Philippe Herreweghe's 2011 recording of Franz Schubert's Symphony No. 6 in C major, "Little," and the Symphony No. 7 in B minor, "Unfinished," demonstrates the distinct stylistic differences between the works. Separated by four years (and ten attempted symphonic movements in the interim), the Sixth and Seventh show Schubert's undeniable evolution from a Classical symphonist who emulated Mozart's elegance, Beethoven's directness, and Rossini's humor, to a Romantic who had discovered a profoundly original voice, indebted to ...
Read More
Philippe Herreweghe's 2011 recording of Franz Schubert's Symphony No. 6 in C major, "Little," and the Symphony No. 7 in B minor, "Unfinished," demonstrates the distinct stylistic differences between the works. Separated by four years (and ten attempted symphonic movements in the interim), the Sixth and Seventh show Schubert's undeniable evolution from a Classical symphonist who emulated Mozart's elegance, Beethoven's directness, and Rossini's humor, to a Romantic who had discovered a profoundly original voice, indebted to no one. Placing these works side by side also illustrates a problem of historically informed performance practice, insofar as the Sixth demands a fairly Classical period treatment, while the "Unfinished" allows more flexibility for conventional interpretation. Herreweghe is conscious of the music's needs in each case, so his approach in the Sixth is appropriate for its light textures and amiability, while his reading of the "Unfinished" is full-throated, passionate, and practically...
Read Less
