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The Complete Symphonies Vol. 2 Symphony No.1, D.82 / Symphony No.3 D.200 / Symphony No.8 D.759
Franz Schubert

Residentie Orkest The Hague / Jan Willem de Vriend

The Complete Symphonies Vol. 2 Symphony No.1, D.82 / Symphony No.3 D.200 / Symphony No.8 D.759

Price: € 20.95 14.67
Format: SACD
Label: Challenge Classics
UPC: 0608917280227
Catnr: CC 72802
Release date: 03 May 2019
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Label
Challenge Classics
UPC
0608917280227
Catalogue number
CC 72802
Release date
03 May 2019

"With Jan Willem de Vriend, conductor of the Residentie Orchestra until this summer, the two early symphonies are now fresh and playful, with all the echoes of Mozart and Haydn and all, and where possible with the necessary sound refinement."

Luister, 19-7-2019
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Artist(s)
Composer(s)
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About the album

While offering little suggestion of the symphonic mastery he would attain less than a decade later, the First Symphony, influenced by Mozart’s last symphonies and completed in October 1813, is a remarkable achievement.
Schubert composed his Third Symphony over a period of about two months, completing the work in July 1815. The Third Symphony is generally characterised by an increased rhythmic intensity, at times bordering on obsession. We may well think of Schubert primarily as a wonderful melodist, but driving, sometimes overpowering rhythm is just as strong a feature of many of his greatest works.
The question of why Schubert left this B minor symphony unfinished has continued to exercise scholars. The most convincing explanation is that he simply found himself unable to continue on the same exalted level and resigned himself to leaving the symphony as it was – two movements of breath-taking quality and imagination. There is no evidence that he ever wished, in his remaining six years, to return to the work, or that he regarded it as “unfinished”. Beethoven's influence on the historic development of the symphony was staggering. His own examples, widening the expressive range of the genre, opened up a new world. Against this background, Schubert conceived a work of much greater poetry, drama and profundity than he had attempted in his previous symphonies.
Over-familiarity may well have blunted our appreciation of this symphony, which is strikingly original from almost every aspect. Apart from the concentrated, expressive quality, there is also a greatly enhanced sense of tone-colour, with much richer sonorities, and a new spaciousness.
De start van de reeks complete symfonieën van Franz Schubert, opgenomen door dirigent Jan Willem de Vriend en het Residentieorkest, kreeg lovende recensies. Na het succesvolle eerste deel was er dan ook reden om uit te zien naar het volgende album. Dit tweede deel bevat, naast de eerste en derde symfonie, Die Unvollendete, de populaire achtste symfonie van de Oostenrijkse componist. (Los van de discussie of die tot een symfonie gerekend mag worden).

Opmerkelijke prestatie

Nog maar een tiener, schreef Schubert al zijn eerste vijf symfonieën. De eerste stamt uit 1813, het jaar waarin Oostenrijk verwikkeld was in een strijd met de Fransen tijdens de zesde coalitieoorlog. In die tijd had Schubert zijn academische studies achter zich gelaten en zich toegelegd op het componeren. Hoewel nog niet te bevroeden viel welk een symfonisch meesterschap de componist later aan de dag zou leggen mag Schuberts eerste symfonie, met trekjes van de laatste symfonieën van Mozart, al wel een opmerkelijke prestatie genoemd worden.

Niet alleen melodieus

Zijn derde symfonie schreef Schubert in 1815 in ongeveer twee maanden tijd. Dit werk wordt gekarakteriseerd door een toenemende ritmische intensiteit, die bij tijd en wijle zelfs aan bezetenheid grenst. We mogen van Schubert dan wel denken dat hij vooral een melodieus componist is, maar het gebruik van een soms overweldigend ritme is net zo goed een kenmerk van veel van zijn grootste stukken.

