BaL 22.04.23 - Schubert: Symphony no. 5 in B flat D. 485

[MickyD]

I haven't heard the Hanover Band/Goodman 5th for ages and must rectify that. His 9th, if I remember correctly, is admired by many, including members of this forum.

[Barbirollians]

Are you thinking of Natasha Loges? As far as I know, Sarah Devonald has no particular expertise in Lieder: she's an oboist and an ex-R3 producer.

Possibly - I think I am confusing her with the American reviewer whose name now escapes me . I see that Sarah Devonald 's bio on her website says she co- created Essential Classics when at Radio 3 - not something to be proud of !

[Barbirollians]

Allyson Devenish - Canadian is the one I mistook Sarah Devonald for.

[gurnemanz]

I have Beecham, COE/Abbado, OAE/Mackerras, Staatskapelle Dresden/Colin Davis and LCP/Norrington in my collection. I don't think I need another.

I was surprised how many I had accumulated and also don't really need another one. Maybe I should just do a BaL on my own library.

New York Philharmonic Orchestra, Leonard Bernstein
London Classical Players, Roger Norrington
Hanover Band, Roy Goodman
LPO Beecham (1938)
NBC Symphony Orchestra, Arturo Toscanini
Australian Chamber Orchestra, Charles Mackerras
Chamber Orchestra of Europe, Claudio Abbado
Staatskapelle Dresden, Herbert Blomstedt
Moscow Chamber Orchestra, Rudolf Barshai
Staatskapelle Dresden, Wolfgang Sawallisch

[cloughie]

Allyson Devenish - Canadian is the one I mistook Sarah Devonald for.

They had a brewery in Redruth - alas no more!

[richardfinegold]

I pulled Blomstedt/Dresden off the shelf yesterday. You certainly could do worse than that. Hugely enjoyable

[jayne lee wilson]

I pulled Blomstedt/Dresden off the shelf yesterday. You certainly could do worse than that. Hugely enjoyable

I returned to ORR/JEG (Soli Deo Gloria CD), a live reading that might surprise those who tend away from this special partnership. Like Norrington (whose later SWR 5th is a genuine expressive advance over the LCP), Gardiner's art has developed and deepened through time, and this 5th is warm and expressively phrased but above all subtle in its overview. Initially seeming quite restrained, one notes how the melodies and climaxes gradually blossom out, the power-in-reserve for those expo-dev-recap landmarks.
The andante is like a sleepy summer song in the meadow; it seems not to want to end, and you'll wish it hadn't. He doesn't let too much go in the scherzo, but the finale is an exhilarating whirlwind. (Similar approach to the Brahms 2nd Serenade in the same program, if anything an even more lovable performance with the finale bubbling over with gleefully laughing winds! (As if released by having no violins around to obscure their festive artistry...).

Gardiner sees the 5th's symphonic world whole, but the grains of sand are never expressively undersold.

It would be great if listeners here would revisit their favourites to see if they stand up to their later ears. Perhaps playing a completely unfamiliar, newer recording before the retrospect, one from an artist they may not usually approach or admire. (Belatedly, I might try one of the Bohm tapings next...or Klemperer - any excuse to pull out a Toshiba UHQ....)

[Keraulophone]

.
Sir Thomas Beecham's Schubert 3 & 5 with the RPO - sparkling with wit, elan, elegance, chartacterful woodwind solos and that recognisable Beechamesqe quality possibly brought about by a couple of White Lady cocktails before the sessions.
.

[jayne lee wilson]

I was disappointed in the Philharmonia/Klemperer (Toshiba-EMI CD, rec.1963). The repeat-less 1st movement is soon over, yet with its plodding steadiness of tempo it outstays its welcome; my mind was wandering even by the development, which seems far too short itself, without the expo repeat, before the recap begins: two statements with a mere linking interlude between them.

