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This is an extremely dramatic movement in sonata form. According to Blair Johnston, this Symphony also shows Haydn 's influence on the young Schubert, mainly in the introduction: "long-sustained octaves , complete with timpani roll , precede gradually shifting harmonies that, in true late Haydn fashion, migrate into a sullen D minor. A delightful Allegretto in ternary form follows, full of grace and humor. The tune that unfolds has the character of a peasant's dance and its rhythms spread to the subsidiary melody as well.
The concluding Presto in tarantella rhythm is remarkable for its bold harmonic progressions and for its wealth of dynamic contrast. This movement is in sonata form with a looser conception. Some musicologists, such as Mosco Carner , cite a strong resemblance to the music of Rossini in terms of rhythm, dynamics and harmonic relationships among the different sections.
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By encouraging the strings of the Zurich Tonhalle Orchestra to use vibrato extremely sparingly, Zinman creates an ideal transparency in Schubert's scoring, thus allowing much of the delightful filigree woodwind passagework to come to the fore. But here's the rub: they play like a conductorless band because Zinman is dispassionate, reluctant to fathom the emotional horizons of each work. The sense of flow, the inner rhythmic and - notably - melodic life over quite long paragraphs in early Schubert is here wonderfully conveyed in performances of notable musical profundity The playing of the Zurich Tonhalle is truly excellent throughout.
Zinman and his modern-instrument Zurich players have adopted some of the practices of the early-music brigade the woodwinds embellish their melodic phrases , and the result is the best of both worlds. With sparing string vibrato, crisp, no-nonsense tempi and valveless trumpets and horns, the performances have a period feel. There's sensitivity to their flowing lines, a welcome lack of affectation in Symphony 3 and an intelligent clarification of the ambivalence of Symphony 4. It's just a pity he hasn't quite managed Abbado's capability of creating really thrilling finales. The performance of the Fourth, in C minor, goes for broke and ratchets up the tragic intensity as much as it can.
David Zinman says: Schubert has always been a deep love of mine from the time I was a young violinist.