Schubert’s Symphony No. 3 is by my estimation his happiest symphony amongst the completed symphonies. And, it is also his shortest. You may argue that No. 8 is the shortest; but, if you consider it as a torso of a four-movement work, it isn’t, for the lengths of the two existing movements are long by early Schubertian standards. It seems that I am resorting to Michael Halász’s Naxos cycle with the Failoni Orchestra; but, I won’t use his account of No. 4 as feature post next, since I prefer a faster tempo for the first movement than he’s taken (I’ll explain why in due course). But, for now, his No. 3 is a solidly good reference. All repeats are taken; the playing is superb; the sound is great; and, the tempi are all idiomatic. No complaint is warranted. https://youtube/watch?v=FLlKgu1sx4s The symphony starts with a slow introduction. After the imposing D-unison opening, the woodwinds play an ethereal accompaniment figure that harked back to a good number of slow movements in Vivaldi’s concertos. It is also something that Schubert had fashioned into his own for the occasions that he deemed effective, such as this. At first, the woodwinds accompany the strings, and then, the reverse (when the violins do the accompaniment, the Vivaldian element is apparent). All the upward scale melodic figures are absolutely charming in this introduction, except when the music darkens. Indeed, the music does darken and becomes expressively complicated. Surely enough, at the end of the slow introduction, the gloomy D-minor chord is upon us. But, suddenly, the Allegro con brio opens with a charming clarinet tune in D-major that swings seductively. It builds up to an energetic passage, dominated by a rhythmic phrase that starts with a fast scale run upwards and continues with staccato notes of tremendous impact. After this energetic passage, the second theme again showcases the beguiling and ebullient charms of the woodwinds. Then, we have more energetic music. It is dramatic, as the harmonic colors move from minor key areas to the major key areas. The exposition ends on A-major, the dominant key of D-major. The repeat is taken, along with a few bars of “first time ending” music. The development section (starts with the horns) utilizes elements from both themes, but mostly the second theme. While this is an upbeat piece of music, the architectural construction is taut. For instance, the scale figures heard in the slow introduction (played by both the violins and some principal wind players) provided the foil for all the scale figures in the Allegro con brio section. The development section ends on minor mode. But, the recapitulation of the opening theme in D-major immediately brings the sunshine back. Each theme is presented in order, amid the detail-differences (in particular, harmonic modulations), with the charming portion first and the energetic portion second. The coda is energetic. The second movement is in song form: ABA. A is an innocent-sounding-yet-sophisticated (in that authentic Viennese way) melody in two couplets, each repeated. The feeling of a dance, such as the Gavotte, is unmistakable. Here, violins dominate, with woodwinds adding colors. And, the lower string instruments either stay quiet or enter with mood changes. Then, B starts off with the clarinet tune, with oboes – supported by some other winds – answering. The tune is repeated, taken up by flutes. Violins answer them. A transitional passage follows. There are a few bars of it with the violas and cellos playing a sweet harmonization that is worth noting (11:57 to 12:03), before A is recapitulated. The coda repeats the final phrase of the A section three times: in different instrumental combinations and dynamic levels. It is absolutely charming. It’s the Viennese way of waving good-bye. A good number of Schubert’s third movements start with the upbeat (the third and final beat of ¾), such as this, as well, those of Nos. 2, 4, 5 and 6. Here, it is always powerfully accented, giving it an energetic profile. Schubert made it into a motoric motif. The central Trio (oboes supported by bassoons) dances charmingly. This is Viennese charm at its best. The final Presto vivace is a perpetuum mobile in the guise of a tarantella (a fast Italian folk dance that dated back to ancient Roman times), a fast 6/8 dance. The music may feel fun; it is also monumental-sounding at the same time. There is a four-note motif that is incessantly predominant, which leads to the thundering concluding chords at the end. I’ll post a number of other performances. Some of them take the tempo of this movement even faster, creating such frissons and excitement.
Posted on: Tue, 16 Dec 2014 08:48:57 +0000
Trending Topics
Recently Viewed Topics
© 2015