Schubert: Death and the Maiden; Symphony No. 8 (CD Review)

Death and the Maiden, orchestral adaptation by Andy Stein; Symphony No. 8, completion by Brian Newbould and Mario Venzago. JoAnn Falleta, Buffalo Philharmonic Orchestra. Naxos 8.572051.0.

While many classical-music purists would undoubtedly view this disc as a curiosity at best, it's more than that. In its way, it's rather pleasurable, if you don't mind its being somewhat out of the ordinary.

The first item, based on Schubert's Death and the Maiden quartet, is an orchestral adaptation for full orchestra. Not that it's a new idea; the Mahler rendition has been around for quite a while. What makes this adaptation by American composer and arranger Andy Stein different is that it goes beyond simply adding more strings, and fills out the horns and timpani as well. The result is intriguing, if not a little frustrating. The larger forces make the work sound a lot less sinister and intimidating than the lighter quartet, the latter providing a more lively and provocative dance of death. The second movement "chant of death" and its variations in particular seem odd, the orchestra turning things more than ever into a literal funeral march. Needless to say, the big orchestral treatment takes away much of the quartet's transparency as well, replacing it with more body than we might want in so otherwise intimate a work. Still, the big orchestral arrangement does provide a symphonic weight that can be oddly pleasing much of the time.

The completion of the Symphony No. 8 is another matter, however. No one knows why Schubert dropped the symphony after completing only the first two movements. He apparently gave away the parts he had written, and nobody ever performed them in his lifetime. Nevertheless, the two-movement "Unfinished" Symphony has stood the test of time, becoming one of the classical world's sturdy warhorses. Of course, other people over the years have attempted to finish the final two movements, with limited success. This one is as good as any and better than most. English historian and Schubert scholar Brian Newbould reconstructed what he believes were Schubert's intentions for a third movement Scherzo, basing his reconstruction on notes and sketches the composer left behind. Then, for the final movement, Swiss conductor Mario Venzago suggests Schubert's "Entr'acte No. 1" from the Rosamunde music, which Schubert wrote a short while after setting aside the Eighth. Venzago speculates that Schubert intended it originally as a part of the symphony in the first place. I don't know. I suppose the additions work in their way, but I don't see any need for them. I could never accept them as "completing" the symphony. The "Unfinished" is too familiar the way it is for any additions to sound like anything but what they are: additions. When they come along, it's as though we had finished the real symphony and were now merely listening to something altogether different rather than a continuation.

That said, it's still good music, and Naxos does a splendid job recording the Buffalo Philharmonic, which Ms. Falletta conducts with appropriate vim and vigor. The sound is very clean and open, with a fine, smooth response, a wide orchestral spread, and a decent dynamic thrust. My only quibble is that the sonics are a trifle muffled, clouded, as though we were sitting a little farther back in the auditorium than I'm used to, and a little farther back than the orchestral spread would lead us to believe.

Anyway, these adaptations and continuations stand on their own, not as historical pieces of music, naturally, but as pure entertainment.



  1. i simply adore this kind of retro music , music is escalating

  2. it's still good music, having said that , Naxos does a splendid job recording this

  3. I'd never thought of classical music as "retro" music before. I suppose in a way, you could think of it as that--the style of an earlier time. However, the way I see it, for a lot of people the world over, classical music has never gone out of style. It has simply always been THE style and will continue so long after rock and metal and rap and jazz and the like have passed quietly away.


Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa