Anton BRUCKNER (1824-1896)
Symphony No 7 in E (1883) [65:26]
Sinfonia Varsovia/Jerzy Semkow
rec. in concert, St. Mary Magdalene Polish-Catholic Cathedral, Wrocław,
2005
DUX 0668 [65:26]
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
A sincere, spontaneous account.