Anton BRUCKNER (1824-1896)
Symphony No. 4 in E flat major (version 1880/1881 - see review)
[74:52]
Symphony No. 7 in E major [72.32]
Münchner Philharmoniker/Christian Thielemann
rec. live, Festspielhaus Baden-Baden, Germany, 2008 (4), 2006 (7)
Sound Format PCM Stereo, DTS-HD Master Audio 5.1 Surround;
Picture Format 16:9, 1080i; Region 0. Blu-ray
Surround reviewed
C MAJOR 712304 BLU-RAY 
[74:52 + 72.32]
The "Bruckner Problem" arises immediately because the 4th is
labelled "1880/1881 version" which doesn't tally with any official listing I
can find. John F. Berky's definitive abruckner.com website lists this
performance as using the edition "1886 (aka 1878/80) - Ed. Leopold Nowak
[1953]". The uncontentious 7th is given as "1885 Version. Ed. Leopold Nowak
[1954]".
Having got that settled, onto the Blu-ray disc itself. It has a menu
system that only allows access to titles and sound after choosing your
symphony. I do wonder about this habit. Why not just have a proper contents
and settings list on the opening page? Once again there is music over the
menu system, this time part of the 4th Symphony. It gets more and more
irritating as one uses it, especially so as one checks out the trailers for
other issues. Silence would do nicely thank you Unitel. The picture is
satisfactory but not the sharpest I have seen. The surround sound is
excellent as always but listeners will gain from raising the volume to get
both detail and impact. The venue in Baden-Baden is an unattractive hall as
filmed but at least it doesn't draw ones eye from the orchestra or disturb
the sound balance. This last is good despite the spider's web of microphones
and cables festooned all over the stage. The camerawork is discreet allowing
one to watch the conductor and players without frequent cutting from place
to place as sometimes happens.
Christian Thielemann has earned himself quite a reputation for his
Bruckner performances, as the booklet essay emphasizes. Its title "The Art
of Controlled Ecstasy" tells you just what sort of essay it is, as much
marketing puff as information. What it should have contained was the
information noted at the start of this review.
On the strength of these two performances recorded two years apart
he deserves the plaudits. The overriding impression is of breadth. The
movement timings show him to be towards the slower end of the spectrum,
particularly in No.4 which ends up even longer than No.7. The broad tempi
only add weight and impact and he does not indulge in abrupt changes of
gear. This has not always been the case and some regard him less favourably
than I do. The parallels with Karajan are clear because he does go for
prolonging Bruckner's lines rather than making him 'craggy', though that
does not stop him directing the cellos and basses to really dig in to some
of the motor rhythms of the scherzi. Since I like Karajan's Bruckner that
might explain my satisfaction with this pair of performances. The orchestra
appear satisfied as well. There is a nice moment in the 7th when some of the
violas, momentarily unoccupied, watch and smile as the cellos play a
particularly sonorous passage.
At the end of each work there are little nods of approval between
the players. Thielemann certainly has them with him rather than against him
- they watch him closely. I cannot praise their playing too highly.
Incidentally, the violins are divided, giving lots of nice antiphonal
affects.
Dave Billinge
See also review of DVD release by
Rob
Maynard
Masterwork Index: Bruckner
Symphony
4 ~~
Symphony 7
