Schubert: Symphonies Nos. 4 & 5
Karl Munchinger / Vienna Philharmonic Orchestra
London CM 9378
Schubert got closer to the full metaphysical revelation than any other composer.
Franz Schubert, according to his drinking and eating buddies, composed maniacally–on tablecloths, on menus, on anything that was handy in whatever tavern he happened to be in. At the piano, he’d sit, as one friend said, and would so totally subsume himself in the music that he’d become nearly unrecognizable.
Yet very little of his output, until relatively recently, was part of the standard repertoire. Sergei Rachmaninov, in the 1920s, wasn’t even aware that Schubert had even composed piano sonatas, which seems a tad apocryphal.
Of the 9 symphonies, or 8, since No. 9 is sometimes called the 7th–not mentioning the outlines of the 10th, which would be another unfinished symphony, and so would be considered the 9th (on that matter, Luciano Berio has an interesting piece called “Renderings” that mixes those sketches with reworkings of his own). Regardless, the “Unfinished” and the 9th (7th) are obviously the most played, and contain some of the greatest movements in the symphonic repertoire.
Compared to those, Schubert’s previous symphonies are very much in the Haydn/Mozart mold, so much so that they seem to be from different eras, as though Beethoven had gone from an early piano sonata to the op. 132 Quartet. Listen to the 6th and then the 8th and it’s like flipping from classical to full-fledged Romantic. Unbelievably, the 2 symphonies conducted by Munchinger here, the 4th and the 5th, were both finished in the same year, 1816, and though they share a classical pedigree, the 5th is certainly the lighter of the two.
A spirited symphony, it begins with an Allegro and proceeds in B-flat minor in a search for the introductory theme, then offers a surprise by previewing the melodies of the middle sections. Schubert dispenses with the usual instrumentation, doing away with clarinets, trumpets and timpani, either out of necessity for what was available to him, or to pay homage to Mozart, who left out those same sections in his 40th Symphony. Music historians have pointed out the similarities between that symphony, and also the 5th’s resemblance to Mozart’s Violin Sonata in F major.
These symphonies owe a lot to Schubert’s fore-bearers, and contain only a seed of the emotional intensity that would burst forth like the two butterflies on the front of this recording in his latter symphonies.