Anton Bruckner (1824-1896)
Symphony No. 3 in D minor, WAB 103
Original version, 1873 (edited Leopold Nowak, 1977)
Gürzenich-Orchester Köln/François-Xavier Roth
rec. live, September 2022, Philharmonie, Cologne, Germany
Myrios Classics MYR033 [62]
For good reason Bruckner described his Third as his ‘problem child’. Naturally wishing to obtain performances of his symphonies, Bruckner acquiesced to suggested alterations made by well-meaning yet misguided members of his circle, and also reckless conductors. For the listener, traversing the resultant different editions and variants of it can be downright bewildering.
Bruckner idolised Richard Wagner and travelled from Vienna to Bayreuth expressly to show him the scores of the Second Symphony and his virtually completed Third, and to obtain his permission to dedicate one of them to him. Wagner preferred the Third, and on the score Bruckner handwrote a panegyrical dedication ‘To the eminent Excellency Richard Wagner the Unattainable, World-Famous, and Exalted Master of Poetry and Music, in Deepest Reverence Dedicated by Anton Bruckner’. He paid homage to Wagner by incorporating in it various quotations from Wagner’s music dramas, including Tristan und Isolde, Die Walküre, Tannhäuser and Die Meistersinger von Nürnberg. Not all those Wagner references are easy to identify, as Bruckner applied his own harmonic approach to them, but understandably, the original score of the Third has become known as the ‘Wagner’ Symphony. For over a hundred years the original dedication score, which Bruckner did not live to hear performed, was conserved in the Bayreuth archive until in 1977 it became available in a published edition and was premiered a year later, some eighty years after Bruckner’s death.
Bruckner had considerable difficulties obtaining a first performance of the symphony; obstacles seemed to occur repeatedly. It did eventually receive a belated premiere in December 1877 when Bruckner himself conducted the Vienna Philharmonic but that was in a second version, as during the impasse he had subjected the score to considerable revision, notably compressing it and removing many of the Wagner quotations. It didn’t bode well for Bruckner when during rehearsal a number of the VPO players treated the score with disdain and made him an object of ridicule. The 1877 Vienna premiere was a disaster for Bruckner who, although a capable choir master, was not a skilled conductor, but was standing-in for Johann von Herbeck who had died. Many of the audience left before the conclusion and inevitably critical disapproval ensued, resulting in humiliation for the composer and adding to his already low self-esteem.
Bruckner imposed even more revisions on the Third Symphony, in preparation for performance of a third version which was introduced in December 1890, once again with the VPO, this time under renowned conductor Hans Richter – and the performance was an absolute triumph .
I find each version interesting, however, above all I favour this first version of 1873, complete with its various quotations from Wagner’s music dramas.
François-Xavier Roth is founder and conductor of Les Siècles, a French period-instrument symphony orchestra. Appointed general music director of the City of Cologne, he also serves as principal conductor of the Gürzenich-Orchester and I notice that in 2015 he chose Bruckner’s Fourth Symphony for his inaugural concert with them. The partnership holds a strong affinity with Bruckner’s music and is forging ahead to achieve a complete Bruckner cycle on Myrios Classics for the composer’s bicentenary. Here, he has chosen to conduct the first, 1873 version of the symphony. The Gürzenich-Orchester uses modern instruments, but Roth undoubtedly employs some features of period performance practice, the most obvious being the minimisation of vibrato. His conducting is expert and insightful and his players give a compelling performance; at times, I feel as if I am breathing along with the pulse of Bruckner’s blocks of sound.
The haunting trumpet theme of the first movement marked Gemäßigt, misterioso is one of Bruckner’s most magnificent openings. Roth and his players excel with the doughty crescendos that contrast distinctly with the lighter, more carefree and agreeable Ländler passages. At the time of composition, Bruckner’s mother Theresa (née Helm) had just died and the second movement Adagio – Feierlich is said to be his tribute to her. It begins with a songlike chorale and imbues the writing with a rather solemn quality. Following a pause, at point 11: 36, it soon develops a determined quality and swells to a thundering climax. The grandeur and scale that I look for are very evident, evoking scenes of the magnificent Alpine peaks that Bruckner knew so well.
The players excel in the drama of the third movement Scherzo marked Ziemlich schnell. Under Roth’s baton, the thrilling climaxes have a troubled, even perilous, character, by contrast to the gracious quality of the Austrian Ländler.The playing of the Finale, an Allegro, I find especially compelling. I’m drawn to the admirable double theme, a beautifully blithe polka section heard over an earnest chorale. In stark contrast, Roth ensures that the crescendos build dramatically in waves to the thrilling climaxes, in particular, from point 15:36 to close the score magnificently. Throughout this performance Roth and his players provide many compelling elements. Carefree and joyous dispositions contrast with dark, roaring drama, creating a strong sense of nobility together with endless reserves of vitality.
This was recorded live in concert in the Kölner Philharmonie and the sound quality has first class clarity with pleasing balance. There is no audience applause, and any extraneous noise is kept to a minimum. Music writer Volker Hagedorn’s booklet essay ‘Stillness and a hunger for excess’ is top drawer.
With regard to competing accounts of the Bruckner Third, I admire the grandeur of a highly recommendable recording of the original version by Yannick Nézet-Séguin with the Staatskapelle Dresden live in the Semperoper in 2008 on Profil (review). With this new Roth recording, Nézet-Séguin and the Staatskapelle now face strong competition. This is a compelling account of the original 1873 version of the Third, full of distinct contrasts, powerful impetus and drama.
Michael Cookson
Previous review: Ralph Moore (February 2024)
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