Album available // Schubert: Symphony No. 9 "The Great" by Wilhelm Furtwängler
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Franz Schubert (1797-1828) Symphony No. 9 in C Major "The Great", D. 944
I. Andante, Allegro ma non troppo (2023 Remastered, Berlin 1942)
II. Andante con moto (2023 Remastered, Berlin 1942)
III. Scherzo: Allegro vivace, Trio (2023 Remastered, Berlin 1942)
IV. Finale: Allegro vivace (2023 Remastered, Berlin 1942)

Berliner Philharmoniker
Conductor: Wilhelm Furtwängler
Recorded in 1942, at Berlin
New mastering in 2023 by AB for CMRR
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About this recording: In addition to the unusual room acoustics, these old recordings reveal something quite different and even more essential: Furtwängler's dramatic espressivo style, which storms all musical heavens. He pushes the work to its paroxysm. An absolutely breathtaking re-creation, it perhaps distances us from Schubert, so much so that the concert that evening gives us a glimpse of the performer himself: his doubts, his despair, his fury, his resilience... In a way, the work fades into the background to become the instrument of a personal interrogation. We witness a hallucinatory race to the abyss, made up of incredible contrasts and tensions that push the limits of the extreme ever further... (...)

When Claudio Abbado was asked in an interview about the most compelling artistic impressions of his life, he named Furtwängler: "The recording of the great Schubert Symphony in C major as well as Robert Schumann's Fourth Symphony. The most fascinating thing about them is probably the serenity and calm that lies over the performance, the broad-chestedness with which the music begins to breathe. Colossality is built up from wonderful agogic moments and enlivens the musical scene in the richest possible way. Greatness is not forced or contrived. It grows in naturalness as if by itself. The orchestra seems to enjoy extraordinary freedom. It is never in a yoke. It is allowed to make music in a magnificent way, to play out all the beauty it can manage."

Like its B minor sibling, the C major Symphony (D 944) had a very strange fate. Schubert offered it to the Vienna Gesellschaft der Musikfreunde in 1828, but they rejected its performance as "too long and difficult". Schubert never heard it. After his death, no one asked for it until Robert Schumann came to Vienna in 1838 and discovered its score in the possession of Ferdinand Schubert, one of the composer's brothers. His enthusiasm was not only reflected in a historical article for the "Neue Zeitschrift für Musik", but also prompted its first performance on March 21, 1839 by Felix Mendelssohn at the Leipzig Gewandhaus.

Schumann wrote at the time: "Let me say it right away: anyone who does not know this symphony knows little of Schubert... That there is more hidden in this symphony than mere beautiful singing, more than mere sorrow and joy, as the music has already expressed a hundred times, indeed that it leads us into a region where we cannot remember having been before.... " (...) It is not because of its external proportions, but because of its unmistakable character and its romantic richness of mood that the work rightly bears the title of a "Great C major Symphony". For with the exception of the B minor Symphony, nowhere has the inner greatness of the artist, i.e. the originality and power of his creative ability, been expressed more overwhelmingly than in this magnificent score. It is the answer of the mature genius, marked by the awareness of his early death, to the young Schubert's doubting question as to who could do anything after Beethoven (in the symphony).

COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT.

Wilhelm Furtwängler conducts Schubert: Symphony No.8 "Unfinished" and Rosamunde Overture
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