The English conductor Ivor Bolton has been working with the Salzburg
Mozarteum Orchestra for several years now, and the fruits of
their relationship can be experienced in this well-judged performance
of Bruckner’s Third Symphony. In whichever version (1873,
1877 or 1889) this is a marvellous symphony. In this reviewer’s
opinion this was the first to proclaim the full range and power
of the composer’s genius. Bolton chooses the 1889 revision
with its truncated finale. Some Brucknerians will feel that this
is a poor substitute for the earlier versions, but I am of the
opinion that it works well enough on its own terms, though on
balance I prefer ‘1877’. Many distinguished conductors
have followed the 1889 path, including for example Stanislaw
Skrowaczewski (Arte Nova 74321 65412-2), Kurt Masur (RCA Red
Seal 82876 60395-2) and Günther Wand (RCA Victor 09026 639332
- see
review).
What of this Salzburg performance, recorded live across two concerts
in October 2007? Bolton shapes the music securely, with a strong
sense of momentum, while achieving moments of mystery also. The
slow movement is eloquent of line, but here and in other lyrical
passages, such as the first movement’s gesangperiode, there
is a lack of bloom and warmth in the string sound, particularly
from the violins. At the powerful climax of the first movement,
however, the string sound does have an appropriate weight, and
the effect is both exciting and symphonically satisfying. While
Bolton and his Salzburg orchestra do not replace the existing
recommendations listed above, or others using the 1873 and 1877
editions, their performance is a worthy addition to the catalogue.
The third movement scherzo points its rhythms to good effect,
aided by both the tight and disciplined orchestral playing, the
clarity of the recorded sound and - it does no harm to say so
- the good behaviour of the Salzburg audience. The trio is also
a delight, capturing Bruckner’s Upper Austrian rustic style
to perfection.
The finale comes off well - if one is prepared to believe that
the 1889 version ever does - though again the lyrical string
music misses the mark. Bruckner’s conjunct of polka and
chorale - ‘in the tavern there is dancing, while next door
the master lies in his coffin’ - is well shaped and phrased,
and makes its special point. Overall there is a compelling sweep
to Bolton’s interpretation, replete with an atmospheric
and detailed recording. And the ending could hardly be more final,
more unequivocal, just as Bruckner surely intended.
Terry Barfoot
Reviews of Bruckner 3 on Musicweb
Salzburg Mozarteum Orchestra/Ivor
Bolton 
