Schubert’s Symphony No. 6 marked the closure of his early symphonic style, as he will undergo a series of personal and artistic crises that entailed dealing with a life-crippling disease (syphilis, then incurable) and a series of four unfinished symphonies. But, in the meantime, he was enjoying his halcyon days of late youth, with his bohemian lifestyle and all the social-cum-musical outings and soirées that were known as Schubertiades. Many modern recitals and recordings on his music are stylized as Schubertiades. Oh yes, just look at the D number of this symphony: 589. This cannot be the result of just having fun and being lazy. Indeed, he had by then written hundreds of art songs and other things, which are featured at every Schubertiade, with or without him being present. He was at least a local celebrity of sorts in Vienna. Symphony No. 6 – together with his two Overtures in Italian Style – was conceived in response to Rossini’s influence. Rossini was visiting Vienna at the time, presenting a number of his operas, including The Barber of Seville. These operas took Vienna by storm, prompting applause from far and wide, including Beethoven’s personal imprimatur. Though Rossini and Beethoven were such different composers, Beethoven admired his genius for stage music – especially the comic variety – and Rossini respected Beethoven for his profound musicianship and humanity. Schubert’s new symphonic challenge was to fuse Rossini’s verve, his own lyricism and Beethovenian symphonic strength into one. I will resort to using the recording by Claudio Abbado and The Chamber Orchestra of Europe. All repeats are taken, with sole the exception of the repeat of the second couplet of the second theme of the second movement (even Karajan took that repeat – not found on YouTube). It’s a sophisticated performance that combines truly subtle nuances and symphonic strength. Note that it is - as usual, per this series - in three clips. And, as with my presentation of their performance of Symphony No. 5, the timing indications are on the per-clip basis. By the way, I love this person’s YouTube “handle”: “Farewell, (the) beautiful past” (Addio, bel passato). What a generous person … He or she has so far posted nearly 25,000 clips. Wooo, when the copyright police catches up... https://youtube/watch?v=v13wNDH6ot0 (I) https://youtube/watch?v=hBGKlA_nchs (II & III) https://youtube/watch?v=W8GnniVBeJw (IV) The slow introduction opens grandly with dramatic gestures. It teases our expectations. Then, the woodwinds take over (0:25), displaying one form of charm after another, typical of the delicious woodwind writing found in many of the slow introductions in Rossini’s overtures. Since Schubert was already seasoned in writing colorful woodwind parts, especially when strings are used to enrich this experience, this was a further golden opportunity for him. While the Italianate influence is nowhere in doubt, there is also a Germanic element, that of its ancient forests and its rich trove of supernatural tales: the stuff of German Romanticism, which cannot be ignored. The slow introduction is brought to a close with a dominant seventh chord (2:12), in anticipation... We are not disappointed. The first theme proper of the Allegro is perky to the tee (2:16). Playfulness is a constant factor, including passages that have minor key sonorities and diminished seventh chords. The second theme (3:01) likewise is playful. So, this mood pervades throughout the movement, through its extended coda (9:10) at the end. It is iridescent music. There’s an exposition repeat (4:13). The development section (6:10) has many subtle touches; and, the lead back towards the recapitulation (6:59 to 7:06) is rather mysterious. Now, yes, Schubert did ask for the speeding up of the coda. So, don’t fret. The second movement opens with a lovely serenade-like melodic train. It is in two couplets; each repeats, but the first couplet does not repeat verbatim – its repeat is differently orchestrated and features the woodwinds (0:24). The second couplet (0:40) repeats verbatim (1:29). The second theme follows immediately (2:18), without an official bridge, though the second ending of the second couplet of the first theme acts as bridge, one might say (2:16 to 2:18). The second theme is likewise in two couplets, which are also repeated, both verbatim. The second couplet, in three parts, starts with something dark, edgy and aggressive (2:48). It reminds one of Variation 4 from the second movement of Symphony No. 2 – here, with trumpets and timpani added. The next episode is quite charming (woodwinds and violins exchange phrases), though a bit mysterious at times (3:03). The final episode is a nominal recapitulation of the first couplet, but not verbatim (3:21). There is a coda and a bridge (3:36 – coda - and then 3:48 – the bridge). With no development section, the first theme comes back (3:50) but is transformed into a stylized melodic variation, full of Rossinian flavors. There is no repeat. The second couplet is treated liberally and expressively (4:06). The second theme ensues immediately), but we go directly to the second couplet (the first couplet is entirely omitted), headed by the aggressive episode (4:42), followed by the second episode (4:57). As the material of the final episode of the second couplet does not appear, we go straight for the brief yet atmospheric coda (5:24). The winds have the last words. The third movement (5:52) has a Beethovenian rhythmic verve, as well as Beethoven’s penchant for extreme dynamic contrasts. The focus on the upbeats is exhilarating. It’s quite a rollercoaster of musical fun. As per usual, the Scherzo proper has two couplets and each repeats. The central Trio section (8:43) is full of Schubertian sweetness. And, Schubert switched the tonality to a very distant key from C-major, that of E-major. There are two couplets; both repeat. The couplets are linked by a bridge (9:07 to 9:19), which has a touch of Beethovenian nobility in spots. After the second couplet, there is a short transitional passage (10:11) that leads to the “da capo” of the Scherzo proper (10:16). Just like the second movement, the final movement opens with a lovely theme, played by the violins and garnished by woodwind colors. The theme is in two couplets. Each is repeated. An exciting transitional episode follows (1:38), which sounds rather like a theme. A folksong-like melody ensues (2:20). It has a major two episodes (the second one is at 2:34, beginning in minor key), followed by a bridge (2:49). Then, we have yet another theme (2:55), with woodwinds playing scale-like melodic phrases, supported rhythmically by strings. Though it is graceful and refined, it somehow has a gravitas, since it leads to a monumental-sounding coda (3:38). There’s a short transition episode (4:46) that has certain qualities of the development section (since it uses some elements of what has been heard before to construct it); but, it leads directly to the recapitulations of all themes (5:00 and onwards). The couplets of Theme I don’t repeat this time. The other themes follow in order. Of course, the keys and orchestration details differ. The final coda (8:47) is extended and is majestic in tone, anticipating “prophetically” (of course, without Schubert knowing at the time) the monumental close of his Great C-major Symphony. As this symphony is also in C-major, it has been nicknamed “Little C-major”, since it’s significantly shorter than the later work. It goes to say that Schubert was already an unconventional composer in many respects. I have spared you from very detailed harmonic analyses in the main, but suffice it to say that there are many harmonic shifts here that could be immediately felt by anyone who listens and feels. They make you take notice right away. Schubert did not always put the recapitulated first themes in their respective home keys, as dictated by convention (e.g. in the first movements of Symphonies Nos. 2, 4, and 5). This is something that will take an influential effect as music history marched onwards. This symphony sort of has an unpredictable quality. Though the two opening orchestral gestures are dramatic, what ensued are charm and playfulness. The second movement maintains the charm but brings on a gravitas, mostly subtle and at times dark (i.e. the first episode of the second couplet of Theme II). The Scherzo is playful with a mission but has an orchestral weight about it, though that is contrasted by the ultra-lyrical Trio. The last movement progresses from charm to folksy expressions to monumentality. What a trip! Worth noting is that all the small details are so refined, from Schubert’s pen to the best performers in the business. Speaking of details, one can say that the scale-like figures than go up and down in the second couplet of the Trio section of the Scherzo structurally presages the scale-like passages in the Finale (the string runs in the transitional section that follows Theme I, as well as in the second episode of the folksy melody – underneath the winds, and the final theme with the woodwinds doing scale-like melodic figurations, who also go up and down). The sonata form structure was once new and avant-garde (early 18th Century). Then, it evolved greatly through the 18th Century and become rather conventionalized. Haydn and Mozart expanded it and showed endless possibilities of variations and deviations. This torch was carried next by Beethoven, Schubert, Mendelssohn and Schumann, which were passed on to Brahms, Bruckner and Mahler. This is the whole school of Austro-German symphonic writing in the main. Of course, there were lots of other German-speaking composers at play; however, the culture of symphonic writing extended all over Europe, as far a field as Russia, and, even in places that were dominated by opera, such as Italy, France and Spain. In the US, after the Civil War, the German-speaking immigrants held sway in shaping a classical music culture, from the founding of conservatories (the Curtis Institute in Philadelphia, the Cincinnati Conservatory, and what later became the Julliard School of Music and many others) to the founding of major orchestras and to the ideals of musical composition. This German-centric sway lasted until the 1930s, when a score of American composers created true American musical identities, which also addressed the issues of symphonic writing.
Posted on: Mon, 22 Dec 2014 02:30:30 +0000