Composer: Franz Schubert
Works: Symphony No. 9 in C, D944, ‘Great’; Igor Stravinsky, Le Sacre du Printemps
Performers: Vienna Philharmonic Orchestra, Zubin Mehta
Recording: Live performance from the Grosses Festspielhaus, Salzburg on August 21st, 1985
Label: ORFEO D’OR C566012B
Franz Schubert’s ‘Great’ Symphony, a monumental work that stands at the confluence of Classical and Romantic idioms, showcases the composer’s masterful ability to fuse lyricism with orchestral grandeur. Written during a period of profound personal and artistic exploration, the Ninth Symphony reveals Schubert’s ambition to rival the symphonic works of Beethoven. It is in this historical context that Zubin Mehta’s interpretation with the Vienna Philharmonic Orchestra (VPO) merits attention, particularly given Mehta’s reputation, more aligned with the Romantic repertoire than the Classical.
Mehta’s reading of the ‘Great’ Symphony unfolds with a compelling dramatic arc. The Andante introduction gracefully sets the stage, flowing into an Allegro ma non troppo that is notably well-paced. Mehta’s choice to emphasize the symphony’s dramatic elements is commendable, as he navigates its intricacies with a sense of purpose that breathes life into Schubert’s expansive landscapes. The oboe solo in the Andante con moto is a highlight, delivered with exquisite clarity, though the movement occasionally struggles under the weight of its ambitions. The strings, while technically proficient, sometimes sacrifice the buoyancy intrinsic to Schubert’s style, leading to moments where the music feels more laborious than lively.
The third movement, traditionally a waltz of buoyant energy, is unfortunately misjudged in tempo and rhythm. The VPO, with its rich tonal palette, has the ability to infuse the music with a sense of air and dance that is lacking here. The trio section drags uncharacteristically, resulting in a performance that feels as if it is caught in molasses, rendering the structural repetitions less impactful. Mehta’s approach here could benefit from a more spirited interpretation, one that engages the inherent playfulness of Schubert’s scoring.
In stark contrast, the finale bursts forth with a theatricality that captures the essence of jubilant exuberance, showcasing the VPO’s strengths. The conclusion of the symphony emerges as its most successful segment, characterized by a brio that is infectious. However, while the recording quality is commendably clear, allowing for a detailed appreciation of the orchestration, the overall performance does not rise to the level of competition within Schubert’s canon. Günter Wand’s interpretations, particularly his recent Cologne reissue, offer a more cohesive and compelling vision of this symphonic masterpiece.
Turning to Stravinsky’s Le Sacre du Printemps, Mehta navigates this complex work with a tension that fluctuates between carefulness and moments of striking precision, particularly evident in the string sections’ articulation. Yet, the performance occasionally lacks the ferocity that the score demands. Stravinsky’s ballet, often perceived through the lens of raw, primal energy, is presented here with a more restrained approach. While the intention to recapture the dance elements is laudable, the execution falls short of delivering the visceral impact that the piece embodies. The climactic ‘Ritual Dance’ is visceral but does not accumulate the rhythmic tension to achieve a truly explosive conclusion.
The recording boasts a good acoustic balance, revealing intricate details within the orchestration, yet it lacks the depth of interpretation found in more dynamic renditions, such as Valery Gergiev’s recent efforts. Gergiev’s interpretation exemplifies what is possible when the layers of rhythm and texture are fully realized, providing a stark contrast to Mehta’s more cautious approach.
Mehta’s interpretations of both Schubert and Stravinsky offer intriguing insights but ultimately leave the listener craving more depth and vibrancy. While the VPO performs with their signature polish, the interpretations do not fully engage with the dramatic potential of the scores. Their artistry shines through moments of clarity and precision, yet the performances would benefit from a more daring engagement with the emotional landscapes of both composers. Thus, while the recording is a valuable document of a live performance, it does not ascend to the heights occupied by the finest interpretations of these towering works.
