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DISCID=ba125a0c
DTITLE=Beecham, Sir Thomas; Royal Philharmonic Orchestra / Schubert: S
DTITLE=ymphonies Nos. 3, 5 & 6
DYEAR=1989
DGENRE=Classical
TTITLE0=Symphony No 3 in D, D200 -  I.  Adagio maestoso - Allegro con 
TTITLE0=brio
TTITLE1=Symphony No 3 in D, D200 -  II. Allegretto
TTITLE2=Symphony No 3 in D, D200 -  III. Minuet (Vivace) & Trio
TTITLE3=Symphony No 3 in D, D200 -  IV. Presto vivace
TTITLE4=Symphony No 5 in B flat, D485 - I. Allegro
TTITLE5=Symphony No 5 in B flat, D485 - II. Andante con moto
TTITLE6=Symphony No 5 in B flat, D485 - III. Menuetto (Allegro molto) 
TTITLE6=& Trio
TTITLE7=Symphony No 5 in B flat, D485 - IV. Allegro vivace
TTITLE8=Symphony No 6 in C, D589 - I. Adagio - Allegretto
TTITLE9=Symphony No 6 in C, D589 - II. Andante
TTITLE10=Symphony No 6 in C, D589 - III. Scherzo (Presto) & Trio
TTITLE11=Symphony No 6 in C, D589 - IV. Allegro moderato
EXTD=Mastery of form came to Schubert spontaneously. This is\nillustra
EXTD=ted by his early symphonies, . . . at which, the\nmore I study th
EXTD=em, the more I m arvel. Although the influence\nof Haydn and Moza
EXTD=rt is apparent in them, S chuberts\nindividuality is unmistakable
EXTD= in the character of the\nmelodies , in the harmonic progressions
EXTD=, and many exquisite\nbits of orchestration .\n\nDvoraks comments
EXTD= (from an article he wrote in 1894) are\nless remark able for the
EXTD=ir musical insight than for the fact\nthat they represent one  of
EXTD= the earliest attempts at a\ncritical evaluation of Schuberts sym
EXTD=phoni es since the\ncomposers death in 1828. For years, Schuberts
EXTD= reputation\nh ad rested almost entirely upon his 600 glorious so
EXTD=ngs, to\nthe extent tha t his achievements in other fields were\n
EXTD=largely overlooked. None of hiso rchestral music was\npublished d
EXTD=uring his lifetime, and the first six sym phonies\ndid not appear
EXTD= in print until the mid-1880s. Posterity has,\nfor tunately, redr
EXTD=essed the balance. And while the early\nsymphonies (with th e exc
EXTD=eption of No.5) cannot be seen as\nundisputed masterpieces, neith
EXTD=erd o they deserve to be\ndismissed as juvenilia: they contain mu
EXTD=ch to deligh t the\nlistener, not least that apparently effortles
EXTD=s lyricism\nwhich Dvo rak - himself a lyrically gifted composer -
EXTD= was\nquick to appreciate.\n\n The Third Symphony dates from 1815
EXTD=. This was an\nextraordinary year forSc hubert, for despite his i
EXTD=rksome\nduties as a schoolmaster, he was ableto complete some 200
EXTD=\ncompositions, including four operas, two Masses and 14 5\nsongs
EXTD=. As in the earlier D major Symphony (1813), a slow\nintroduction
EXTD=  provides transitional material for the ensuing\nfirst movement.
EXTD= If the d otted rhythms of the Allegro con\nbrios two main themes
EXTD= prefigure theGrea t C major\nSymphony, the charming, Haydnesque 
EXTD=Allegretto is a modelof\nCl assical understatement. A vigorous mi
EXTD=nuet, complemented\nby a disarmingly  simple waltz-trio, is follo
EXTD=wed by a Presto\nvivace tarantella that veers  characteristically
EXTD= between D\nmajor and its flattened submediant (Bflat) .\n\nIn 18
EXTD=16, Schubert was persuaded by Franz von Schober to\nabandon sch o
EXTD=olteaching and devote himself to composition.\nThe liberating eff
EXTD=ect thi s had is surely discernible in the\nunparalleled optimism
EXTD= of the Fifth Sy mphony, which was\ncompleted that autumn. Scored
EXTD= without clarinets,trumpe ts or\ndrums, the work has a delightful
EXTD= clarity of texture. It\nprobably received its first informal air
EXTD=ing at the house of\nSchuberts friend Otto  Hatwig. Concision is 
EXTD=everything: the\nopening Allegro dispenseswith a sl ow introducti
EXTD=on, and\nanticipates the maturer Schubert by having the\nrec apit
EXTD=ulation in the subdominant. The slow movements\neloquent, sighing
EXTD= phr ases and the assertive subject of the G\nminor Menuetto both
EXTD= recall Mozar ts late symphony in that\nkey, but the harmonic sid
EXTD=esteps of the bubbling  finale are\necht Schubert.\n\nBack once m
EXTD=ore in the schoolhouse by Augus t 1817, Schubert\nwrote two overt
EXTD=ures in the Italian style and started on \nhis Sixth Symphony, wh
EXTD=ich he completed the following\nFebruary. Rossini  was then all t
EXTD=he rage in Vienna, and\ndoubtless Schubert saw an opportun ity to
EXTD= jump on the\nlucrative Italian bandwagon. The symphony has a mar
EXTD=ve llous\nBeethovenian scherzo, and the scoring of the Allegros f
EXTD=irst\ntheme , for flutes, oboes and clarinet, is especially\nfeli
EXTD=citous; ironically, the works more vapid moments tend\nto occur w
EXTD=hen Schubert is paying lip-s ervice to his\nillustrious operatic 
EXTD=contemporary.\n\n INGRID GRIMES, 196 9\n\nBeecham and the Schube
EXTD=rt Symphonies\n\nGiven Beechams affection and admiration for Schu
EXTD=berts\nsymphonies, it seems strange that they did not become\npro
EXTD=minent in his programmes until the 1930s, when he was\nover 50 . 
EXTD=Only a handful of performances of No. 8 (the\nUnfinished) andfewe
EXTD=r stil l of No. 9 (the Great C major)\npredate this period, and n
EXTD=one at all of t heothers. Yet\nwithin a few weeks of his founding
EXTD= the London Philharmonic \nOrchestra in 1932 he conducted No. 5 a
EXTD=nd then No. 6 before\nrecalling N os. 8 and 9 to his repertoire. 
EXTD=The most likely\nexplanation would seem to  bethat he felt he cou
EXTD=ld only do\njustice to these perenniallyfresh and e nchanting pie
EXTD=ces\nwith an orchestra of his own, one which wasused to his\\ nme
EXTD=thods and from \n\n\n\nwhich he knew he could obtain the highest\n
EXTD=eloquence of  phrase and finish. Certainly those are the\nqualiti
EXTD=es that aboundin his classic 30s recordings of No. 5\nand the Unf
EXTD=inished; and they arefound to  only as lightly\nlesser degree in 
EXTD=the version of No. 6 which hemade in 1 944\nupon his return to En
EXTD=gland after a five-year absenceduring\nthe war. \n\nIn 1951, with
EXTD= a new orchestra (the Royal Philharmonic, which\nhe foun ded in 1
EXTD=946), he returned to Schuberts symphonies in\nearnest. In the cou
EXTD= rse of the 1952 - 4 concert seasons he\nplayed them all (includi
EXTD=ng No. 4,  which apparently he\nperformed on one occasion only an
EXTD=d, like No. 9, nev er\ncommitted to disc) and recorded Nos. 1, 2 
EXTD=and 8 in mono \nNo. 6 - an early stereophonic recording - followe
EXTD=d in 1955 \nand three years later, in May 1958 at the age of 78, 
EXTD=he began\nwork on Nos. 3 and 5 atsessions i n Paris. He returned 
EXTD=to\nNo. 5 the following December (when hewas in Lond on) and to\n
EXTD=both in May 1959: only then, at the end ofnine sessions,\nwer e t
EXTD=hey finally recorded to his satisfaction.\n\nA note on repeats an
EXTD=d cut s. It was never Beechams custom to\nobserve automatically r
EXTD=epeats in Clas sical symphonies, and\nanyone following these perf
EXTD=ormances with the score  will\nnotice the absence of first-moveme
EXTD=nt exposition repeats\nand certa in other passages. In addition, 
EXTD=in the performances\nheard here he follow ed his customary practi
EXTD=ce of excising\nsome passages of repetition (or ne ar repetition)
EXTD=: Symphony\nNo. 3, first movement, bars206 - 13; Symphony N o. 5,
EXTD= second\nmovement, bars 132 - 5; Symphony No. 6, first movement, 
EXTD=bar s\n357 - 64, and fourth movement, bars 479 - 506 and539 - 44.
EXTD=\n\n LYNDON  JENKINS, 1989
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