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| Philips (Full price) (CD) 438 006-2PH (56 minutes: DDD). Recorded in association with Deloitte & Touche. |
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| LCP, Norrington (4/90) (EMI) CDC7 49949-2 |
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| Hanover Band, Goodman (4/90) (NIMB) NI5222 |
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With the exception of Goodman, all the period-instrument recordings of the Great C major restore equal opportunity to Schubert's woodwind. Where Bruggen differs from his colleagues is in a few questionable—but only from a strictly 'authentic' standpoint—variations in pace. So, for example, in the last few bars of the first movement's coda, you will find the familiar 'traditional' broadening for the restatement of the opening horn theme; and a surprising degree of licence in the slow movement: early intimations of the fateful nature of things bring a slowing for the threatening chords at 2'13" and another, only more extreme this time, with those same chords, at 7'30". And there are further fearful hesitations and a broadening towards the movement's central climax—all theatrical/rhetorical gestures you may not have expected from a period-instrument performance.
Pacing throughout is swift (aside from the above and related deviations), with Bruggen challenging the mobility of his lightweight orchestra—particularly in the first movement's coda, and the finale—and it is a challenge superbly met. His concern for buoyant rhythms, well established and maintained momentum and a period-instrument sound results in a Schubert Ninth both lithe and lyrical. Inevitably there will be those who find it all about as momentous as a plate of tofu and beansprouts. Certainly it seems unusually bass light: Bruggen uses only four double-basses; Norrington has six, and one more of each of the other strings.
In fact, Norrington has a noticeably firmer, more defined string body, greater personality and projection from the brass and timpani, and encourages a wider range of dynamics generally. As ever, you wonder whether the Philips recording is properly representing the tone and balance of Bruggen's orchestra, but I assume that he is happy with it, or changes would have been made by now. Still, I am surprised that he and the Philips technicians allowed to pass the curious veiling of the sound that afflicts the last few bars of the Scherzo and most of the finale.
JS