Bruckner's Abbey

[Lilas Pastia]

Latest listening sessions were devoted to a live (BBC Testament ) 4th with the LSO under Istvan Kertesz (1964) and another live, this time the 7th under Gary Bertini, conducting the Kölner Rundunk S.O, from 1988. 

In olden times, when Bruckner symphony recordings were still a specialty produced in good, reputed places, in months without an 'r', the Decca Kertesz LSO commercial recording held an honoured position. This Testament recording is a live event from the year before, presumably a preparation to the official recording. And well recorded it is, if that's a concern. It preserves a concert from the Royal Festival Hall (1963). Curiously, I find here the same clunky, 'malhabile' kind of reading (I mean: reading') that embarrassed most of us when Decca issued the Mehta/LAPO version. I mean, this, from the same conductor and label who gave us the classic, effulgent, gorgeously decadent, deliquescent 9th with the WP... Well, to get us back on track: this 4th is just about as well played but  interpretatively undistinguished as the Mehta Decca 4th.

I would imagine the contemporaneous Decca recording should sound just about the same. Any comments?

A generation later, whe have the likes of Gary Bertini, a respected but relatively little-known conductor, and the Kölner Rundfunk RSO. That's Cologne Radio symphony for most of us folks, a relatively little-known outfit (because we're North Americans) that routinely play, broadcast and record excellent perfoormances of music by Schumann, Mozart , Wagner and Bruckner.  Here Bertini, a jewish conducor in the Horenstein, pre-1960 Klemperer mould, gives us a terribly objective intepretation that seems to inhabit a different aesthetic world as that of  Böhm, Blomstedt or Walter (or other advocates of the objective, affectionate-but-unsentimental interpretive school). In a nutshell, it's really good, but  rather just too 'inside' the work for folks who have listened to dozens and dozens of 'very good'  and 'objective' recordings. It should lay out the score instead of propulsing it away from us.  In my POV, Bertini is very Horenstein-like. I want a strongly profiled, ecstatic interretation in nec plus ultra orchestral garb. Blomstedt Dresden, Giulini, Karajan or Böhm with the WP still reign.

[MishaK]

and the Kölner Rundfunk RSO. That's Cologne Radio symphony for most of us folks, a relatively little-known outfit (because we're North Americans) that routinely play, broadcast and record excellent perfoormances of music by Schumann, Mozart , Wagner and Bruckner.

a.k.a. the WDR Sinfonieorchester (West German Radio). And  they do some very fine Shotakovich as well (Barshai).

[mahler10th]

Hmmm, I don't recall those bells sounding at the end of the commercial in my Karajan recording.  Arby's must be using one of Bruckner less well-considered revised manuscripts for that performance.   

LITERALLY    LOL   LOL   LOL     
Only Classical Music lovers and collectors can understand such a response.

[J.Z. Herrenberg]

LITERALLY    LOL   LOL   LOL    
Only Classical Music lovers and collectors can understand such a response.

Agreed. 

[MishaK]

Here's Robert McColley in Fanfare:

"[...] Conductor, orchestra, and recording engineer ("Prof. Johnson," a.k.a. Keith O. Johnson) have combined to give us the most perfectly classical recording of the masterpiece to date. "Classical" here refers to the ideals of clarity, logic, coherence, proportion, and overall control. Emotion, even intense passion, are by no means excluded, but are always held on the tight leash of intellect. Much of the clarity in this recording derives from the superb engineering, but the engineer can not make strings play perfectly together or in tune; for this, the credit is entirely due the orchestra. The engineer can and does make oboes sound different from clarinets, and Wagner tubas sound different from French horns and trombones. It is the entire team of conductor, player, and engineer that makes the celebrated fortissimo chord change toward the end of the third movement so completely lucid and intelligible. This is the dissonance of 12 tones played simultaneously that has so delighted the disciples of Arnold Schoenbcrg and other progressives.  This is not THE best way to play this powerful, tragic, and utterly original work, but it is certainly ONE of the best. A case can be made for more passionate, intense, and warmly recorded versions [...] But Skrowaczewski's exquisitely recorded version has its own special distinction and grandeur. I urge listeners who take their Bruckner seriously—as everyone should—to hear it. [...]"

And Michael Jameson in the same magazine:

"Everything goes well with this convincingly argued, lovingly addressed account of Bruckner's mighty Ninth Symphony. Notwithstanding the excellence of "Prof." Keith O. Johnson's stunning recording, in itself an astonishing technical feat, this performance is massively authoritative. Bruckner's heartrendingly plangent farewell to things temporal has rarely found itself in hands as serenely assured, masterful, and selflessly dedicated as Skrowaczewski's, and the playing of the Minnesota Orchestra should cause concern in those European centers that have traditionally claimed preeminence in Bruckner performance.
From the outset, one's attention is constantly drawn to the recording itself; in fact, even those dyed-in-the-wool Brucknerians who know this work intimately will be unable to suppress astonishment at just how much aural detail and orchestral perspective is conveyed by this disc. [...]

