16 internautes sur 22 ont trouvé ce commentaire utile
- Publié sur Amazon.com
Because this score lacks the inherent drama of Anton Bruckner's other mature symphonies, it often takes a mighty, even great, recording to carry it off and keep it in memory. A lot has been written about Bernard Haitink in recent years that's led me to believe he has ascended to a leadership role with this composer. However, nothing about this recording confirms what people -- including the other reveiwers here -- have said, in my opinion.
I find this reading of Bruckner's Sixth Symphony even more predictably superficial than Haitink's Concertgebouw recording from his box of the numbered symphonies. Why do I say this? Becuase Haitink either knows or demonstrates nothing of the rubato inherent in Bruckner's scores. He reads this music per se, exactly as written, and transmits it in his typically understated manner, devoid of anything Germanic, propulsive, or emotionally haphazard. He transfers these tendencies to this recording, made during a concert in Dresden during 2003, in literal steps that leave out much of the unwritten messages other conductors have been able to extract through the music.
To say, as some reviewers around here have said, that this is an improvement on Klemperer's EMI stereo recording is a subjective comment. While Klemperer too is a literalist in Bruckner, his recording voices the music differently. Compare the way he builds the inexorable step by step ladder-like ascent of the slow movement against the medicority of this recording. Compare how he voices the triplets in the Scherzo-Trio against Haitink's literal and ineffective manner. This is only two tastes of difference in the respective conductors approach to the music. One knows Bruckner and represents him. The other knows himself and seems satisfied with that.
Another recording more in tune with the spirit of the score is the surprising and unpredicatble account Eugen Jochum recorded for his DG box of Brucker symphonies. Here is a Bruckner 6 of stature with rubato, accelerando and diminuendo consistently and effectively lending aiding the voice of the composer. Also, Jochum's orchestra (as well as Klemperer's) plays better than Haitink's; the low brass, so important in the major sections of the opening and closing movements, are hardly apparent under Haitink's baton.
Other good 6ths, in my view, come from Lopez-Cobos/Cincinnati, Furtwangler's mono Berlin recording that is only availble in three movements, and Norrington's recent recording on Hanssler Classics. Any of these provide a more interesting and rewarding experience than the run-through by Haitink, in my view, and the stereo recordings are both in much better sound. Norrington's period traversal, using a smaller orchestra, may not be to everyone's taste. I'm sure you know if this applies to you.
How anyone could characterize this a five star recoring with its inept two by two concert sound is beyond me, as well. There is almost no definition in the sections of the orchestra, just a mass of sound as if homogenity is a prescribed value, and concert hall depth is missing entirely. The playing of the erstwhile Staatskapelle Dresden is equally bland. Even though an occasional woodwind solo stands out, the brass do little to characterize themselves at any point in tutti.
I suggest the approach Haitink adopts here is steam of consciousness, akin to a dream you may have that is pleasant but uneventful. It all goes along very nicely with no concomitant feelings of joy, despair or terror, just walking along like a stroll on a spring morning. That's nice, I agree, but it hardly captures the multiplex emotions of Bruckner's Symphony 6. While Haitink leads a nice reading, I can't go along with people that give this five stars. If you listen to the audience at the end of this concert performance, I think they agree with me. It took them a while to wake up, then they responded respectfully, fully in keeping with the risk-free, tame and flameless nature of Haitink's performance.