaftes Klangbild, das manch liebevoll gestaltetes Detail ins Licht rückt. Bei weichem Grundduktus und flexiblen Tempi eröffnet Abbado ohne Pathos und aufgesetzte Dramatik weite Räume . . . [die schönste Stelle] ist der Moment, wenn nach der Katastrophe im zweiten Satz das Leben erst zögerlich, dann mit zunehmender, doch unforcierter Vehemenz in den hervorragenden Holzbläsern aufs Neue zu erblühen beginnt.

. . . [was Abbado hier] gelang an fulminanter Klarheit, an musikalischer Feinheit, an sensibler Struktur, sucht seinesgleichen. Und trägt Abbado mit seinem Orchester in weithin ungeahnte Höhen. Schuberts große C-Dur-Symphonie kommt jetzt als gewissermaßen neu entdecktes Werk daher, mindestens als neu zu entdeckendes.

. . . Abbado fait une équipe lumineuse animée par une cohérence exceptionnelle, d'une énergie mesurée et nuancée qui fait littéralement merveille dans une vision attendrie, palpitante, instrumentalement et architecturalement . . . totalement superlative: malgré l'ampleur là aussi de l'orchestre, Abbado sait distiller une claire électricité des cordes, ce fruité langoureux et nostalgique, sachant constamment balancer entre énergie, noblesse, gravité et détachement tendre, voire jaillissement poétique entre le rêve inespéré et l'innocence recouvré (par la voix de la clarinette et du hautbois dans "l'Andante con moto" . . . L'urgence qu'il imprime au dernier mouvement, "allegro", se fait danse subtilement mesurée, avec un soin pour les détails dans la combinaison des timbres, une intelligence de la clarté et de la transparence entre les pupitres qui s'avèrent bénéfiques. Le feu jamais épais, son énergie d'un raffinement inoui, font les délices de cette réalisation de surcroît un live où c'est le geste complice, amoureux, et si perfectionniste du chef qui rayonne après sa mort . . . Une fête savoureuse, des timbres en accord, un chef au sommet de la connivence. Magistral.

Un ultime témoignage de l'inoubliable Schubert de Claudio Abbado . . . [cette interprétation] nous plonge dans une lecture palpitante et mesurée, grave et jaillissante, sublime et constamment à dimension humaine. A n'en point douter, son douloureux et courageux parcours personnel illumine ce chef-d'oeuvre intemporel où alternent le fruité des timbres, les nuances contenues des tempos, la gravité impressionnante de certaines pages et l'imposante humanité d'autres sections . . . L'écoute, profondément émouvante, nous impose la perception de la proximité complexe de la vie et de la mort, du présent et du néant; et ce, aussi bien dans "l'Andante-Allegro ma non troppo" du premier mouvement que dans les trois suivants, riches d'un mixte divin de lenteur délectable et d'énergie continue. On sait quel plaisir (peu médiatique) prenait le maestro Claudio Abbado à faire de la musique, celle qu'il aimait et révérait, en compagnie de "ses" orchestres, qu'il affectionnait tant. En voici une illustration irréfutable.

Un fort beau cor solo ouvre ce grand voyage schubertien (plus d'une heure avec toutes les reprises) de facon prometteuse : tempo allant mené avec éloquence, sonorités déliées presque éthérées . . . Le deuxième mouvement s'avère le plus réussi, fantomatique et inquiétant, tendu . . . Etrange symphonie en vérité, où coexistent la tendresse la plus bouleversante et une agressivité démesurée.