realisations/completions of Schubert sketches and fragments

Symphony No.7 in E, D.729 (1821; 1977) - 2222.4230.T.Str: 40'

(Realised from the composer's structurally-complete outline on orchestral paper)
"totally successful realisation" (Sunday Times)
"very plausible symphonic artefact" (Daily Telegraph)
"remarkably successful" (New York Times)
"brilliant piece of practical scholarship" (Financial Times)
"has the authentic glow of Schubert's own orchestral insights" (Newsweek)
"the Schubert-Newbould Seventh is a score deserving a place in the repertory that includes Schubert's first six symphonies" (New Yorker)

Symphony No.8 in B minor, D.859 (1822; 1980) - 2222.2230.T.Str: 7'

(Realisation of piano sketch, with two surviving pages of composer's score; completion of Trio from composer's melodic line of first section)
"a superbly accomplished job, as idiomatic as one could wish" (BBC Music Magazine)
"would surely have gladdened the composer's heart" (The Gramophone)

Symphony No.10 in D, D.936a (Faber Music, 1995)(1828; 1978-9) - 2222.2230.T.Str: 30'

(Completion of piano sketches for three movements)
"a brilliant achievement, done with integrity" (Daily Telegraph)
"admirable performing version ...nothing in it which isn't characteristic of late Schubert and fully convincing to the ear" (Guardian)
"uncommonly convincing" (New Yorker)
"strikingly authoritative" (Gramophone Classical Good CD Guide 1999)
"music that would very probably have changed history" (Fanfare)
"Schubertians owe a large debt of gratitude to Newbould for bringing Schubert's "deathbed intimations" (his own phrase) to vivid life" (Fanfare)

Symphony in D, D.708a (1820-1: 2012) - 2222.2200.T.Str.: 38'

(Realisation of the composer's four fragmentary movements)
(Commissioned by BBC Radio 3 for premiere by BBC Philharmonic conducted by Juanjo Mena, 2012)
"Thursday's performance of this symphony by the BBC Philharmonic Orchestra conducted by Juanjo Mena in their new venue at Salford Quay was well worth all the expectation, with a wonderfully vibrant and purposeful first movement allegro vivace and a beautifully expressive lyrical second movement andante con moto. The scherzo allegro vivace had a really light touch followed by a fleet footed presto that really danced along. I hope that this completion and the others commissioned by the BBC will be recorded." (Classical Reviewer (on-line))
"A seamless and imaginative orchestration and completion, a major achievement. What lovely, bubbly music." (Tony Goldstone)

String Quartet in C minor, D.703 - II, Andante (1821; 1995) (I = "Quartettsatz")

(completion of the composer's fragment)
"…as posthumous collaborations go, this is so urgent, sincere and thoughtful that I can't imagine anyone not responding to it. Certainly this audience did." (Robert Cowan, The Independent)
"Amid the babble of conversation [Wigmore Hall], one could hear nothing but interest in and praise for the Newbould movement." (Nicholas Toller, The Schubertian)

Piano Sonata in C major, D.840 ("Reliquie") (1825; 2003)

(completion of fragments of III and IV)
"Balancing the Allegro finale, which obviously overrides its original "Rondo" subtitle, with the substantial fifteen-minute first movement, required care, both in the interests of keeping as much Schubert as possible, and yet inventing enough to maintain this balance. Professor Newbould achieves this remarkably well (as indeed his many years of devotion to Schubert lead us to expect) and this is especially evident in the closing pages of that Finale." (Patric Standford - review of Todd Crow recording)
"Impossible to prove, of course, but your identification with Schubert's language is so close I believe the composer himself, had he ever come across your work amongst his papers (somehow, in his own hand, naturally) would have taken it for his own work without a second thought, entirely forgetting that he hadn't actually written it." (David Brain, UK)

Allegretto in C minor, D.900 (after 1820?; 2002)

(completion of piano fragment)

String Quartet in C minor, D.103 - I (1814; 1996)

(completion of fragment, commissioned by the Maggini String Quartet)

String Trio in B flat, D.471 - II (1816; 2000)

(completion of fragment, with transcription of D.128/9 and D.346 to complete a four-movement work; commissioned by the Leopold String Trio)

Arpeggione Sonata, D.821 (1824; 1996)

(transcription for clarinet and string quartet, commissioned by James Campbell)

Symphony in D, D.615 - I, IV (1818; 1981)

(orchestration of fragments in piano score: BBC Music Library)

Symphony in D, D.708a - I, II, III, IV (1821?)

(orchestration of fragments in piano score: BBC Music Library)

Sonata in A minor for violin and piano, D.385 (1816; 2013)

(transcription for clarinet and string quartet: commissioned by Chamber Musicians of Cambridge)

Minuet and Trio for wind instruments, D.2F (1811; 2012) - 0222.2100

(Trio scored and Minuet reconstructed)

editions, adaptations

Suite "The Magic Harp" for orchestra - adapted from the magic opera Die Zauberharfe (1820; 2018-9) - 2222.4230.2hp.T.Str

Fantasy Sonata after Schubert, for clarinet and piano (2003)

(a personal impression of what Schubert might have composed if he had lived a year or longer and was tempted to write a clarinet "sonata". The result assumes, as well as further interest in the clarinet, an urge to return to the fantasy genre - already essayed six times before - and to recycle and re-develop material from Der Hirt auf dem Felsen, which arguably contains the seeds of such a further work. Dedicated to James Campbell)


Performance material is available as below, unless alternative source/publisher is listed above.


Brian Newbould can be contacted via the following e-mail address: