Of Anton Bruckner’s 11 symphonies, the perennially popular 7th in E major is his most consistently melodious, evenly paced, & lyrically flowing, with comparatively few false starts, awkward pauses, or tedious fanfares. For this exceptional hybrid SACD from PentaTone, Yakov Kreizberg & the Vienna Symphony deliver 1 of the smoothest & roundest performances of the symphony heard in years. Yet it might actually be too polished for the liking of some old-guard Bruckner fans, who may argue that the orchestra is too mellow, luscious, & soft, & that Kreizberg’s inflections & phrases are too nuanced & sensual for the composer’s pure, almost sacred, intentions. But more important than the undeniably rich tonal quality found here is the interpretation, which draws on the style of Wagner’s most ardent music; some of the more ecstatic passages of Lohengrin & Tristan und Isolde may come to mind when one hears this disc.
Bruckner‘s Seventh – The master‘s homage to Richard Wagner With the mighty build-ups and monumental fortissimi of Bruckner’s Seventh, Welser-Möst and his Clevelanders have their work cut out for them. And they do not disappoint. The most popular, and perhaps most easily accessible, of Bruckner‘s symphonies, the Seventh casts its spell on the audience with its clear-cut architecture and the wealth and fullness of its melodies. From the sweeping opening theme of the first movement to the victorious chords of the finale, the Cleveland Orchestra and its conductor deliver a magisterial reading of Bruckner‘s masterpiece. Cleveland‘s Severance Hall is the venue for this performance. This hall, an eclectic yet elegant mix of Art Deco, Art Nouveau, Classicism, Egyptian Revival and Modernism was inaugurated in 1931 and is still hailed today as one of the world‘s most beautiful concert halls. The Cleveland Orchestra, founded in 1918, began its ascent to the upper ranks of the world‘s ensembles after it moved to Severance Hall in 1931.
The Dresden Staatskapelle has a living Bruckner tradition, stretching back a century and more, which is lovingly curated by its new music director, Christian Thielemann, who is himself a powerful advocate for the composer’s symphonies as the pinnacle of the Austro-German tradition; and in particular for the Wagnerian resonances of the Seventh, whose Adagio was shaped by news of Wagner’s death in Venice. Hugo Wolf was also deeply affected by that news; his songs, like Bruckner’s symphonies, can be seen as oblique reflections on the influence of Wagner, especially when sung, as they are here by Renée Fleming, with the utmost delicacy and intimacy.
…In his late years, Wand restricted his repertoire almost exclusively to the symphonies of Anton Bruckner (which he had never conducted until he was over 60), Schubert, Brahms, Beethoven and Mozart. Wand regarded Bruckner as the "most important symphonist after Beethoven". Wand's biographer Wolfgang Seifert believes that "it is no exaggeration to say that Günter Wand has made an indispensable contribution toward the understanding of Bruckner in our time."
…Because Janowski and the Orchestre de la Suisse Romande have had great successes with this and the last two Bruckner symphonies, listeners in search of great performances should give them a try, and audiophiles should regard them as required listening.
Hyperion is delighted to present Donald Runnicles, chief conductor of the BBC Scottish Symphony Orchestra, in his debut on the label. Runnicles commands his orchestra in Bruckner’s most popular symphony—repertoire that is at the heart of his musical life, and in which he has few living equals. Recent concerts of the works of Bruckner and Wagner have received the highest critical praise, acknowledging the orchestra and their conductor as consummate performers of this music.