Anton Bruckner (1824-1896)
Symphony No. 3 in D minor (1877 version, ed. Schaller)
Philharmonie Festiva/Gerd Schaller
rec. live, 7 April 2024, Regent Hall, Bad Kissingen, Germany
Profil PH24040 [54]
I have previously reviewed both and the 1874 (ed. Carragan) (review) and the 1890 versions (ed. Schalk) (review) recorded by Gerd Schaller; now he completes his survey of the three main versions with his own edition of the 1877 version, with the coda to the Scherzo intact.
It is overall a relatively swift reading, mainly because Schaller takes the first two movements faster than most, although he eases up for both the Scherzo and the finale; Solti, for example, in the 1992 CSO/Decca recording that I unexpectedly like very much, is nearly a minute and over two minutes faster respectively in those last two movements. I cannot recall having demurred over Maestro Schaller’s choice of tempi in a dozen years of reviewing recordings in his excellent Bruckner series and having been almost invariably delighted by them, but honesty compels me to confess that on this occasion, although I think the urgency of his opening here conveys excitement, it also robs the music of its massive dignity. I mentioned Solti as a favourite version of this version of the symphony and even he – a renowned “speed merchant” – takes over three and a half minutes longer, which I think is about right. To check my – admittedly entirely subjective and personal – response, I played his recording immediately after this one and there encountered the steady pace I crave as opposed to the Schaller’s near-scamper. Solti’s steady, ominous tread thrills me with a sense of anticipation and foreboding; Schaller’s is far more frenetic and in truth the impact of the brass outburst at the first climax is thereby compromised, especially as phrases are truncated. Likewise, Solti takes two and a half minutes more over the Adagio, lingering over its phrasing, savouring its ebb and flow, where Schaller pushes on rather doggedly. As I say, this is new to me in Gerd Schaller’s discography and I am curious as to what principle underlies his choices – indeed, I shall ask him! – and I proffer my opinion purely as only that, as I know many modern Brucknerians favour a more urgent demeanour. Nor do I in any way mean to impugn the habitual beauty of the orchestral playing here or demean the artistry of the conductor and his orchestra – but my taste is otherwise disposed.
We are back on more familiar territory with the remaining two movements. The demonic Scherzo hits home and I like to hear the triumphant flourish of the coda vibrantly executed as per here, even if I could do with a little more affection in the shaping of the rustic waltz of the Trio. The finale, too, is neatly delivered but here the boot is on the other foot, as I find the contrast Solti engineers between the racing first theme and the tripping second subject more gripping but I still enjoy the sheer heft and sonority of the Philharmonie Festiva and the grandeur of the magnificent coda is entirely satisfactory.
The sound and balances are impeccable, as ever with this series – slightly less reverberant than some issues, this being made in the Bad Kissingen concert hall rather than the Ebrach abbey, but still with plenty of air around it.
(A note to the Hänssler Profil sleeve-note art designers: dark red type on a brown background is never a good idea when legibility should be the priority.)
Ralph Moore
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