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The Complete Symphonies Vol. 3 Symphony No.9, D.944
Franz Schubert

Residentie Orkest The Hague / Jan Willem de Vriend

The Complete Symphonies Vol. 3 Symphony No.9, D.944

Price: € 20.95
Format: SACD
Label: Challenge Classics
UPC: 0608917286328
Catnr: CC 72863
Release date: 02 October 2020
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Label
Challenge Classics
UPC
0608917286328
Catalogue number
CC 72863
Release date
02 October 2020

"Already the first striking notes of the horn solo give the listener the distinct feeling that the conductor is concerned with filling this work with new life. The slenderness of the sound is remarkable, which, despite the grandeur of the music, never runs the risk of being pathetic. On the contrary: it gives the impression that Jan Willem de Vriend wants to transform precisely those qualities that are often attributed to Schubert's music - melancholy, nostalgia, tragedy- into a sound ideal that is characterized by lightness and elegance."

Klassik.com, 22-3-2021
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About the album

For about 150 years it was believed that Schubert composed his Ninth Symphony in 1828, not long before his death but, musical scholarship being a continuous process, this theory was later disproved. It was discovered in the late 20th century that in fact he composed most of this work three years earlier and revised it in 1826 and 1827. Following a period of poor health, 1825 was a better year for Schubert, while his finances were also improved.

Schubert never heard a single performance of many of his works, including this great symphony. When it was rehearsed in 1827 at the Gesellschaft der Musikfreunde in Vienna, the string players complained that passages in which a rhythmic figure is obsessively repeated, especially in the finale, were unplayable.

In May 1824, Schubert attended the first performance of Beethoven’s Ninth Symphony. Beethoven revolutionised symphonic form, expanding its expressive range enormously, his Ninth Symphony in particular being conceived on a much grander scale than any previous symphony. Schubert was just one of many composers influenced by Beethoven’s achievements.

Many scholars have suggested the various ways in which Schubert was influenced by Beethoven, but the most extraordinary aspect of Schubert's mature music is its complete individuality. The compositional techniques, the handling of tonality and structure, and the orchestral sound of these two contemporaries have very little in common. Schubert’s own profound originality is all the more striking for its emergence at a time when Beethoven's impact on the development of the symphony was so revolutionary and far-reaching.

Dit is het derde deel in de reeks complete symfonieën van Franz Schubert, uitgevoerd door dirigent Jan Willem de Vriend en het Residentieorkest. Het is geheel gewijd aan de Negende Symfonie, ook wel bekend als ‘De Grote’, vanwege de omvangrijkheid van het werk. De eerste delen van Schuberts complete symfonieën kregen lovende recensies. En dat gaat met dit deel met de ‘Negende’, een hoogtepunt in de reeks, zeker ook lukken.

Zo'n 150 jaar lang werd aangenomen dat Schubert zijn Negende Symfonie had gecomponeerd in 1828, niet lang voor zijn dood, maar omdat musicologie nu eenmaal een continu proces is, werd deze theorie later weerlegd. Eind 20e eeuw werd ontdekt dat het grootste deel van het werk drie jaar eerder, in 1825, was gecomponeerd en herzien in 1826 en 1827. 1825 was een goed jaar voor Schubert, zijn gezondheid was erop vooruit gegaan en ook zijn financiële situatie was verbeterd.

De componist luisterde naar geen enkele uitvoering van zijn werken, ook niet naar die van deze prachtige symfonie. Hij realiseerde zich dus niet dat sommige delen lastig te spelen waren. Tijdens repetities in 1827, in het Gesellschaft der Musikfreunde in Wenen, klaagden de strijkers dat de passages waarin een ritmisch figuur obsessief werd herhaald, vooral in de finale, onspeelbaar waren.

