In whichever version (1873, 1877 or 1889) Bruckner’s Third
is a marvellous symphony. It proclaims the full range and power
of his genius. Sylvain Cambreling opts for the third version,
made during the composer’s period of ‘revision mania’.
This was in the wake of the conductor Hermann Levi’s rejection
of the first version of the Eighth Symphony in 1887. The Third
had essentially been composed some fifteen years before. In
1889 as previously in 1877 the revisions led to a shortening
of the score and in particular of the finale. The symphony was
dedicated to Richard Wagner, whom Bruckner called ‘the
Master’. Various Wagner quotations were also excised from
the revisions.
Traversing the finale’s structure is therefore a particular
challenge. It is one that this performance succeeds in making
pretty successfully. The choices of tempi are well articulated,
and though one may cavil at the occasional detail, the general
effect is altogether commendable, as also is the longer-term
vision. Cambreling possesses an imaginative mastery of orchestral
balance, which is frequently penetrating in its observation
of detail. For example, the lyrical gesangperiode of
the first movement can seldom have been articulated with more
loving care, with attendant harmonic warmth and attention to
subtleties of phrasing; yet the results generate a feeling of
the utmost spontaneity.
As a Bruckner acoustic the Konzerthaus in Freiburg sounds well
here, so all praise to the producer and engineer, Bernhard Mangold-Märkel
and Klaus-Dieter Hesse. The SWR playing is dedicated and disciplined,
delivering a rich tone when required, along with complete accuracy
of ensemble. Moreover the clarity of the recording and the subtlety
of the dynamic range are remarkable. Such things must not be
taken for granted, and both the pianissimo playing and the climaxes
are striking in their effect.
In Bruckner’s symphonies capturing the right sound counts
for so much, and for rather more than might be the case with
the music of other orchestral composers. Phrases need to have
the chance to breathe, and the string sound needs to expand
resonantly. These things contribute significantly to the experience
offered to the listener in recorded performances. The effectiveness
of this new recording is heard to magnificent advantage, for
example, in moments such as the powerful first movement climax
that releases the recapitulation.
As far as the interpretation is concerned, there are inevitably
some questions, but there can be no doubt that Cambreling handles
the intricacies with great insight and understanding. As with
so many Bruckner performances, he can sometimes get drawn into
the excitement of the occasion. For example, the first movement
coda to my mind becomes too much of a stretto effect, as if
the music is dashing through to the finishing tape. It is exciting,
to be sure, and the orchestral playing justifies the risk, but
less haste and more sonority is in the long run more satisfying.
However, it would be wrong to suggest that this interpretation
is indulgent or distorted. In what has become a crowded market-place
the abundant subtleties of Cambreling’s performance, combined
with a state of the art recording, make this a most satisfying
experience in which the many subtleties of Bruckner’s
orchestration are heard to splendid effect.
Terry Barfoot
Masterwork Index: Bruckner
Symphony 3
SWR Sinfonieorchester Baden-Baden und Freiburg/Sylvain Cambreling
