Orquesta Barroca Simón Bolívar, conductor: Michael Form, live from Teatro Teresa Carreño, Sala José Felix Ribas, Caracas (Venezuela), 21 March 2024
Schubert is said to have said of his Octet D 803 that he wanted to pave the way for the great symphony with this work. However, even the early string quartets, which were intended for performance in the family circle, seem to have been designed with orchestral perspectives in mind: The style of these little-known works is characterised by extended passages with octave parallels between the two violin parts, which are so typical for Haydn's and Mozart's symphonic style since around 1780, expansive tremolos that sound like reminiscences of the orchestral style of the Mannheim School, and fanfares that have only lost the representative gesture of timpani and trumpets.
Schubert himself demonstrated how the orchestration of a string quartet with a full wind section could be realised with the Andante of the Quartet D 74, which he adopted in a further developed form in his Symphony No. 1. There is also an autograph fragment of only 15 bars, which suggests that Schubert reworked this quartet into a symphony. It is no longer possible to reconstruct whether Schubert actually left behind a complete symphony based on D 74, which has been lost over the last 200 years, or whether it was merely a sketchy ‘loosening-up exercise’.
Last but not least, the quartets composed between 1811 and 1813 are peppered with allusions to passages from classical symphonies and unmistakable quotations, such as from The Magic Flute at the end of the first movement of Quartet D 74.
Extensions for string orchestra of well-known works such as ‘Death and the Maiden’ have a tradition that goes back to Gustav Mahler. However, the flautist and conductor Michael Form, in collaboration with the Italian pianist and composer Edoardo Torbianelli and the profound connoisseur of Schubert's string quartets, Christian Starke, has decided to explore the symphonic potential of the musical material that Schubert himself created.
While the two ‘new’ symphonies are early youthful works, the sketches for Symphony No. 10 were written in the last weeks of Schubert's life. The middle movement in particular, an Andante in three-eighths time, here performed in a concert version by Brian Newbould, points far into the late 19th century in an almost visionary way and seems to have inspired Anton Bruckner and Gustav Mahler.
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