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Jim Svejda
Fanfare, March 2019

Jansons, rather unusually, observes both exposition repeats in the outer movements. It’s also one of the best-played recent versions of Schubert’s final symphony—identified, rather pedantically, as “Symphony No. 8” on the album—that you’re likely to hear. From the opening horn solo, this is a meticulous, carefully thought-out, beautifully manicured performance of this beloved and challenging work… © 2019 Fanfare Read complete review

Huntley Dent
Fanfare, January 2019

Jansons leads a beautifully shaped reading. Nothing is done by rote; there’s copious attention to phrase-shaping. He doesn’t allow the symphony’s “heavenly length” to weigh it down. © 2019 Fanfare Read complete review

BBC Music Magazine, November 2018

The Bavarian brass and woodwind are in glowing, translucent form, and the recorded sound is warm and vibrant © 2018 BBC Music Magazine

Nalen Anthoni
Classical Ear, October 2018

Mariss Jansons balances his forces to a nicety, grounding the music in a strong bass line, placing the notes where he wants them to be and shaping the phrases to convey the messages implicit in his interpretation. © 2018 Classical Ear Read complete review

Phil Muse
Audio Video Club of Atlanta, October 2018

Mariss Jansons is supremely aware of where he is and where he is going at every point in the score. One needs to be aware of the way Schubert used the brass and woodwinds: not merely to punctuate and brighten the score and provide added character to what the strings are saying, but as equal partners with the strings in the business of creating the rhythmic profile of the work and moving it along smartly. No one before Schubert had used them in this way. The recorded sonics capture this beautifully, as they do the way Jansons keeps his cellos and basses moving steadily along, providing the foundation for the symphony’s irresistible flow. © 2018 Audio Video Club of Atlanta Read complete review

David Threasher
Gramophone, October 2018

Jansons and the BRSO let the music flow out organically, which is always preferable to the manic motivicism of König’s reading. The Bavarians, too (and hardly surprisingly), offer the richer orchestral blend, in the corporate sound of the strings especially… © 2018 Gramophone Read complete review on Gramophone

Blair Sanderson, September 2018

Jansons treats Schubert’s final symphony with a mix of mainstream and historically informed ideas, employing a modern orchestra and maintaining a big ensemble sound, but observing brisk tempos, clean textures, and taking all repeats, thereby pushing the timing to just over an hour.

While this recording may not strike every listener as revelatory, others may consider it to be one of Jansons’ most exciting and even transcendent performances and look forward to more Schubert from him, delivered with the same care and passion. Highly recommended. © 2018 Read complete review

Lynn René Bayley
The Art Music Lounge, August 2018

Jansons brings out details in the score than even Toscanini didn’t do as clearly, such as the “bouncing” horn triplets in the first movement, which, when heard, give the music an entirely different character. Moreover, Jansons “punches” the rhythmic accents of the brass with such felicity that the music almost steamrolls along. The timpani, too, is clearly recorded and strongly emphasized. The result is a first movement that makes a far greater impact than usual in recordings of this work. © 2018 The Art Music Lounge Read complete review

Hank Zauderer
My Classical Notes, July 2018

Here is an exciting new recording for you by the Symphonie-Orchester des Bayerischen Rundfunks, conducted by Mariss Jansons.

The “Great” C major Symphony was the last symphony that Schubert composed, and it was “Finished” to follow his “Unfinished” symphony. © 2018 My Classical Notes Read complete review

Michael Cookson
MusicWeb International, July 2018

Under its chief conductor Mariss Jansons, the Symphonieorchester des Bayerischen Rundfunks turns its attention to Schubert’s eternally popular Symphony No. 9 known as the ‘Great’ C major.

This captivating and uncommonly fresh reading from Mariss Jansons is clearly a labour of love which combines glorious drama and deep compassion in turn from the Bayerischen Rundfunks. Immediately engaging the listener right from those splendid opening horn calls, with their distinct Wagnerian influence… © 2018 MusicWeb International Read complete review

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