In mei 1824 was Schubert bij de première van Beethovens Negende Symfonie. Beethoven zorgde toen voor een revolutie in de symfonische vorm en breidde zijn expressiebereik enorm uit. Zijn Negende Symfonie was veel grootschaliger dan welke symfonie ook. Schubert was slechts een van de vele componisten die destijds wellicht beïnvloed werd door Beethovens muzikale prestaties. In veel studies wordt ook gezinspeeld op de invloed die Beethoven op Schubert zou hebben gehad, maar het meest bijzondere aspect van Schuberts latere werken is de complete individualiteit. De compositorische technieken, de omgang met tonaliteit en structuur en het orkestrale geluid van de twee tijdgenoten hebben weinig met elkaar gemeen. Schuberts eigen diepgaande originaliteit is des te opvallender in een tijd waarin Beethovens impact op de ontwikkeling van de symfonie zo revolutionair en verreikend was.

Dirigent Jan Willem de Vriend wordt geroemd om zijn grote muzikale veelzijdigheid, zijn creatieve bijdragen aan de klassieke muziek en zijn vermogen om klassieke muziek actueel te laten klinken. Naast een bijzonder musicus is hij een enthousiast promotor van de klassieke muziek. De Vriend was van 2015 tot 2019 de vaste dirigent bij het Residentie Orkest in Den Haag. Tegenwoordig is hij principal guest conductor bij het Orquestra Simfònica de Barcelona I Nacional de Catalunya en vaste gastdirigent bij Orchestra National de Lille. Daarnaast is hij eerste gastdirigent bij de Stuttgarter Philarmoniker en Artist in Recidence van het Stavanger Sympfonie Orchestra.

Etwa 150 Jahre lang glaubte man, dass Schubert seine Neunte Symphonie im Jahre 1828, nicht lange vor seinem Tod, komponiert hatte, doch da die Musikwissenschaft ein kontinuierlicher Prozess ist, wurde diese Theorie später widerlegt. Am Ende des 20. Jahrhunderts nämlich wurde herausgefunden, dass der Großteil des Werkes schon drei Jahre früher komponiert und 1826 sowie 1827 überarbeitet worden war. Nach einer von Krankheit geprägten Zeit war 1825 ein besseres Jahr für Schubert, in dem sich auch seine finanzielle Lage erholte.

Schubert hörte kaum eine Uraufführung seiner Werke, diese großartige Symphonie eingeschlossen. Bei den Proben in der Gesellschaft der Musikfreunde Wien 1827 beklagten sich die Streicher, dass Passagen, in denen eine rhythmische Figur wie besessen wiederholt wird, besonders im Finale, unspielbar seien.

Im Mai 1824 besuchte Schubert die Erstaufführung von Beethovens Neunter Symphonie. Beethoven revolutionierte die symphonische Form und erweiterte ihre Ausdruckspalette enorm, wobei seine Neunte Symphonie weit größer angelegt war als je eine Symphonie zuvor. Schubert war hier nur einer von vielen Komponisten, die von Beethovens musikalischen Errungenschaften beeinflusst wurden.

Die Art und Weise von Beethovens Einfluss auf Schubert ist vielerorts in der Forschung dargelegt, doch der außergewöhnlichste Aspekt an Schuberts späteren Werken ist deren vollständige Individualität. Die Kompositionstechniken, die Handhabung von Tonalität und Struktur und der orchestrale Klang dieser beiden Zeitgenossen haben nur wenig gemein. Schuberts eigene, grundlegende Originalität ist umso bedeutsamer, da sie in einer Zeit hervortrat, in der Beethovens Einfluss auf die Entwicklung der Symphonie so revolutionär und weitreichend war.