There's hardly any yielding to rubato here, or much dynamic variation either, and this hardly changes through the andante or minuet. My heart sank as the finale began: it was never going to take off at that easy-going pulse. The Philharmonia's string section sounds quite sizeable which may mitigate against such subtleties, but some beautiful playing from them and the wind soloists was little consolation.
(A quick spot-check with Gardiner was perhaps unfair, but all-too-revealing: such character and individuality in those delicate little turns and shaded levels, in a different league for a vivacious, melodically smiling, joyfully dancing realisation of the Schubertian idiom).

[Lordgeous]

.
Sir Thomas Beecham's Schubert 3 & 5 with the RPO - sparkling with wit, elan, elegance, chartacterful woodwind solos and that recognisable Beechamesqe quality possibly brought about by a couple of White Lady cocktails before the sessions.
.

Still sounds great to me, and yes, you can hear the Beecham character sparkling through every phrase. Recording aint bad either.

[mikealdren]

.
Sir Thomas Beecham's Schubert 3 & 5 with the RPO - sparkling with wit, elan, elegance, chartacterful woodwind solos and that recognisable Beechamesqe quality possibly brought about by a couple of White Lady cocktails before the sessions.
.

Get the GROC edition and you get Schubert 6 as well, a great CD.

[Barbirollians]

I was disappointed in the Philharmonia/Klemperer (Toshiba-EMI CD, rec.1963). The repeat-less 1st movement is soon over, yet with its plodding steadiness of tempo it outstays its welcome; my mind was wandering even by the development, which seems far too short itself, without the expo repeat, before the recap begins: two statements with a mere linking interlude between them.

There's hardly any yielding to rubato here, or much dynamic variation either, and this hardly changes through the andante or minuet. My heart sank as the finale began: it was never going to take off at that easy-going pulse. The Philharmonia's string section sounds quite sizeable which may mitigate against such subtleties, but some beautiful playing from them and the wind soloists was little consolation.
(A quick spot-check with Gardiner was perhaps unfair, but all-too-revealing: such character and individuality in those delicate little turns and shaded levels, in a different league for a vivacious, melodically smiling, joyfully dancing realisation of the Schubertian idiom).

To each their own -I couldn’t disagree more.

[jayne lee wilson]

To each their own -I couldn’t disagree more.

I'd love to know what you think of the John Eliot Gardiner, live in Amsterdam. With the Brahms 2nd Serenade, an absolute peach of a disc, which might surprise any listeners given to stereotyping JEG's performance style with its warmth and flexibility.

Or sit up straight, take a deep breath - and find your way to one of Michi Gaigg's radical realisations. The earlier on DHM (L'Orfeo Barockorchester/Gaigg/16/44.1/CD) is the mellower; probably one of the smallest orchestras on record in this music, but still portrays the piece with startling dynamic, phrasal and textural contrast. Perhaps only a small group of such closely bonded players and director can achieve that degree of inner life and outer vivacity.

Playing now, and even better than I recalled....very distinctive, with exceptional recorded sound, so present and lifelike...how those horns in the andante can bark and rasp, then sing it to sleep so sweetly.....really wonderful!

https://www.amazon.co.uk/Concert-Overtures-F-Schubert/dp/B006GSRI3C/ref=sr_1_4?crid=18X1KDF19ZQO0&keywords=michi+gaigg&qid=1676775150&s=music&sprefix=michi+gaigg%2Cpopular%2C63&sr=1-4

https://www.qobuz.com/gb-en/album/schubert-concert-overtures-symphony-no-5-lorfeo-barockorchester/0886443009127

[Sir Velo]

I think I've heard most if not all of the period instrument recordings (current favourite being Michi Gaigg and L'Orfeo Barockorchester).

I must give that an audition, thanks for the tip. Very fond, myself, of Minkowski and his band. Hadn't appreciated that Gardiner had recorded it, or in fact any Schubert, so will go about remedying that omission with a spin on Qobuz later!

[pastoralguy]

I remember, many years ago, hearing Paavo Berglund conduct Schubert No.5 with the (R)SNO in the Usher Hall. Some late comers were admitted after the music started and he stopped the orchestra and GLARED at them! The genial atmosphere was somewhat strained after that…