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| BIS - 1786 SACD |
Thomas Dausgaard and the Swedish Chamber Orchestra are not
lacking in weight in the opening of the Adagio
maestoso – Allegro con brio of Symphony
No. 3 in D major, D.200, yet there is soon evidence of a lighter,
transparent sound with limited vibrato. When the allegro arrives, Dausgaard and the orchestra are so fleet footed as
the music rushes ahead, yet with a terrific bass weight. These players give
this their all, with terrific ensemble and some fine individual orchestral
sections, particularly the brass and woodwind. The Allegretto brings a fine contrast, nicely paced, crisp and detailed
showing the finest of Schubert’s lighter side. There is a beautifully shaped
middle section. There is a really rumbustious Menuetto. Vivace with some lovely woodwind details and a nicely
flowing, dancing trio section; finely shaped. The Presto vivace hurtles away, full of lithe energy showing what a
great team Dausgaard and his Swedish players are, giving such an energetic,
joyful performance.
The Swedish Chamber Orchestra surely must be one of the
finest chamber orchestras around. I don’t think I’ve heard the third played
with so much litheness, drama and sheer bravura for a long time.
Symphony No. 4 in C
minor, ‘Tragic’. D.417 opens with a weighty Adagio molto with something
less dynamic about it, a dark side with some fine orchestral rubato from the Swedish
Chamber Orchestra. Again the restrained use of vibrato brings a period feel
with their fine rubato tending to lend a menace to the music. When the Allegro vivace arrives, it is full of
nervous energy. The orchestral transparency is terrific though there is no
shortage of weight in the basses, pointed up by the timpani. As the movement
develops, Schubert can’t seem to avoid gaining in optimism, the music becoming
less tense. The Andante flows
beautifully with a lovely rhythmic second subject, so sensitively played, with
beautifully turned phrases and subtle orchestral shading.
There is a lovely rhythmic bounce in the little Menuetto. Allegro vivace, brilliantly
pointed up by the timpani and with a lovely little trio section, beautifully
done. How Dausgaard and his orchestra move from Menuetto to the trio section and back again is superbly done. The Allegro brings a beautifully smooth,
flowing before the tempo increases and the music lightly dances quickly along
with some terrific phrasing. Dausgaard and his orchestra pull the listener along
at every stage in playing of such energy, flair and finesse.
The Allegro of Symphony No. 5 in B flat major, D.485 moves swiftly along with
Dausgaard bringing out all the little Schubertian qualities, avoiding any idea
that somehow this is Mozartian piece. This is very much pure Schubert. The SCO
do wonders with the fast flowing tempo. There are beautiful woodwind phrases and
quieter moments that slowly flow, but primarily Dausgaard keeps the tempo up to
great effect. In the lovely Andante con
moto, where the music is never allowed to drag, there are more beautifully
turned phrases as well as some nicely crisp, dynamic moments.
The Menuetto. Allegro
molto is really superbly done, so rhythmically alive and fast flowing with
a pacing of the trio section that works so well. A fast flowing Allegro vivace is full of superb
dynamics with the SCO providing such a superb weight for such a small band. The
lighter second subject is delightfully done, soft, flowing and mellow with this
orchestra giving such lovely sounds as well as some fine dynamic outpourings.
These are performances that provide so many facets of
Schubert’s genius. The recording from BIS does much to enhance these performances.
There are informative booklet notes.
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