Artist(s)

Residentie Orkest The Hague

Residentie Orkest The Hague proves that even in the 21st century, symphonic music can still be meaningful to large and diverse audiences. Its reputation as one of the finest orchestras in Europe makes it an appropriate figurehead for The Hague as a cosmopolitan city of justice, peace, and culture. The orchestra performs concert series in the Zuiderstrandtheater in Scheveningen and in addition performs at venues such as Concertgebouw Amsterdam, TivoliVredenburg Utrecht and De Doelen in Rotterdam. Special crossover and innovative productions are also provided at The Hague’s prominent pop venue Paard van Troje throughout the season. The Residentie Orkest performs regularly at various other major concert halls abroad. Tours have brought the orchestra to New York, Boston, Chicago, London and...
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Residentie Orkest The Hague proves that even in the 21st century, symphonic music can still be meaningful to large and diverse audiences. Its reputation as one of the finest orchestras in Europe makes it an appropriate figurehead for The Hague as a cosmopolitan city of justice, peace, and culture. The orchestra performs concert series in the Zuiderstrandtheater in Scheveningen and in addition performs at venues such as Concertgebouw Amsterdam, TivoliVredenburg Utrecht and De Doelen in Rotterdam. Special crossover and innovative productions are also provided at The Hague’s prominent pop venue Paard van Troje throughout the season. The Residentie Orkest performs regularly at various other major concert halls abroad. Tours have brought the orchestra to New York, Boston, Chicago, London and Vienna amongst others and the orchestra also performed in countries like Japan, China, Germany, France and South America. There are also many prolific collaborations with a wide range of partners, including the Dutch National Theatre, Gemeentemuseum and the Dutch National Opera. Recent seasons have seen a much acclaimed production of Messiaen’s rarely performed opera Saint François d’Asisse and Poulenc’s Dialogues des Carmélites.

A rich history Since its first concert in 1904, the Residentie Orkest has developed into one of the prominent symphony orchestras of The Netherlands. Founded by Dr Henri Viotta, who was also its first principal conductor, it quickly attracted composers like Richard Strauss, Igor Stravinsky, Max Reger, Maurice Ravel, Paul Hindemith and Vincent d’Indy. Guest conductors included Arturo Toscanini, Bruno Walter, Leonard Bernstein and Hans Knappertsbusch.

After World War II, Willem van Otterloo was appointed chief conductor. He led the orchestra from 1949 to 1973 and built a strong reputation by combining high-quality performances with adventurous programming. Van Otterloo was succeeded by Jean Martinon, Ferdinand Leitner, Hans Vonk, Evgenii Svetlanov, Jaap van Zweden and Neeme Järvi.

Chief conductor Starting season 2018/2019 Nicholas Collon is chief conductor and artistic advisor of the Residentie Orkest. Richard Egarr will join the orchestra as principal guest conductor in 2019. Until the summer of 2019 Jan Willem de Vriend will act as principal conductor.


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Jan Willem de Vriend (conductor)

