Marcel Tyberg

[febnyc]

Very interesting - I did not know that Tyberg had finished Schubert's Unfinished.

According to the OREL Foundation (dedicated to reviving music suppressed by the Nazis) Tyberg in 1928 completed his Scherzo and Finale for the Schubert Eighth.  He may, at that time, have been composing under his pseudonym, Till Bergmar.

[Hovite]

According to the OREL Foundation (dedicated to reviving music suppressed by the Nazis) Tyberg in 1928 completed his Scherzo and Finale for the Schubert Eighth.

Presumably for the Columbia competition. But is Schubert's 8th really unfinished? Or was the finale merely used elsewhere?

[Kriton]

According to the OREL Foundation (dedicated to reviving music suppressed by the Nazis) Tyberg in 1928 completed his Scherzo and Finale for the Schubert Eighth.

Presumably for the Columbia competition. But is Schubert's 8th really unfinished? Or was the finale merely used elsewhere?

There can be no doubt about this, since the scherzo in the piano score as well as in the orchestral "Reinschrift" breaks off after a couple of pages.

(Having said this, completions of it with additions of a piece of Rosamunde inserted as the finale, can make for a convincing whole...)

[Syrelius]

The sometimes equivocal responses to this disc initially put me off listening to it - as did the brief  snatch of the Landler I heard, which did indeed sound like imitation Mahler. But I'm glad I took the trouble to listen to it properly - it's a solid and convincing piece, and if it's not in any way original, that's no crime, while it boasts splendid melodies ( a gorgeous slow movement, apropos another post!) and some stirring climaxes. Someone mentioned Korngold - well, Korngold could have been jealous!

Having finally got to listen to the Tyberg disc, I can say that I wholeheartedly agree with Dylan's analysis!

[mbhaub]

This past week my local orchestra, the Phoenix Symphony, presented what is presumed to be the world premier of Marcel Tyberg's completion of the Schubert Unfinished. I went to two performances, and let me just say this: Tyberg's work is at least as good as Newbold's, quite enjoyable, and in no way anywhere close to how Schubert would have done it.

The Scherzo begins with what Schubert wrote, then the trio is completely Tyberg's original. It fits quite nicely, and was quite pleasant on the ear. The orchestration was not Schubertian: it reminded me more of Dvorak, Bruckner, even Raff at times. The finale was total Tyberg. I had assumed he would adopt lesser-known Schubert, but no. It's a fun little movement, without any real symphonic drama, and it moves along never getting bogged down. But it hit me that it has the same problem Tyberg's own 3rd symphony finale has: there's too much, and rather than really developing something he moves on to something else. Kind of schizophrenic. The ending was abrupt with no real sense of "this is the big finale". I was surprised that the ending was left in the minor. As lighthearted as the music was, I really expected a shift to the major, but no. The two Tyberg movements, while interesting music in themselves, really aren't a valid completion. How could anyone do it anyway? I hope the orchestra gets a chance to record it, if nothing else the Tyberg movements.

[eschiss1]

hrm- a number of Schubert works in minor early (G minor quartet) and late (three of the piano sonatas in minor, one of the violin sonatinas, D minor quartet) end in minor - differently from how you are describing, of course, but in that one single detail there is that Schubert precedent Tyberg was following