- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 12.7 x 13.97 x 0.64 cm; 85.05 g
- メーカー : Querstand Records
- EAN : 4025796010176
- オリジナル盤発売日 : 2011
- レーベル : Querstand Records
- ASIN : B00530GNAS
- ディスク枚数 : 1
Herbert Blomstedt had already established his Bruckner credentials in the early 80's with 2 superb recordings-4&7-for Denon with the Dresden Staatskapelle both of which were "Critics Choice" versions for many years and which I still treasure. In this cycle of live recordings from performances in the New Leipzig Gewandhaus with its superb acustics, he has not adhered slavishly to one set of editions, so that he adopts the Haas for the Eighth and the 2000 Benjamin Cohrs ( the "C" of the SPCM committee) which purportedly corrects some errors in the Nowak Edition for the Ninth (which is superb!).
The Third Symphony is a nightmare when it comes to "Editions"-Nowak gave up after 3 separate editions, there is a pre-war Haas, bowdlerised versions by Ferdinand Lowe, Schalk and various others not to mention the Marthé Reloaded version which I love for the sheer beauty, grandeur-and cheek of it.
Blomstedt adopts the rare approach of " going back to basics"-he uses the infrequently played Nowak Edition of the 1877 Publication of the 1873 Original Score!-in layman's terms, this is the very first, uncorrected, full length version of the symphony with the quotes from and allusions to the music of Wagner fully intact, and none of the later deletions by Bruckner or anyone else applied!
This is rare enough in itself (I will not countenance the Norrington HIP version!), but in such a wonderfully convincing performance, this version establishes itself as a neglected triumph.
Blomstedt unfolds the work swiftly but with perfect shaping, and with the lighter scoring, this approach relates this work more to Schubert than I have ever heard, for it must be remembered that in this symphony, Schubert was as much an influence on Bruckner as was Wagner. The pauses, especially in the first movement, are all there and pronounced but not exaggerated, the second movement is majestic and moving, the Scherzo whips past with utmost brilliance in 6 minutes, and the finale is joyous and exultant-and does not outstay its welcome at this tempo. As I have mentioned the allusions to Wagner, particularly Walkure, Tristan and Tannhauser are obvious and in no way either inappropriate or in bad musical taste, and it is hard now to understand why Bruckner felt he had to excise them.
This is a truly glorious achievement and the rapturous applause included at the end of the finale is more than justified. I would go so far as to say that it will change your view on this great work and its very nature-it certainly has mine. It is a triumph on every level, recording, playing, conducting-and in its composition. Even the slim album packaging is beautiful , with some of the most comprehensive and informative notes I have encountered. Those who prefer the more usually played 1889 version have a wide choice with Karajan providing a near perfect reading spoiled by rather edgy early digital sound, Haitink is convincing with the VPO especially, Celibidache gives us the monumental view, and Wand is reliable in all his versions. Those seeking a stunning recording of the 1889 version could do worse than the underrated Jansons recording with the RCO live and coupled with an equally fine recording of the 4th.A bargain alternative to the Blomstedt is the very fine Inbal/Frankfurt recording, also of the 1873 version and well played and conducted in bright early digital sound, but which lacks the tonal richness and weight of string tone of this recording. I am afraid that I am not an admirer of the unfortunate Georg Tintner's Bruckner and would not recommend the Naxos recording. This Blomstedt recording, however, clearly reveals that Bruckner got it right first time and is now my top recommendation!
Unlimited Stars and unreservedly recommended . Stewart Crowe