Jan Willem de Vriend, designated “a godsend from the Netherlands” by the Neue Zürcher Zeitung, is driven by the pioneering spirit of historically informed perfomance practice. As music director of the Combattimento Consort Amsterdam, which he founded in 1982, he specialised in repertoire of the 17th and 18th centuries, reviving a wealth of rarely heard works through historically informed performances on modern instruments, praised by Gramophone magazine for their “technical finesse and a lively feeling for characterization”. An award-winner for his creative contribution to classical music, Jan Willem de Vriend has more than 50,000 followers on Spotify and is in demand as a conductor around the world, appearing regularly with such orchestras as the Royal Concertgebouw Amsterdam, Rotterdam Philharmonic, Residentie Orkest...
more
Jan Willem de Vriend, designated “a godsend from the Netherlands” by the Neue Zürcher Zeitung, is driven by the pioneering spirit of historically informed perfomance practice. As music director of the Combattimento Consort Amsterdam, which he founded in 1982, he specialised in repertoire of the 17th and 18th centuries, reviving a wealth of rarely heard works through historically informed performances on modern instruments, praised by Gramophone magazine for their “technical finesse and a lively feeling for characterization”.
An award-winner for his creative contribution to classical music, Jan Willem de Vriend has more than 50,000 followers on Spotify and is in demand as a conductor around the world, appearing regularly with such orchestras as the Royal Concertgebouw Amsterdam, Rotterdam Philharmonic, Residentie Orkest Den Haag, Belgian National Orchestra, Tonhalle Zurich, Orchestre National de Lyon, Bergen Philharmonic, Warsaw Philharmonic, the symphony orchestras of Netherlands Radio and Hessischer Rundfunk (Frankfurt Radio Symphony), Melbourne Symphony, Yomiuri Nippon Symphony and Hong Kong Philharmonic. He is Principal Conductor Designate of the Vienna Chamber Orchestra, and Principal Guest Conductor of the City of Kyoto Symphony Orchestra, Principal Guest Conductor of the Stuttgart Philharmonic and Orchestre National de Lille, and former Principal Guest Conductor of the Orquestra Simfònica de Barcelona i Nacional de Catalunya and the Brabant Orchestra.
For the Challenge Classics label, de Vriend and the Netherlands Symphony Orchestra have recorded the complete Mendelssohn symphonies and all Beethoven’s symphonies and concertos with, among others, pianist Hannes Minnaar and violinist Liza Ferschtman. De Vriend’s interpretation of the Symphony No 7 prompted Classic FM to admire “a bounding flair that does real justice to the composer’s capacity for joy”. A further landmark of his recorded catalogue is his complete recording of the Schubert symphonies with the Residentie Orkest Den Haag.
De Vriend’s collaborative spirit is equally evident in his work for the stage, notably with opera director Eva Buchmann and Combattimento Consort Amsterdam. In addition to works by Monteverdi, Haydn, Handel and Telemann, their productions in Europe and the USA have included staged versions of Bach’s ‘Hunting’ and ‘Coffee’ Cantatas at the Bachfest Leipzig, and operas by Mozart, Rossini, Verdi and Cherubini, among them Mozart’s Don Giovanni und Rossini’s La gazzetta, both toured in Switzerland. De Vriend has also conducted operatic productions in Amsterdam (with the Nederlandse Reisopera), Barcelona, Strasbourg, Lucerne, Schwetzingen and Bergen.

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Composer(s)

Franz Schubert

Franz Peter Schubert was an Austrian composer. Schubert already died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the...
more
Franz Peter Schubert was an Austrian composer. Schubert already died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the most frequently performed composers of the early nineteenth century.
It was in the genre of the Lied that Schubert made his most indelible mark. Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism. Schubert expanded the potentialities of the genre like no other composer before.

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Press

Already the first striking notes of the horn solo give the listener the distinct feeling that the conductor is concerned with filling this work with new life. The slenderness of the sound is remarkable, which, despite the grandeur of the music, never runs the risk of being pathetic. On the contrary: it gives the impression that Jan Willem de Vriend wants to transform precisely those qualities that are often attributed to Schubert's music - melancholy, nostalgia, tragedy- into a sound ideal that is characterized by lightness and elegance.
Klassik.com, 22-3-2021

...while modern instruments are evidently used, articulation is deft and neat, the strings' vibrato is restrained but not harshly so and the feeling is of musical values leading at every point.
BBC Music Magazine, 05-1-2021

Jan Willem de Vriend shares with other today conductors a preference for swift tempos […] The Scherzo is thoroughly compelling.
Classic Voice, 01-12-2020

This is a charming, but where it should be, also solemn, sound and impressive performance. An added value for the discography of this masterpiece. Definitely listen!
Stretto, 26-9-2020

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Often bought together with..

Out of the Box (11CD-Box)
Willem Breuker Collectief
Ludwig van Beethoven, Daniel Gottlieb Steibelt, Louis Adam
Beethoven and his French Piano
Tom Beghin
Ludwig van Beethoven
Complete Symphonies & Concertos (box set)
The Netherlands Symphony Orchestra / Jan Willem de Vriend
Franz Schubert
The Complete Symphonies Vol. 2 Symphony No.1, D.82 / Symphony No.3 D.200 / Symphony No.8 D.759
Residentie Orkest The Hague / Jan Willem de Vriend
Franz Schubert
The Complete Symphonies Vol. 1 Symphony No. 2 D. 125 / Symphony No. 4 D. 417
Residentie Orkest The Hague / Jan Willem de Vriend
Joseph Haydn
Divertimenti
Combattimento Consort Amsterdam

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