Franz Schubert Sinfonien 1 & 8 Unvollendete Klangkollektiv Wien, Rémy Ballot

Publisher: SEPEA audio

Playing time: 53 min

Specifications: half track ¼", stereo, RTM SM911, 2 metal reels, CCIR, 510 nWb/m, 38 cm/s

Homepage: https://sepeaaudio.com/

Translation of the German review:

When we consider that the composer Franz Schubert, who lived to be only 31 (* January 31, 1797, † November 19, 1828 in Wieden, now a district of Vienna), composed 6 Latin masses, 4 offertories, 17 stage works, about 600 songs, 12 symphonies (5 of them unfinished), 9 overtures, 30 chamber music works, 21 sonatas and other pieces, we can ask what else he actually did in life. The outstanding representative of the early Romantic period received regular music lessons at the age of five. In addition to violin and organ, it was his voice that distinguished him. His first compositions are dated 1810. Things did not go particularly well for Franz Schubert at school. Musically, he was taught by Antonio Salieri until 1816, and from then on, he composed productively. Through his large circle of friends, he became better known on the scene. He made his way as a teacher until 1817. Unfortunately, he did not enjoy great success in the years that followed, and from 1822 he had to struggle with a variety of illnesses. Today, experts agree that Schubert created extraordinary works for his time in all musical genres. It was to take many years before Schubert's work was established in the public mind. The beginning was made by his songs, which became famous. His instrumental music gained central importance in the 20th century and finds its continuation in the here and now with the "Klangkollektiv Wien" and the recording presented here.

Schubert composed Symphony No. 1 (D major, D 82) in 1813 at the age of 16. Of how the work was performed during the composer's lifetime, there are conflicting accounts. What is certain is that in 1881 all of Schubert's symphonies were performed at the Crystal Palace in London and received a positive response. The 1st Symphony is a very balanced composition with wonderful melodic arcs. The work, full of character, is considered very mature for such a young composer.

The Symphony No. 8 "Die Unvollendete" (B minor, D 759), composed in 1822, is also considered the 7th symphony, depending on how it is counted. The score was found in 1865 and premiered in Vienna that same year. The fragment consists of two movements. Musicologists are divided as to whether Schubert considered the symphony completed with two movements, whether he never reached completion, or whether he broke off during the fragment of a third movement because he was moving close to the third movement of Beethoven's 2nd Symphony.

The orchestra "Klangkollektiv Wien" was formed out of the conviction to cultivate the Viennese classical music. The musicians come from various large orchestras and are driven by the motivation to do something special in this ensemble. In their promotional video (internet search term: "Klangkollektiv Wien Promotion Video") you can hear from the participants themselves that it is the common conviction of the importance of creation, the good mood and enthusiasm in the ensemble, the special energy of the orchestra and the love for the very own, typical Viennese music, which is the team spirit and the basis for such a high-class performance.

Listening to the 1st Symphony is already a lot of fun, because the Klangkollektiv Wien puts in a mighty effort. Of course, this is also due to conductor Rémy Ballot, who leads the musicians into a varied and distinctive style of playing. As a listener, one can look forward to an entertaining 30 minutes of music played in a modern and upbeat manner. The comparison of the 1st Symphony with its classical four movements, in contrast to the Unfinished, I find to be a very good idea. Thus, the early work meets the late work. If the first work fulfills a habit in the listener, the second work rather raises questions. How is it possible with only two movements? Were there really efforts to complete this symphony? To my mind, the Unfinished presents itself exactly as it is: as a mature work in which nothing is missing to me. I would describe the structure of the two movements as spectacular. A gripping drama awaits the listener.

Anyone with a two-track machine capable of transporting the tape at 38 cm/s will certainly be rewarded with this recording. Hardly ever have I heard such a noise-free and accurately produced tape. Since the low noise goes hand in hand with the dynamics, the latter come through especially well, which is good for orchestral recording with acoustic instruments. Tape copies are taken directly and analog from the master. This is as close as you can get to a production in your living room. The dominance and importance of the analog medium is clearly demonstrated here: it definitely works great without all the difficulties and disadvantages of digital-to-analog signal conversion.

Translated with www.DeepL.com/Translator (free version)