The earlier Schubert symphonies, nos. 1-6 that is, are on the
scale of Mozart rather than of Beethoven. No problem with that of course,
nor is their mastery in doubt. But we have to remember that these supremely
fresh masterworks are the product of a teenage composer, and modelled
on the Viennese classical style of the previous generation. In due course,
Schubert would go forward and develop his own powerfully unique voice
in the Unfinished Symphony (No. 8) and the Great C major
(No. 9).
It is the 'Little C major', the Symphony No. 6, which
features here. It is a rather hard piece to bring off, the problem being
to articulate the tricky rhythmic contour of the first's movement's
principal material at a suitable tempo, at once lively and sensitively
phrased. It is no surprise that Günter Wand manages to achieve
this demanding balancing of opposing forces, and the music has never
to my ears sounded so beguiling.
If the most difficult challenge is met in the first
movement of this symphony, the remaining movements continue the excellent
standard. It is perhaps in the Andante slow movement, when the
quality of sound becomes more paramount, that a certain dryness, perhaps
resulting from the remastering process, comes into focus. It is not
a major problem, but in quieter passages the string tone could be more
warm.
The D major Symphony No. 3 is an altogether more direct
composition, its first movement developing with a true con brio sweep
of exaltation. The Allegretto which follows is in lieu of slow
movement, and since Wand phrases the music with such sensitivity the
lyrical aspect of the music is given its focus. The remaining movements,
the minuet and finale, are abundantly lively; and in the
Indian summer of his career Wand achieves a youthful vigour, words which
also apply to the playing of the Cologne orchestra.
Terry Barfoot
Cologne Radio Symphony
Orchestra/Günter Wand