The motto of this CD release of Schubert’s Symphonies Nos. 3 & 7 in E-major might be “On to new horizons!” In general, this phrase has positive connotations, and it offers an apt description for the sparkling innovative force driving forward Symphony No. 3 in D-major. Here, Schubert is still in a state of experimentation characterized by youthful energy, having overcome the teething troubles which plagued the previous Symphonies Nos. 1 and 2. Does the phrase, however, also apply to the completion of the score fragment of Symphony No. 7 in E-major? One has to admit that the answer is: yes and no. On the one hand, the slow introduction of the Seventh in E-major sounds like something perfectly new (and something newly perfect), on the other, there may have been reasons why Schubert, who impatiently began composing straight into the sketched-out score, left the symphony a mere skeleton. Even in a version completed by another hand, this work is worth exploring, as it builds a bridge from the carefree Symphony No. 6 to Schubert’s late works, the Unfinished Symphony and the Great Symphony in C-major. Two departures for new horizons – and they are two different horizons – are what we seek to document with this recording.
“1939” Europe on the eve of Armageddon. Some still do not want to believe that it will happen, some guessed it and some are fatalistic or even euphoric. Nowadays, barely a little over 70 years later, hardly anybody in the younger generation can imagine that such a catastrophe is possible or could be possible again. On the basis of three violin concertos by Bartók, Hartmann and Walton, which were created this year, these moods of the various composers should be audible on a CD together with the Munich Symphony Orchestra as well as a kind of time machine.
The recording presented here is dedicated to the last two symphonies of Franz Schubert’s earlier compositional period. Both are united by their emergence in the atmosphere of the amateur orchestra founded by Otto Hatwig, in which Franz played the viola, and his brother Ferdinand the violin. This orchestra was a stroke of luck for the young Schubert, akin to a laboratory where he could thoroughly test his compositions against the works of composing contemporaries such as Haydn, Mozart, Beethoven and Méhul, and in real world conditions. Nevertheless, in their compositional intent, the symphonies are so fundamentally different that it is tempting to present these two dissimilar siblings on one CD.
Looking at the entire cycle of the Schubert symphonies, and the existential crisis in which Schubert found himself after 1818, this criticism seems in hindsight to be justified only to a certain extent. The creative chasm that opened up in front of Schubert is documented in his many symphonic drafts and abandoned works. In chamber music and in song composition, his productivity likewise decreased considerably. At that time, there was also the break with his father.
Against this background, the Sixth seems like a charming “coming-of-age” work that demonstrated to the composer – with the utmost severity – the creative limits of youth-fuelled ardour.
The present release of Symphonies 4 and 7 must be understood both as an evaluation of the joint work over past years with the Münchner Symphoniker, and also as a look ahead at what is yet to come. Which composer would be better suited to such a Janus-like look than Schubert – for whom the open, the unspoken and the hoped-for played such an enormous role compositionally as well as biographically?
The logo of the Munich Symphony Orchestra shows a golden angel on the banks of the river Isar – wing tips point skywards, keeping vigil over the Bavarian capital. As one of the city’s four symphony orchestras, the Munich Symphony is strongly committed to Munich and its musical traditions. “The Sound of Our City” is the orchestra’s motto as well as its mission: With four subscription concert series in all of Munich’s major concert venues, the Munich Symphony is one of the city’s most renowned ensembles, while on its numerous national and international tours it takes the “Sound of Our City” out beyond the city boundary.
Kevin John Edusei is one of today’s most promising young conductors. He is known for his delicate, clear conducting which creates space for new nuances in a wide-rangingrepertoire from baroque to contemporary music.Since the season 2014/2015 he has brought exceptional new visions to the Münchner Symphoniker as their chief conductor and has established a strong relationship with the audience.
Titel: Auszüge aus “Der Nussknacker – Geschichte eines Nussknackers”
Katalog Nr: SM 252
Veröffentlichung: 02.12.2016
Produktbeschreibung
Auf dieser Doppel-CD präsentieren die Münchner Symphoniker sich unter der Leitung von Chefdirigent Kevin John Edusei mit Auszügen aus Peter Tschaikowskys beliebter Ballettmusik „Der Nussknacker“. Auf der zweiten CD findet sich die „Geschichte eines Nussknackers“ von Alexandre Dumas, einer weniger bekannten Nacherzählung von E.T.A. Hoffmanns berühmtem „Original-Nussknacker“. Dumas‘ Version der Nussknacker-Geschichte diente als Vorlage für die Ballettmusik von Tschaikowsky.
Tauchen Sie mit dieser Doppel CD ein in die Welt dieser wunderbaren Musik und der Geschichte eines Nussknackers und lassen Sie sich verzaubern: Erleben Sie Ausschnitte aus Peter Tschaikowskys „Der Nussknacker“, einem der populärsten Ballettstücke, mit Texten von Alexandre Dumas, gelesen vom Schauspieler und Sänger Max Müller, bekannt als Michi Mohr aus der beliebten ZDF-Serie „Die Rosenheim-Cops“.
Als eines der vier Symphonieorchester der Stadt sind die Münchner Symphoniker der Stadt München und ihrer Musiktradition intensiv verbunden. „Der Klang unserer Stadt“ ist für das Orchester Motto und Auftrag zugleich. Gleichrangig neben der Klassik pflegen die Münchner Symphoniker hochkarätige Produktionen aus den Bereichen Oper, Filmmusik und Show. Pro Jahr stehen rund 110 Konzerte auf dem Programm, in denen das Publikum das breite Repertoire und den extrovertierten Musizierstil des Orchesters erleben kann.
Ein Euro pro CD geht an die Spendenplattform der Stadtsparkasse München www.gut-fuer-muenchen.de
Tracklist
CD 1 – Die Musik
Auszüge aus dem 1. Akt
Ouvertüre miniature (Allegro giusto)
03:20
Vorrede, in welcher erklärt wird, wie der Verfasser gezwungen wurde, die Geschichte vom Nürnberger Nussknacker zu erzählen
05:12
Marsch der Zinnsoldaten
02:35
Auszüge aus dem 3. Akt
Im Zauberschloss von Zuckerburg und Marie (Klärchen) und der Prinz