Anton BRUCKNER (1824-1896)
Symphony No. 1 in C minor
(1865/66) Edition Nowak (Linzer Fassung, 1866)
Netherlands Radio Philharmonic Orchestra/Jaap van Zweden
rec. 2012/13, Studio MCO5, Hilversum, Holland
CHALLENGE CLASSICS CC72556 SACD [51:23]
Although the notes identify what Van Zweden plays here as
the 1866 Linz version edited by Nowak, I am informed by Ken Ward, editor of
the “Bruckner Journal” that this is essentially the 1877 revision,
possibly with further alterations beyond that date. As Nowak writes, 'All
told, the life span of the Linz version of the symphony extends from 1865
to 1889.' Nowak nonetheless entitled his edition the “1865/66
Version”, but this is not the so-called “original” version,
edited by William Carragan, that Schaller and Tintner used. This is not of
major significance insofar as the main differences are between the Linz and
Vienna versions, the latter being what Bruckner worked on post-1889.
I have not so far been anything other than delighted by anything Jaap van
Zweden has recorded. I was surprised to learn that the Scherzo here was recorded
a year before the bulk of the work. That does not, as far as I can hear, result
in any conceptual disjuncture, yet there are some quite daring features to
this interpretation: that previously recorded movement is similar in its fast
speed and thrust to Barenboim’s celebrated version with the Chicago
Symphony Orchestra, while the Adagio, at 16’ 09” is considerably
slower than other recordings. In general, however, van Zweden takes a less
urgent approach, so that the opening march theme sounds decidedly ominous.
This is already grand, heroic Bruckner in the mould of previous interpreters
such as Neumann and Paternostro but with none of the restless, agogic distortions
that mar Jochum’s reading.
I have always been mystified by the implications of Bruckner nicknaming –
mischievously, perhaps? – his First Symphony “Das kecke Beserl”
(“The Saucy Maid”); I hear nothing winsome, cheeky or especially
rustic in this driven, martial music, a feature enhanced by the manner in
which van Zweden builds to a blazing brass and timpani climax in the Allegro.
Similarly, the Scherzo has real drive and attack while the Finale, with its
finely gauged dynamic extremes, is also fierce and suffused with youthful
energy, rather in the manner of earlier Tchaikovsky, even if Wagner is supposed
to have been the major influence over Bruckner.
The Adagio is a close cousin in affect to Karajan’s interpretation,
even though van Zweden draws out the textures even further to lend greater
transparency and Karajan is weightier. The clarity that van Zweden permits
to individual instrumental lines is perhaps the inheritance of his background
as a lead violinist. This is bright, lithe Bruckner and the recorded sound,
which is both resonant and immediate, enhances its impact. The edition chosen
here clearly matches van Zweden’s style, as the orchestration of the
later Vienna version is denser. If you are new to this symphony, but know
any of Bruckner’s later works, do not expect any of those startling
pauses or major chorales; this is tight, swiftly modulating, rhythmic music
ideally served by the impassioned and impeccable playing of this Dutch orchestra.
Ralph Moore
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