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Bruckner : Symphonie n° 1
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Enregistré lors de deux concerts données en aout 2012, l'orchestre du festival de Lucerne et Claudio Abbado sont en état de grâce :chacun des quatre mouvements est conduit avec enthousiasme et précision, et les pupitres sont remarquables.
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Enregistré au cours de deux concerts d'août 2012,l'orchestre du festival de Lucerne est en état de grâce:chacun des quatre mouvements (dont le merveilleux adagio)est conduit avec enthousiasme et précision,et les pupitres se couvrent de gloire(quels vents!).
Claudio Abbado défend une conception unitaire de cette symphonie,et donne au finale une dimension que l'on ne trouve pas chez d'autres;il affirme de nouveau son envergure de chef d'exception,au service d'une symphonie passionnante de bout en bout.Somptueux,émouvant,cet enregistrement captive l'auditeur sans une défaillance.
C'est pour moi le plus beau disque du répertoire symphonique paru cette année...
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Although the performance is top-notch, what is truly astonishing is the richness of the sound, which completely surpasses my previous favorite (Barenboim/Berlin). Bruckner: Symphony No. 1 in C Minor (Linz version); 'Helgoland' (Symphonic Chorus For Male Voices And Orchestra) Fanfare's reviewer says that Abbado's performance "jumps off the page with remarkable beauty and power" and calls the recording "electrifying."
Although most performances of the First use the initial "Linz" version from 1868, Abbado employs the revised "Vienna" version of 1891. If you're an amateur, like me, you won't notice a significant difference. Whether you have a preferred edition or not, this recording belongs in every Bruckner lover's collection.
"The Vienna score is rarely an improvement over the original, and often the simplicity and urgency of Bruckner's inspiration in Linz is ruined by fussy and frequent difficult details. The revision betrays the composer's nervousness and perhaps his state of health. Things were not going well for him - he had not recovered from the shock of Hermann Levi's rejection of the Eighth in its original form, and (he) was painfully wrestling with the Ninth. His friends were constantly suggesting (or actually making) revisions to his earlier works, and he became possessed of a somewhat desperate revising mania. The disastrous revision of the First Symphony is a document of deep interest, if only because it reveals the disturbed condition of Bruckner's mind at the time. The calm clear basses of the original are frequently made restive, and the decorative figurations that were beautiful and simple in the earlier score were often rendered torturous . . . . Scoring, though more varied, sometimes was coarsened . . . Compared with this, Schumann's panicky rescoring of his D Minor Symphony was harmless. It is true that the Viennese version of Bruckner's First contains refinements and subtleties that the composer of the Linz version would not have thought of - but most of them are of a kind that could have been apt only in his later works."
Examples are pinpointed. Who has the wherewithal to refute this? To my ears, the Vienna version is a noisy, starchy, cluttered and neurotic travesty of the Linz whose clean lines and buoyancy have been obliterated by a superfluous necrotic re-write - and this took up a year of Bruckner's creative life that could have been spent on the finale of the Ninth. Most conductors have the acumen to avoid the Vienna version, the exceptions being Wand, Chailly and now Uncle Claudio. So it goes. As Simpson says, it warrants a forensic examination and that's it.
Bruckner's First Symphony is a masterpiece but it's the only symphony in the canon where God is not in play. In consequence, Abbado's cause is less militated than usual by his lack of metaphysics. Superbly recorded, this is a fine enough version. It's never less than polished and highly competent. If profundity eludes it, blame Bruckner and his meddling! As the opening paragraphs of the first and third movements make clear, clipped phrasing is somewhat in play. I have never been overly impressed by the Lucerne Festival Orchestra - it sounds like a beefed up Chamber Orchestra of Europe in its generic Klang. Moreover, its brass is weak - to wit, the coda of the first movement and much of the scherzo and finale; then again, that could be the composer. If anything, I prefer Abbado's Bruckner 1st from December 1969 where the Linz edition is in play. To hear what Bruckner really achieved with this, his third symphonic endeavour, I recommend Jochum (DG not EMI), Karajan and Barenboim (Warner, not DG).
In the dark night of the soul, I wonder if Uncle Claudio's rump of a Bruckner cycle - a "Sound of Music" affair - will be more influential long-term than alternatives by Furtwangler, Knappertsbusch and Karajan and their "metaphysical hogwash." After all, on the evidence of recent recordings, non-spiritual diet-Bruckner is all the rage. Then again, no-one has yet to clamour for an Abbado B8 - good lord - from the vaults so for the moment, the centre holds.