Schubert Symphony No.9 D.944 “Great”

1. Franz Benda Violin Sonata XXIII in C minor Leila Schayegh(violin), Václav Luks(fortepiano) [12:32] 2. Franz Schubert Symphony No.9 D.944 “Great” Residentie Orkest The Hague/Jan Willem de Vriend [57:10] Franz Schubert’s Symphony No. 9 in C major, D. 944, commonly known as The Great, is a monumental orchestral work completed in 1826. It was nicknamed The Great C major to distinguish it from his earlier Symphony No. 6, the Little C major. The symphony is celebrated for its “heavenly length” and innovative blend of Classical forms with Romantic expression‎. Key Features: • Structure: The symphony follows the traditional four-movement form: 1. Andante – Allegro ma non troppo: Introduced by a horn call, it transitions into a vibrant sonata form with rich thematic development. 2. Andante con moto: A lyrical and march-like movement in A minor. 3. Scherzo: Allegro vivace: A lively scherzo with contrasting trio sections. 4. Finale: Allegro vivace: A powerful, inventive conclusion with thematic complexity. • Instrumentation: Schubert employs a large orchestra, including trombones, which he uses melodically and extensively. Historical Context: The symphony was composed during Schubert’s productive years in the mid-1820s but was not performed professionally until after his death. Felix Mendelssohn conducted its premiere in Leipzig in 1839, after Robert Schumann discovered the manuscript and praised its grandeur. This work bridges the Classical and Romantic eras, influencing composers like Brahms and Mahler while showcasing Schubert’s mastery of melody and harmonic innovation. 3. Max Reger Präludium c-Moll Werner Haselier(organ) [5:26] 4. Wolfgang Amadeus Mozart(arr. M. Clementi) Symphony No.40 in G minor K550 Davide Cabassi(piano), Gisella Curtolo(violin), Lucio Labella Danzi(cello), Luigi Lupo(flute) [27:16] Wolfgang Amadeus Mozart and Muzio Clementi famously faced off in a musical duel on Christmas Eve, 1781, in Vienna. Organized by Emperor Joseph II, the event was a showcase of their pianistic and compositional skills for the Grand Duke and Duchess of Russia. Both musicians performed their own works, improvised, and sight-read pieces by other composers like Paisiello. The Emperor diplomatically declared the contest a tie. Mozart admired Clementi’s technical skill, particularly his passages in thirds, but criticized his taste and style, calling him a “charlatan” in private letters. Clementi, however, praised Mozart’s grace and spirit. Despite their rivalry, Mozart later borrowed a theme from Clementi’s Sonata Op. 24, No. 2 for his opera Die Zauberflöte, which Clementi noted in subsequent publications. Muzio Clementi (1752–1832), known as the “Father of the Piano,” was an Italian-born composer, pianist, conductor, and music publisher who spent much of his life in England. A child prodigy, he became an organist at age nine and composed an oratorio by 12. Sponsored by Sir Peter Beckford, he moved to England in 1766 to advance his musical studies. Clementi was a pioneer in piano composition, writing over 100 sonatas that showcased the instrument’s expressive and technical capabilities. His pedagogical works, such as Gradus ad Parnassum, remain influential in piano education. He also contributed to piano manufacturing and publishing, promoting works by contemporaries like Beethoven. His music bridged the Classical and Romantic eras, influencing composers like Beethoven and Chopin. Clementi passed away in Evesham, England, on March 10, 1832, leaving a lasting legacy in piano music and technique. 5. Johann Sebastian Bach Italian Concerto in F major BWV971 Friedrich Gulda(piano) [11:37]