Onvoltooid of niet, een wonderschoon werk

Tot op de dag van vandaag houdt het vraagstuk of Schuberts symfonie in b mineur onvoltooid bleef, de wetenschap bezig. De meest overtuigende verklaring is dat hij zich niet in staat achtte op hetzelfde hoge niveau verder te gaan en de symfonie daarom maar zo liet als hij was: twee delen van adembenemende schoonheid en verbeeldingskracht. Er is ook geen enkel bewijs dat de componist in zijn resterende zes jaar ooit aanstalten maakte om het werk weer op te pakken of dat hij het als 'onvoltooid' beschouwde. De invloed van Beethoven op de historische ontwikkeling van Schuberts achtste symfonie was groot, de wijze waarop Beethoven de grenzen van het toen heersende genre van de symfonie verlegde, opende deuren voor een nieuwe wereld. Tegen deze achtergrond maakte Schubert een werk met veel meer poëzie, drama en diepgang dan ooit tevoren. De overbekendheid van het stuk mag dan wellicht voor enige afstomping zorgen, het is in ieder geval in alle opzichten opvallend origineel. Los van het behoorlijk expressieve karakter van Die Unvollendete, valt een sterker gevoel voor klankkleur op, met veel rijkere klanken en een nieuwe ruimtelijkheid.

De Vriend

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. Vanaf het seizoen 2015/2016 is Jan Willem de Vriend de eerste vaste dirigent van het Residentie Orkest Den Haag en eerste gastdirigent van het Orquestra Simfonica De Barcelona | Nacional De Catalunya. Van 2017-2020 is Jan Willem de Vriend benoemd tot 'Premier chef invité' van het Orchestra National de Lille. De Vriend treedt in binnen- en buitenland op als gastdirigent. Hij heeft naast vele toonaangevende Nederlandse orkesten, waaronder het Koninklijk Concertgebouworkest en het Radio Filharmonisch Orkest, ook orkesten in China, Duitsland, Oostenrijk, Italië en Frankrijk geleid.
Wo sie nicht erahnen lässt, welche symphonische Meisterschaft ihr Komponist weniger als ein Jahrzehnt später erreichen sollte, ist die Erste Symphonie, beeinflusst von Mozarts letzten Symphonien und fertiggestellt im Oktober 1813, eine bemerkenswerte Errungenschaft.

Schubert komponierte die Dritte Symphonie über einen Zeitraum von etwa zwei Monaten und schloss das Werk im Juli 1815 ab. Die Dritte Symphonie ist generell geprägt von einer zunehmenden rhythmischen Intensität, die bisweilen an Besessenheit grenzt. Wir mögen Schubert primär wohl für einen wunderbaren Melodienschreiber halten, aber ein treibender, manchmal überwältigender Rhythmus ist ein ebenso starkes Merkmal seiner größten Werke.

Die Frage nach dem Grund, aus dem Schuberts h-Moll-Symphonie unvollendet blieb, beschäftigt die Forschung noch heute. Die überzeugendste Erklärung ist, dass er sich nicht in der Lage sah, auf demselben erhabenen Niveau fortzufahren, und die Symphonie so ließ, wie sie war – zwei Sätze von atemberaubender Qualität und Vorstellungskraft. Es gibt keine Belege dafür, dass er in den ihm verbleibenden sechs Jahren jemals den Wunsch verspürte, die Arbeit an dem Werk wieder aufzunehmen, oder dafür, dass er es selbst als „unvollendet“ betrachtete. Beethovens Einfluss auf die historische Entwicklung der Symphonie war gigantisch. Seine eigenen Beispiele, die das expressive Spektrum der Gattung ausweiteten, öffneten die Tür zu einer neuen Welt. Vor diesem Hintergrund schuf Schubert ein Werk von viel größerer Poesie, Dramatik und von mehr Tiefgang als er es in vorangegangenen Symphonien versucht hatte.
Überragende Vertrautheit mit dieser Symphonie mag unsere Wertschätzung für das Werk mindern, das in fast jeder Hinsicht auffallend originell ist. Neben der konzentrierten, expressiven Qualität besitzt sie auch einen erweiterten Sinn für Klangfarben, mit viel üppigeren Klanglichkeiten, und einer neuen Weiträumigkeit.

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

With Jan Willem de Vriend, conductor of the Residentie Orchestra until this summer, the two early symphonies are now fresh and playful, with all the echoes of Mozart and Haydn and all, and where possible with the necessary sound refinement.
Luister, 19-7-2019

Revolutionary symphonies by adolescent Schubert.
NRC, 08-5-2019

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Often bought together with..

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
Various composers
La Furia
Mayke Rademakers
Felix Mendelssohn
Symphonies nos. 4 & 5
Jan Willem de Vriend / The Netherlands Symphony Orchestra
Felix Mendelssohn
Complete Symphonies vol. 2: Symphony nos.1 & 3
The Netherlands Symphony Orchestra / Jan Willem de Vriend

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