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The Complete Symphonies Vol. 4 Symphony No. 5 D. 485 | Symphony No. 6 D. 589
Franz Schubert

Residentie Orkest The Hague / Jan Willem de Vriend

The Complete Symphonies Vol. 4 Symphony No. 5 D. 485 | Symphony No. 6 D. 589

Price: € 20.95
Format: SACD
Label: Challenge Classics
UPC: 0608917280326
Catnr: CC 72803
Release date: 07 October 2022
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Label
Challenge Classics
UPC
0608917280326
Catalogue number
CC 72803
Release date
07 October 2022
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Schubert’s musical ideas at this time sometimes bear a family resemblance to themes by Mozart, Haydn or Beethoven, but nevertheless his own style was already precociously developed. One would not mistake his Fifth Symphony of 1816 for the work of any other composer, though its difference in character from the Fourth Symphony is equally striking. Here, omitting clarinets, trumpets or timpani, Schubert uses a reduced orchestration in comparison with his previous symphonies.

Schubert began his Sixth Symphony in October 1817 and completed it in the following February. The Sixth Symphony represents a sideways step in Schubert’s symphonic development, a digression which may be explained by the phenomenal popularity of Rossini. At this time Rossini’s operas were being received with tremendous enthusiasm in Vienna. Keen to earn a living from his compositions, Schubert now emulated aspects of the style which was enjoying such vogue.
Dit is het vierde en laatste deel in de serie complete symfonieën van Franz Schubert, weer prachtig uitgevoerd door dirigent Jan Willem de Vriend en het Residentieorkest. In dit deel staan de symfonieën nr. 5 uit 1816 en nr. 6 gecomponeerd in 1817 centraal. De werken vormen een belangrijke stap naar volwassenheid van de componist. Over de eerder uitgekomen delen in de Schubert-reeks is de internationale pers enthousiast en dat zal over dit mooie laatste deel zeker niet minder zijn.

Schubert was nog een tiener toen hij zijn eerste vijf symfonieën componeerde, maar ze vertegenwoordigen slechts een fractie van zijn jeugdige output. In één jaar tijd, tussen zijn Derde en Vierde symfonie, componeerde hij ongeveer tweehonderd werken. Ze vormen een belangrijke stap naar volwassenheid van de componist.

Schuberts muzikale ideeën uit de jaren 1816/1817 lijken soms op thema's van Mozart, Haydn of Beethoven, maar Schubert had al vroeg een geheel eigen stijl ontwikkeld. Zijn Vijfde symfonie uit 1816 valt zeker niet te verwarren met het werk van een andere componist. Maar evenmin met zijn Vierde symfonie, ook dat verschil is opvallend. Door het weglaten van klarinetten, trompetten en pauken gebruikt Schubert een gereduceerde orkestrale instrumentatie vergeleken met zijn vorige symfonieën.

Schubert begon zijn Zesde symfonie in oktober 1817 en voltooide deze in februari het jaar daarop. De Zesde symfonie is een zijstap in Schuberts symfonische ontwikkeling, een excursie die verklaard kan worden door Rossini's fenomenale populariteit. Rossini's opera's werden in die tijd in Wenen met enorm enthousiasme ontvangen. Om van zijn composities te kunnen leven, imiteerde Schubert daarom aspecten van de stijl die destijds zo in de mode was.

De finale van Schuberts Zesde symfonie, de Allegro moderato, begint op een bedrieglijke, weinig om het lijf hebbende en toegankelijke wijze. Hoewel veel van deze bewegingen in het begin opmerkelijk ontspannen, zelfs zwierig, zijn merk je later duidelijk een groter gevoel van urgentie en een sterkere focus. Het is alsof Schubert, die eerst heeft laten zien hoe gemakkelijk hij Rossini's muzikale stijl kan overnemen, uiteindelijk moe werd van dit soort simpele charme die het Weense publiek zo bekoorde. Hier horen we al de buitengewoon ritmische drijfveer en harmonische richting die de grote finale van Schuberts Negende symfonie zou kenmerken.
Schuberts musikalische Ideen aus dieser Zeit ähneln manchmal Themen von Mozart, Haydn oder Beethoven, aber sein eigener Stil war bereits früh entwickelt. Seine Fünfte Sinfonie von 1816 würde man nicht mit dem Werk eines anderen Komponisten verwechseln, obwohl der Unterschied zur Vierten Sinfonie ebenso auffällig ist. Durch den Verzicht auf Klarinetten, Trompeten und Pauken verwendet Schubert hier eine im Vergleich zu seinen vorherigen Sinfonien reduzierte Orchesterbesetzung.

Schubert begann seine Sechste Symphonie im Oktober 1817 und vollendete sie im darauf folgenden Februar. Die Sechste Symphonie stellt einen Seitwärtsschritt in Schuberts symphonischer Entwicklung dar, ein Exkurs, der sich durch die phänomenale Popularität von Rossini erklären lässt. Zu dieser Zeit wurden Rossinis Opern in Wien mit enormer Begeisterung aufgenommen. Um von seinen Kompositionen leben zu können, ahmte Schubert nun Aspekte des Stils nach, der so sehr in Mode war.

Die Ouvertüre in D im italienischen Stil stammt vom November 1817. Wie auch die Sechste Symphonie spiegelt sie den Einfluss von Rossini wider. Laut Heinrich Kreissle, Schuberts erstem Biographen, war dieses Werk das Ergebnis einer Wette, die er mit einigen Freunden abgeschlossen hatte, dass er leicht "im italienischen Stil" komponieren könne.

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...
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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...
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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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