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Bruckner : Symphonie n° 7. Blomstedt.

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Détails sur le produit

  • Interprète: DIVERS
  • Orchestre: Staatskapelle Dresden
  • Chef d'orchestre: Herbert Blomstedt
  • Compositeur: Anton Bruckner
  • CD (5 juillet 2010)
  • Nombre de disques: 1
  • Label: Daseg
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Commentaires client les plus utiles sur (beta) HASH(0x9c6bf138) étoiles sur 5 1 commentaire
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HASH(0x9c92d168) étoiles sur 5 Revered on its release in 1981-and still worthy of that reverance today! Unmissable bargain! 17 mars 2014
Par D. S. CROWE - Publié sur
This was one of the very earliest pure digital recordings of ANY Bruckner symphony, recorded in July 1980 in the fabled Lukaskirche of Dresden by Denon using their PCM Digital 2 microphone with a few "slave mikes" discreetly placed. Denon had been recording digitally since 1970 in fact on an experimental basis, and so had honed their technique to a fine art even by 1980.
The sound quality of this issue was universally praised on its release for its smooth beauty, depth, weight and detailed perspective-it was "state of the art" then, and it pretty well remains that now!

No recording (outside SACD)catches the beauty and strength of this wondrous orchestra better than this one, even after all these years-as with the recently reviewed Strauss compilation released by Del Segno at bargain price, praise for the sonic qualities of the recording could not be higher.
Sumptuous, gorgeous-superlatives of this type can be legitimately applied.

All this would be meaningless of course if the artistry were not commensurate with the recording quality, and I am happy to assert that in fact it exceeds it.

Blomstedt, already a mature 53 when he recorded this, is in total command of the idiom, delivering one of the most cogently argued and intelligent readings that adds to our appreciation of this great work. Unlike in his later 2006 live Leipzig recording, this interpretation is full of forward thrust, lightness of touch and perfect judgement of tempo.
In a symphony often dubbed "the other Wagner Symphony", it is more Brahms of whom we are reminded particularly in the brilliant Scherzo.

When it was all but "de rigueur" to apply titles to symphonies, this one was dubbed "The Lyric" and in this performance that is an apt description, if not in any way "authentic."
Bringing in the "a" word with Bruckner can open a can of worms, but the Seventh is less complicated than others.
Blomstedt uses the Haas 1944 Edition in which the Editor attempted to remove the alterations to the autograph score made by Nikisch, Schalk and others-this affects mainly tempo markings and orchestration but crucially means no percussion in the Adagio-cymbals, triangle and timps do not crown this movement's glory in this version, but such is the cumulative power of the reading and captivating quality of the playing that they are not overly missed.

Blomstedt keeps to tempo throughout the Adagio, elegiac and wistful rather than the threnody of his later reading, he keeps a swift tempo in the scherzo with a light and airy touch far more redolent of Brahms than Valkyries, and he makes a triumph of the finale which is exciting without being overblown and avoids the trap of lapsing into banality which can too easily happen in this movement!
From the perfectly judged opening of the first movement, through the dark bite of the Wagner Tubas and Bass Tuba in the Adagio, the light but penetrating brass of the scherzo and the general brilliance of the finale all couched in the shimmering brilliance and rich glow of the Dresden strings, Blomstedt does not make one choice of tempo or balance that I consider anything less than perfect.

This is a "must hear" for all lovers of Bruckner, and at the price is the perfect entry to his music for any neophyte. Notes and background are desultory and all but pointless, but the music making and recording are at an exalted level.
Other recordings are now legion, and recordings by Karajan, Giulini (especially BPO live), Sanderling, Knappertsbusch, Bohm and Jochum are among the pantheon of indispensible recordings, but make no mistake, not one of them exceeds this Blomstedt version in quality of artistry or recording.
High praise? Yes-but every bit deserved!! Unreserved recommendation. Stewart Crowe.
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