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CD REVIEWS | Bruckner: Original and Revised

By Paul E. Robinson on June 7, 2015

NezetSeguin

Bruckner: Symphony No. 3 in D minor. Orchestre Métropolitain/Yannick Nézet-Séguin. ATMA ACD2 2700.

Skrowaczewski

London Philharmonic/Stanislaw Skrowaczewski. LPO- 0084 (Total Time: 56:35)

Bruckner lovers are well aware that the great Austrian composer often revised his symphonies many times over. In the case of the Third Symphony, we have at least eight different versions (see www.abruckner.com/discography). Unfortunately, there is no consensus on the question of which ones are 1) the most authentic or 2) the best. In fact, it could be argued that the most satisfying way to enjoy the Third Symphony is to embrace the differences between all these versions.

Each of these two new recordings of the Third Symphony is based on a different version, and I would encourage listeners to enjoy them both. Using the same thematic ideas, Bruckner developed the material quite differently in each version.

The 1873 version, recorded by Nézet-Séguin, is among the most radical of Bruckner’s symphonies in terms of its approach to harmony and the juxtaposition of ideas. As I listened to the last movement in this version, I was often reminded of Carl Nielsen in the way that Bruckner constantly shocks and surprises us. Much of this strangeness has been expunged from the final 1890 version recorded by Skrowaczewski.

Conventional wisdom is that the Schalk brothers (Franz and Joseph), students and colleagues of the composer, persuaded the insecure Bruckner to “clean up” the early versions of his symphonies to make them “better.” Perhaps Bruckner accepted their advice because he wanted to be accepted by the concert going public. Bruckner died in 1896, but more research remains to be done to explain this phenomenon.

The premiere of the Third Symphony in Vienna (1877), with Bruckner himself conducting, was a disaster. The orchestra, hostile to the music, probably sabotaged the performance, and before the end of the concert, most of the audience had left the hall. No wonder the composer had doubts about the quality of his music. But was the music genuinely bad? Thanks to the many recordings we now have of this first version, we can judge for ourselves. As I have said, the piece is strange and unpredictable, but it is also incredibly powerful and highly original.

Yannick Nézet-Séguin has been recording all the Bruckner symphonies with the Orchestre Métropolitain in Montreal and so far the performances have been exceptionally good. This latest installment, no exception, is greatly enhanced by having been recorded in the Maison symphonique. The sound is wonderfully rich and resonant, and the performance is both exuberant and expressive; that said, it is far from perfect. Nézet-Séguin opts to take the Trio of the Scherzo movement at the same tempo as the main section and in so doing makes nonsense out of the folk material. Worse than that, both first and second violins have to scramble to get the notes. These sections have the same trouble in the finale, not to mention that they are often drowned out by brass and winds.

By comparison, listening to the London Philharmonic Orchestras (LPO) under Skrowaczewski, I was struck by the precision and clarity of the string playing in the same passages. In fact, throughout the performance, Skrowaczewski sorts out the string writing in a way that I have rarely heard before and the results are remarkable. This is not simply filigree and note-spinning; Bruckner’s part-writing is revealed to be complex and effective.

Skrowaczewski has recorded all the Bruckner symphonies with the Saarbrucken Radio Symphony for Oehms and is widely respected as a Bruckner conductor. Most remarkable of all, at a very advanced age (90), even for a conductor, he is still conducting this music with great mastery. This recording was made just over a year ago.

On the cover of this LPO CD one finds the note: “This performance of the Symphony is Skrowaczewski’s edition (not published).” As if we didn’t have enough trouble sorting out all the Bruckner editions, here is yet another edition thrown into the mix with only the vaguest description of how it differs from all the others! No further light is shed on this matter in Stephen Johnson’s notes (CD booklet).

In fact, having read the score while listening to this recording, I can report that Skrowaczewski is using the 1890 version. Deviations from this printed version have to do with dynamics and tempi. Like many conductors before him, Skrowaczewski speeds up or slows down to improve the logic of the musical flow, and adjusts dynamics in the score to improve balances. In most cases, his judgement is convincing. This is an excellent performance. Unfortunately, the sound quality – it was recorded live in the Royal Festival Hall – is no match for what the ATMA engineers achieved in the Maison symphonique.

#LUDWIGVAN

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