I had quite a Brucknerthreeathon last night. Skrowczewski, Haitink and Sinopoli - I’ll talk about the latter, especially since Petrushka asked for my views!
First thoughts on one listen.
Getting the edition/version question swiftly out of the way - Sinopoli uses the 1877 version with the coda added to the scherzo as per Novak.
The recording quality is very good. Softer focus than BH, SS et al, with the slightest 'overhang' - nothing huge like some cathedral recordings but discernible, and more than with most venues. Definitely adds to the enjoyment of the music. For me it’s perfect, a real bonus that I couldn’t have expected. I have not read the booklet yet, it may cite the recording venue.
To my ears there are no Sinopoli idiosyncrasies in this performance, so those who are less Sinopoli-tolerant need not worry. This symphony, IMV, sometimes comes across a bit 'clunky’ with climaxes and calmer passages coming together in a slightly abrupt manner. Sinopoli manages to get a far more balanced delivery, without it being in any way repressed.
I would say that it is a performance that allows the drama in the music to come through unforced, albeit at the sake of some of the mystery that say, Karajan achieves.
The adagio is beautiful. Sensitive, but not sentimental. At this moment in time, I would say it’s my favourite performance of the adagio.
Sinopoli has a total grasp of the landler in the scherzo and is one of the most dance-like deliveries of this Austrian speciality that I’ve heard - not bad for an Italian (although he was born in Venice, not too far from Austria and a place that always figured in the Austro-Hungarian Empire!).
The scherzo’s coda is white-hot and could be used as an exemplar for it’s justification.
To my ears, Sinopoli achieves a molten-lava flow of the music, white-hot and sensitive where necessary.
It’s hard to explain why I sense this - there is such interplay between the different sections of the brass and between the various groups of instruments that I got a sense that the musicians were first and foremost listening to one-another, playing to one-another. Especially in the outer movements.
Everything else that is good about this music, is down to Bruckner!
Those are my first thoughts, based on one listen.
I’m very glad I bought this recording.
Warning! I am a highly subjective, emotional, instinctive Bruckner and Sinopoli fan!
Warning #2 Sinopoli is wearing a hideous jumper on the cover!
First thoughts on one listen.
Getting the edition/version question swiftly out of the way - Sinopoli uses the 1877 version with the coda added to the scherzo as per Novak.
The recording quality is very good. Softer focus than BH, SS et al, with the slightest 'overhang' - nothing huge like some cathedral recordings but discernible, and more than with most venues. Definitely adds to the enjoyment of the music. For me it’s perfect, a real bonus that I couldn’t have expected. I have not read the booklet yet, it may cite the recording venue.
To my ears there are no Sinopoli idiosyncrasies in this performance, so those who are less Sinopoli-tolerant need not worry. This symphony, IMV, sometimes comes across a bit 'clunky’ with climaxes and calmer passages coming together in a slightly abrupt manner. Sinopoli manages to get a far more balanced delivery, without it being in any way repressed.
I would say that it is a performance that allows the drama in the music to come through unforced, albeit at the sake of some of the mystery that say, Karajan achieves.
The adagio is beautiful. Sensitive, but not sentimental. At this moment in time, I would say it’s my favourite performance of the adagio.
Sinopoli has a total grasp of the landler in the scherzo and is one of the most dance-like deliveries of this Austrian speciality that I’ve heard - not bad for an Italian (although he was born in Venice, not too far from Austria and a place that always figured in the Austro-Hungarian Empire!).
The scherzo’s coda is white-hot and could be used as an exemplar for it’s justification.
To my ears, Sinopoli achieves a molten-lava flow of the music, white-hot and sensitive where necessary.
It’s hard to explain why I sense this - there is such interplay between the different sections of the brass and between the various groups of instruments that I got a sense that the musicians were first and foremost listening to one-another, playing to one-another. Especially in the outer movements.
Everything else that is good about this music, is down to Bruckner!
Those are my first thoughts, based on one listen.
I’m very glad I bought this recording.
Warning! I am a highly subjective, emotional, instinctive Bruckner and Sinopoli fan!
Warning #2 Sinopoli is wearing a hideous jumper on the cover!
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