Here's what I just wrote at Amazon.
5.0 out of 5 stars
Greatest no-brainer in late romantic symphonic repertoire, ever, October 21, 2011
By: B. Guerrero "Mahler nutcase" - See all my reviews
(REAL NAME)
This review is from: Bruckner: 10 Symphonies (Audio CD)
Indeed; if you're looking for 'interpretations', as such, search elsewhere.
Legend has it that Wilhelm Furtwaengler came close to becoming conductor of the Chicago Symphony, halted only because of his association with the third Reich (legend ALSO has it that he protected the Jewish players in the Berlin Phil.). And while I would never suggest that, as an interpreter, Daniel Barenboim is on the same exalted plain as Furtwaengler once was, the two conductors have more in common when it comes to Bruckner than one might think. Furtwaengler tended to conduct Bruckner on the quick side, and in a very direct, no-nonsense manner (certainly in comparison to his Brahms, for example). So does Barenboim. Combined with the outrageous brass playing of the Chicago Symphony - perhaps better suited for Bruckner than Mahler - these performances are truly more 'realizations' than interpretations. In addition, most of this cycle was recorded in very good, late analog sound, but without sounding as though everything was mixed through a million microphones (even if that might have been the case). In short, this may have been the best recorded orchestral project DG got themselves into in the middle to late '70s.
In addition to the usual nine symphonies, Barenboim includes the "zero" symphony (die Nullte) - which was actually the third symphony to have been composed - as well as the choral Te Deum, Psalm 150 and the rare "Helgoland". Soloists employed include Jessye Norman, Yvonne Minton and Samuel Ramey. Not bad! The first symphony is given in its earlier Linz version. The third sympony is in Bruckner's first revision from 1877 (there are three distinctly different version), sometimes referred to as the Oeser Edition. The eighth is given in the Haas edition of the revised version (differences between Haas and Nowak have been greatly exaggerated over the years). The ninth, of course, does not include any of the conjectural finales that various parties are working on these days.
By and large, I find all of these performances thoroughly convincing with the possible exception of the 8th symphony. In the eighth, Barenboim tries to copy a few 'Furtwaengler-isms' a bit too closely. It's also an early digital recording, thus sounding a tad more shrill and 'boxy' than some of the others. I very much like the middle version for the third symphony - a compromise between the very lengthy first version and the highly truncated final version. Barenboim's is quite good.
Yes, it's true that the 4th symphony sounds a tad fast and superficial in the famous 'hunting horns' scherzo. But members of the CSO brass section considered that particular recording as the best example of how they sounded in a live performance situation. It fully had their endorsement. Furthermore, Barenboim holds the rambling finale together better than most. Thus, while I generally prefer the famous Bohm/Vienna Phil. B4, Barenboim's ain't bad by any stretch. For me, the greatest performances - the ones where the rich and powerful CSO brass section pulls-out its special 'mojo' so thrillingly - are symphonies five (simply outrageous!), six, seven (highly noble!) and nine. The big brass chorale at the end at of the fifth has to be heard to be believed. Regardless of what anyone might feel about Barenboim as a conductor, there's no denying that the Chicago Symphony has consistently been the best Bruckner orchestra in America.
Yes, I won't deny that there's a certain magic to the insight and interpretative touches that Eugen Jochum brings to the table (I prefer his later Dresden cycle on EMI). The hard-to-find Kurt Eichorn cycle on the Japanese Camerata label was consistently solid as well (and very well recorded). But as much as I generally like the Dresden Staatskapelle, their brass section is no match for the sudden swells, richness and sheer amplitude that the legendary CSO brass offer here. I also don't feel that Bruckner's music necessarily needs a lot of interpretive fussing - his music stands just fine on its own terms. Perhaps you'll feel the same way after hearing this.
Topic: Barenboim/CSO Bruckner box available in U.S. October 18 (Read 6437 times)