Like Jascha Horenstein, Skrowaczewski has a special feel, too, for Bruckner's harmonic kinships and inner motions in a way that few have equaled; his is certainly one of the finest expositions of this great and terrifying symphony yet committed to disc, and I'll wager that its sojourn in the catalogs will be a lengthy and much-praised one. Stanislaw Skrowaczewski opens our senses and emotions to the surpassing Gothic amphitheater of Bruckner's world of aspiration, anxiety, and unswerving devotion to the God with whom we all come face-to-face in this music—it's a chastening yet liberating experience, and one that none of us can afford to miss."

Thanks for this recommendation, daverz. I just finished listening to this one for the third time. It is a magnificent recording, indeed. I think for anyone who really wants to take a look at the inner workings of this symphony, this recording is a must due to it's incredibly spacious sonics and the excellence of the execution which makes every line audible and crystal clear. Skrowaczewski is a magnificent Brucknerian. My one complaint here is that this lacks some of the spontaneity that Skro is capable of otherwise. If that wasn't missing, this would be an absolute top recommendations. Given that relative lack of emotional intensity, my top recommendations still remain Barenboim (both BPO and CSO) and Wand/NDR (on DVD).

[Lilas Pastia]

Following Kertesz' Bruckner 4 with Abbado's 2006 Lucerne Festival Orchestra couldn't be more of a contrast. Where Kertesz presents a bluff, brusque reading in primary colours, Abbado's is all about orchestral refinement and long term control. I was awed by the horn's incredibly soft playing at the beginning, only to be disappointed somewhat by the polite, soft-edged first tutti, where the theme erupts in the brass like a bunch of elephants tumbling down a flight of stairs. Well, no pachyderms here. It's all extremely well-behaved and euphonious. Bruckner seen through the prism of Brahms' second.  Abbado's interpretation is one of infinite nuances, carried out by an orchestra capable of  every timbral and rythmic refinements the maestro wants to conjure from them. In the andante I was stunned to hear the great string  paragraph around 4:00-5:15 played with no vibrato. This is very hazardous, as every tiny lapse in intonation from one of the players will stick out like a sore thumb. It's a tribute to all that no such misshap occurs, but I realized I was listening more to the playing than to Bruckner's ineffable melody. Still, kudos to all. The scherzo is fine but, compared to Abbado's 1991 Vienna version it falls short in just about every department. The previous version's rustic colours, bold swagger and proud display of brass pyrotechnics is replaced by an emphasis on winds and strings. I heard wind details I had never noticed before. They are there in Vienna, but they don't come across as splendidly as here. Gone too is the viennese timpanist's enthusiastic tattos in the closing bars of the two scherzo sections. Too bad. The finale is excellent. Here Abbado shows a mastery of transitions that is simply amazing. I repeatedly held my breath in those disappearing-in-the-distance closing bars of the various sections, and at the beginning of the next. And his control over the span of the huge arc that closes the symphony is tremendous. Not for everyday consumption, but there's no mistake a master is at work.

This is live from tokyo, from the Lucerne Festival's own label. I'm not 100% sure about the sound. Wind details emerge pellucidly, but brass tuttis are very rounded and soft-edged. I didn't know if it was the conductor's balances or the engineers' microphone placement. I would have welcomed more oomph to the tuttis.

[Lilas Pastia]

Yesterday's listening session was devoted to Wand's Kölner Rundfunk version of the fourth. This is very different from either Kertesz or Abbado, or even Wand's own much later BP recording. Closer to Jochum, maybe. Although the orchestra features excellent strings and winds, the brass are sometimes stretched - horns especially - and come close to letting Wand's impetuous interpretation down. But they manage to acquit themselves well enough. Better that than a tepid or vulgar reading. Wand moulds the work in a single arc, with a clear eye on the final climax. He doesn't go for ultra refinement, but propels the work steadily forward. His comes across as a bardic storytelling. The supposed medieval castles, knights,  daybeak in the primeval forest and other nature-inspired musical ideas readily spring to mind when listening to Wand's powerful, very direct account. Quite wonderful, but I miss Abbado's very special touches, as well as a few others' own insights (Suitner, Böhm, Barenboim, Kubelik, Konwitschny, Rögner - it's a long list). All told, a fine reading that gives a ready access to the work.

[Brahmsian]

Listening to the 7th by Norrington and Radio-Sinfonieorchester Stuttgart des SWR and can't say I like this recording much.  A little too speedy for my liking. 

On deck:  For the first time, Klemperer's 7th with Philharmonia Orchestra. 

[Brahmsian]

OK, even though I know it isn't mandatory and was actually one of those meddling buddies of Bruckner idea, I REALLY do love it when the cymbal crash is included in the 7th's Adagio.   Aahhh.....there, I said it. 

