This may be one of the most accessible performances of what
is arguably Bruckner's most listener-friendly symphony. Jerzy
Semkow avoids overtly trawling the metaphysical depths, instead
favoring the score's warm, open-hearted lyricism. The music's
sense of spiritual affirmation ultimately emerges the more strongly,
especially as the sonority maintains the needed tonal and harmonic
weight.
Semkow allows himself old-fashioned tempo changes between sections,
marked and otherwise - the latter an accepted Romantic device,
though not one suggested by Bruckner's rugged contours - and
generally makes them sound natural. Even the stepping up of
the tempo at 11:13 of the first movement, at the bracketed alla
breve - molto animato (letter "M" in the Novak score,
possibly a Nikisch emendation), registers naturally, as a variant
of the main pulse - compare Sinopoli's ludicrous, disjointed
forward dash (DG).
The Sinfonia Varsovia, perhaps more readily identified with
Mozart than with the big Romantic guns, plays with polish. The
strings are clear and well-tuned, digging into the climactic
chorales with resonant fervor. The violins maintain tonal quality
even when isolated in soft passages. Perhaps there are a handful
fewer string desks than in higher-profile orchestras, but there's
still enough players to dominate the winds, while the clean,
expressive winds, in turn, register more strongly within the
doublings. The prescribed quartet of Wagner tubas adds a buzzy
presence to the solidly balanced brass choir. As indicated,
the ensemble sonority is firmly grounded.
The flaws will bother some listeners more than others. In passages
marked piano and pianissimo, Semkow allows playing
that's well above the indicated dynamic. When this is done to
allow for a really full-throated voicing of the great melodies,
or to bring greater definition and presence to supporting parts,
it is unexceptionable. In other instances, however, the effect
sounds careless and even counterproductive: in the Adagio's
second subject (3:58) - set up with a nice sense of anticipation,
by the way - the first violins give the theme the right sort
of lift, but the thick supporting textures keep it relentlessly
earthbound.
Also, at this stage of his career, Semkow's beat is better at
conveying the broad musical arcs than at enforcing precise ensemble.
Even relatively uncomplicated passages are slightly unkempt:
in the Adagio's second-group recap, for example, the
inner strings have trouble keeping their eighth-note accompaniments
together. Coordination also becomes tentative during transitional
ritards - a recurring problem, given all those tempo changes.
The engineering is well-nigh ideal for this writing. There is
a moderate amount of ambience, noticeable after the cutoffs
of loud chords, especially at the ends of movements. The rest
of the time, it unobtrusively enhances and colors the sound
of both ensemble and soloists. The clear, velvety reproduction
of the solo woodwinds has an almost tactile appeal.
Surprisingly, given the number of recorded Bruckner 7s available,
few entries have been really outstanding. The veteran Brucknerians
Böhm (DG) and Klemperer (EMI) find their insightful readings
dogged by control problems, mostly in the Adagio. Some
listeners consider the various Furtwängler concerts sui
generis; I don't, but limited, monaural sound rules out
a firm recommendation, as it also does with Szell (Sony). In
this context, the unfussy recordings by Haitink (both Philips),
Inbal (Denon), and Rattle (EMI) score simply by virtue of avoiding
major problems. Semkow's sincere, spontaneous account could
be a worthy supplement to any of these.
Stephen Francis Vasta
see also review by Terry
Barfoot
Masterwork Index: Bruckner's
Symphony 7
Sinfonia Varsovia/Jerzy Semkow 
