The disc’s title suggests that Franz Schubert and Hans Gal, though separated by a century, are “Kindred Spirits” because they both were innovative Viennese composers–although clearly it’s Schubert who was the greater innovator. Schubert’s Symphony No. 6, though one of the composer’s “early” works in the genre, displays harmonic ingenuity throughout, while the overture-divertimento Finale is remarkable for its formal innovation. Thomas Zehetmair and the Northern Sinfonia provide a lively, shimmering performance that plays up the music’s rich coloring and joyous moods. Zehetmair also makes sense of the Finale’s stop-start quality without overemphasizing it (Harnoncourt makes it sound almost Brucknerian).
You can imagine Mahler being influenced by this, just as Mahler is obviously a major influence on the music of Hans Gal, at least in terms of orchestral style (Gal’s scherzo perfectly emulates the former composer’s method of orchestration). Harmonically, however, Gal’s music recalls Zemlinsky, with a dash of Korngold thrown in. Even with such an advanced chromatic language, Gal’s Symphony–in four movements that strictly adhere to principles laid down by Mozart, Haydn, and Beethoven–is paradoxically the more conservative of the two works on offer (especially considering its late-1920s musical milieu).
Nonetheless, this is very engaging music, as Gal’s melodic invention and cultivated sound-world continuously captivate the ear. The bright first movement brims with neoclassical charm, while the slow movement offers tenderness spiked by wittily straying harmonies. Zehetmair’s belief in this music–and his inspired direction–makes for a wholly convincing performance. Both works are captured in realistic, spacious sound. A most intriguing and rewarding disc!