[Lilas Pastia]

OK, even though I know it isn't mandatory and was actually one of those meddling buddies of Bruckner idea, I REALLY do love it when the cymbal crash is included in the 7th's Adagio.   Aahhh.....there, I said it. 

No harm done  . When it's well done it's terrific. The cymbal crash and triangle option also means the timpani parts are different. Not all cymbal+triangle conductors have the balls to play it for all it's worth. It's like Mahlers 6th's hammerblows or the Verdi Requiem's Dies irae bass drum strokes: a 'musical' approach will disappoint.  Don't stint on elbow force ! OTOH, a big-boned, powerful account of the percussionless climax in the Adagio will leave me in awe every time. Commitment rules.

[DavidRoss]

Blomstedt Dresden, Giulini, Karajan or Böhm with the WP still reign.

Blomstedt's that good with Bruckner, too, eh?  The Berliner Zeitung certainly agrees with you, calling him "undeniably the greatest conductor of Bruckner that there is today."  Which recordings would you recommend?

[Scarpia]

Blomstedt's that good with Bruckner, too, eh?  The Berliner Zeitung certainly agrees with you, calling him "undeniably the greatest conductor of Bruckner that there is today."  Which recordings would you recommend?

You haven't heard this one?



I seem to like all of the Blomstedt/San Francisco recordings, and this was the one that got me started.

[DavidRoss]

You haven't heard this one?

Nope.  It was only about 3 years ago that I made peace with Bruckner, long after Blomstedt had left SF.

[Brian]

Nope.  It was only about 3 years ago that I made peace with Bruckner, long after Blomstedt had left SF.

[EDIT: Image broken. But it's the at-long-last back-on-CD Blomstedt/Dresden Bruckner 7. You may need to import it from the UK but that's a lot cheaper than the way it used to be.]

You can thank me later.

*For the Seventh, I find myself preferring Sanderling on Hanssler more and more these days, for its luxurious beauty and perfect tempos, but Blomstedt's Seventh really is something very special. The Staatskapelle Dresden cellos always make me fear, for the first few seconds of the symphony, that I'm going to burst into tears.

[DavidRoss]

Ordered from UK, on the strength of your recommendation above and your Musicweb review, Brian!  First CD purchase of 2011 (had to happen sooner or later  )

[Cato]

OK, even though I know it isn't mandatory and was actually one of those meddling buddies of Bruckner idea, I REALLY do love it when the cymbal crash is included in the 7th's Adagio.   Aahhh.....there, I said it. 

Eugen Jochum used the cymbal clash, and the triangle, in the 7th's Adagio, so take a deep breath!   

Bruckner's near refusal to use such things has always been fascinating to me: consider his student Mahler having little fear of such effects.

The only conclusion: he never felt the need to use wood blocks, or snare drums, or col legno effects. 

[Scarpia]

Bruckner's near refusal to use such things has always been fascinating to me: consider his student Mahler having little fear of such effects.

As far as I know Mahler never studied with Bruckner, and aside from the tendency to write long works with a lot of brass, I find very little similarity between the approach to music taken by Bruckner and Mahler.  Bruckner was the epitome of "symphonic" utterance and Maher threw everything but the kitchen sink into his symphonies.   The rejection of percussion "effects" by Bruckner and the embrace of the same effects by Mahler is perfectly characteristic, in my view.

[Brahmsian]

Eugen Jochum used the cymbal clash, and the triangle, in the 7th's Adagio, so take a deep breath!   

Yes, I recognized this from the SD EMI recordings.

[Keemun]

OK, even though I know it isn't mandatory and was actually one of those meddling buddies of Bruckner idea, I REALLY do love it when the cymbal crash is included in the 7th's Adagio.   Aahhh.....there, I said it. 

Not me, I prefer no cymbal crash.  It is too jarring. 

[Cato]

As far as I know Mahler never studied with Bruckner, and aside from the tendency to write long works with a lot of brass, I find very little similarity between the approach to music taken by Bruckner and Mahler.  Bruckner was the epitome of "symphonic" utterance and Maher threw everything but the kitchen sink into his symphonies.   The rejection of percussion "effects" by Bruckner and the embrace of the same effects by Mahler is perfectly characteristic, in my view.

Mahler may not have been officially under Bruckner's tutelage, but it is known that he attended Bruckner's lectures, and was certainly one of the acolytes around him.

Bruno Walter wrote this in an essay entitled Bruckner and Mahler:

"I often heard him call Bruckner his forerunner, asserting that his own creations followed the trail blazed by his senior master. Of course that was over forty years ago, in the days of Mahler's Second, the symphony which, more vividly than all his other works, reveals his affinity with Bruckner. Yet from the Third Symphony on, his development was marked by an ever increasing deviation from Bruckner's course. I cannot recall Mahler making the same remark during later years. Nevertheless, down to his latest works, we meet with occasional features which might be called Brucknerian. Thus it is worth while attaining a clear idea of the nature and degree of their relationship."

For the entire essay (and very worthwhile reading):

http://www.uv.es/~calaforr/walter.html