~ SCHUBERT ~
Οι περισσότεροι θα ξερετε ότι ο Σούμπερτ εχει μια ημιτελη - την 8η.Στην πραγματικότητα όμως, δεν πρόλαβε να ολοκληρωσει και την (ενορχήστρωση της ) 7 του .
Symphony No. 7 (Schubert)FWikipediaFranz Peter Schubert drafted a four-movement symphony in E major (D 729) in August 1821 but, though the work (which comprises about 1350 bars) is structurally complete, he only orchestrated the slow introduction and the first 110 bars of the first movement. The rest of the work is however continued on 14-stave score pages as a melodic line with occasional basses or counterpoints, giving clues as to changes in orchestral texture. The movements are:Schubert/Weingartner Symphony No.7 in E majorAdagio ma non troppo - AllegroAndanteScherzo: Allegro decisoAllegro vivaceSchubert/Newbould Symphony No.7 in E major/minorAdagio - AllegroAndanteScherzo: AllegroAllegro giustoSchubert seems to have laid the symphony aside in order to work on his opera Alfonso und Estrella, and never returned to it. The manuscript was given by Schubert's brother Ferdinand to Felix Mendelssohn and was subsequently acquired by Sir George Grove, who bequeathed it to the Royal College of Music in London. There are at least three completions - by John Francis Barnett (1881), Felix Weingartner (1934) and Brian Newbould (1981). The work is now generally accepted to be Schubert's Seventh Symphony, an appellation which some scholars had preferred to leave for the chimerical 'Gastein Symphony' that was long believed to have been written and lost in 1824.
Symphony No. 7 (Schubert) - Wikipedia, the free encyclopedia
Schubert - F. Weingartner (1934) Symphony No 7 in E major D 729 - 1
Schubert - F. Weingartner (1934) Symphony No 7 in E major D 729 - 2
Schubert - F. Weingartner (1934) Symphony No 7 in E major D 729 - 3
Schubert - F. Weingartner (1934) Symphony No 7 in E major D 729 - 4
Η δευτερη -και πιο γνωστη ημιτελής του- ειναι η περιφημη 8η συμφωνια του. Την ακούμε από την Berlin Philharmonic σε διευθυνση Wilhelm Furtwängler.
Franz Schubert's Symphony No. 8 in B minor (sometimes renumbered as Symphony No. 7, in accordance with the Neue Schubert-Ausgabe ), commonly known as the "Unfinished Symphony" (German: Unvollendete), D.759, was started in 1822 but left with only two movements known to be complete, even though Schubert would live for another six years. A scherzo, nearly completed in piano score but with only two pages orchestrated, also survives. It has long been theorized that Schubert may have sketched a finale which instead became the big B minor entr'acte from his incidental music to Rosamunde, but all the evidence for this is circumstantial. One possible reason for Schubert's leaving the symphony incomplete is the predominance of the same meter (three-in-a-bar). The first movement is in 3/4, the second in 3/8 and the third (an incomplete scherzo) also in 3/4. Three consecutive movements in basically the same meter rarely occur in symphonies, sonatas or chamber works of the great Viennese composers. Haydn's Farewell Symphony has been cited as a notable exception; but its finale, though ending with a 3/4 Andante in which all the instruments drop out one by one leaving two duetting solo violinists ending the work in F-sharp major, starts with an orthodox sonata-allegro in the tonic F-sharp minor in common (i.e., duple) time transitioning after the recapitulation to the unorthodox extended slow 3/4 "Farewell" coda in modified sonata form.The Unfinished, third movement, Facsimile, 1885, In J. R. von Herbeck’s BiographySchubert’s Eighth is sometimes called the first Romantic symphony due to its emphasis on expressive melody, vivid harmony and creative combinations of orchestral tone color despite the architecturally imposing Classical sonata-form structures of its two completed movements highlighted by the dramatically climactic development section of the first movement based solely on its quietly sinister opening theme.To this day, musicologists still disagree as to why Schubert failed to complete the symphony; or even whether he did fail to complete it. Some have speculated that he stopped working on it in the middle of the scherzo in the fall of 1822 because it was associated in his mind with the initial outbreak of syphilis, or simply that he was distracted by the inspiration for his Wanderer Fantasie for solo piano which occupied his time and energy immediately afterward; or perhaps a combination of both factors.
Schubert/Newbould: Symphony No.8
Modern completions... recently, British musicologists Gerald Abraham and Brian Newbould have also offered completions of the symphony (scherzo and finale) using Schubert's scherzo sketch and the extended B minor entr'acte from his incidental music to the play Rosamunde Schubert wrote a few months later, long suspected by some musicologists as originally intended as the "Unfinished"'s finale. (In fact, it was even played as the finale as long ago as the British premiere of the symphony on 6 April 1867.) Its first movement, the scherzo sketch and the entr-acte are all in B minor, their instrumentation is the same, and the entr'acte (like the first movement) is in sonata-form (as are all Schubert's symphonic finales) and in a very similar style and mood. If the entr'acte indeed started life as the finale of this symphony, then Schubert evidently recycled it (probably at that stage unorchestrated) from the symphony to the incidental music, presumably orchestrating it for the play and perhaps making compositional changes.
Symphony No. 8 (Schubert) - Wikipedia, the free encyclopedia
Felix von Weingartner "Symphony No 6" (2. Mov.)
In 1927–28, Felix Weingartner, better known as a great classical conductor who was the first to record all nine Beethoven symphonies (divided between London and Vienna) and the second (after Stokowski in Philadelphia) to record all four of Brahms (in London), composed his Sixth Symphony, La Tragica (in memory of 19 November 1828 [the day Schubert died)), as a tribute to Schubert on the centenary of his death. The second movement of Weingartner's symphony is a realization of Schubert's incomplete sketch of the scherzo seventy years before Newbould's independent effort that has been preserved on CD (unlike Weingartner's, at least as of February 2013).
*...και το τριτο συμφωνικό εργο που αφησε ημιτελες ο μεγαλος ρομαντικός που, αν και πεθανε τοσο νεος, πρόλαβε να μας αφησει ενα κυριολεκτικα τεραστιο, τόσο σε όγκο όσο και -κυριως- σε αξια, εργο.Πρόκειται για τη 10η συμφωνια του, την οποία αφησε σε κατασταση προσχεδιου . Το προσχεδιο μετετρεψε σε εργο (δεν χρησιμοποιώ το ρημα "συμπληρωσε" γιατι δεν αποδιδει την πραγματικότητα) ο Brian Newbould .
Schubert/Newbould: Symphony No.10
N. Marriner Schubert's Symphony No. 10 in D major, D.936a, is an unfinished work that survives in a partly fragmentary piano sketch. Only properly identified in the 1970s, it has been orchestrated by Brian Newbould in a conjectural completion that has subsequentlybeen performed, published and recorded.The sketch appears to date from the last weeks of the composer's life, in October–November 1828, and is presumed to be the Last Symphony (Letzte Symphonie) mentioned by his friend Eduard von Bauernfeld in an appreciation of Schubert published in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode for 13 June 1829.The symphony was evidently planned, unlike any of Schubert's other symphonies, in three movements:No tempo marking (Allegro maestoso in Newbould's edition); D majorAndante; B minor/ majorScherzo (Allegro moderato in Newbould's edition); D major.Despite the title 'scherzo', the remarkable third movement, which is extremely contrapuntal in texture and includes extended fugal passages, appears to be a compound movement performing the functions of both scherzo and finale. The most fully preserved movement is the Andante, an impressively solemn, slow-march invention which has been seen as anticipating Gustav Mahler. There are about 30 instrumental indications in Schubert's sketch which confirm that the orchestra to be employed was similar in size to the Eighth and Ninth symphonies, with a trio of trombones which make impressive contributions in the first two movements.The music of the symphony appears to some extent exploratory and contains unusual elements, notably the hybrid form of the third movement and the highly contrapuntal nature of much of the material. Sketches for the third movement are intermingled with several counterpoint exercises, which suggests that it is related in some way to the one counterpoint lesson Schubert lived to take from Simon Sechter a few weeks before his death at 31 from typhus on November 19, 1828.Πηγή:
Η συνθεση Rendering του Luciano Berio στηριζεται στις σημειωσεις του Σούμπερτ για τη 10η συμφωνια του.Προτεινω να την ακούσετε . Ειναι μια συνθεση πολύ ευκολη και ευχαριστη και αποδεικνυει ότι οι (πειραματιστες) συνθετες του μοντερνισμου ήξεραν μια χαρα να συνθετουν "κλασικα", αντιθετα απο ότι λενε διαφοροι πολέμιοί τους.
Rendering is a 1989/1990 composition by the Italian composer Luciano Berio. Cast in three movements for full orchestra, it takes as its structure the fragmentary score of Schubert's uncompleted D major symphony, D936a.The work lasts for around 33 minutes. Its first two movements were completed in 1989 and first performed in June of that year, with Nikolaus Harnoncourt conducting the Concertgebouw Orchestra in Amsterdam. The third movement followed early the next year, and all three movements were played together for the first time in April 1990 under Riccardo Chailly, also in Amsterdam.Berio leaves Schubert's original parts intact, entering the score only where there are gaps or partial work. As the title suggests, Berio fulfils a function close to that of a builder completing a house: his contributions fill the gaps like mortar fills the spaces in between the solid structure. Berio uses Schubertian motifs and quotes from the existing score, but in doing so emphasises the chasms in the score rather than attempting to smooth the interruptions away. As Giordano Montecchi statesSchubert's fragments give rise to musical moments of vertiginous beauty which nevertheless constantly founder in the emptiness of what was "not done" - and Berio fills this emptiness with... an iridescent musical screed woven around the timbre of the celesta... separating the fragments and at the same time holding them together, enabling them to reach the symphonic goal for which they were intended..."Unlike pieces such as the various editions of Gustav Mahler's fragmentary Tenth Symphony, or Brian Newbould's conjectural orchestration of the Schubert, Rendering is intended as a completed work in its own right, rather than a 'performing version' of Schubert's Tenth.Rendering has proved one of Berio's most enduring pieces and has been recorded several times, twice by Chailly alone. When illness caused the Italian maestro to withdraw from performances in Munich in 2011, David Robertson took over and the result was a new reading and recording by the Bavarian Radio Symphony Orchestra.Πηγή: