In whichever version (1873, 1877 or 1889) Bruckner’s Third
is a marvellous symphony, which proclaims the full range and
power of his genius. Sakari Oramo opts for the third version,
made during the composer’s period of ‘revisions
mania’ following 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, and
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 Wagner, whom Bruckner called ‘the Master’,
and various Wagner quotations were also excised from the revisions.
Traversing the finale’s structure is therefore a particular
challenge, and it is one that this performance only succeeds
in making up to a point. The choices of tempi are well articulated
and appropriate enough, so too the longer-term vision. Oramo
brings to the music as sensitive a mastery of orchestral shadings
and dynamics as you could wish to hear. The problem is that
he seems to miss the point when it comes to that particularly
important section when Bruckner combines polka and chorale:
‘in the tavern there is dancing while next door the master
lies in his coffin’. Too little is made of this, and it
seems a missed opportunity. Try comparing, for example with
the recent recording by Sylvain Cambreling and the SWR Sinfonieorchester
Baden-Baden und Freiburg, also in the 1889 version: Glor
Classics GC10391.
The Exton recording for Oramo allows for details to emerge within
a sympathetic acoustic - hence the awareness of so many subtleties
of dynamic shading which are a feature of this performance.
In Bruckner’s symphonies capturing the right sound counts
for so much, rather more so 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, and this Exton issue
scores well on these counts, releasing powerful climaxes as
and when they occur, in moments such as the first movement’s
release of the recapitulation.
The playing of the Stockholm orchestra is very fine, and Oramo
is a major conductor. In addition to being Principal of the
Stockhom Philharmonic, he will in 2013 become Principal of the
BBC Symphony Orchestra. In Bruckner’s Third he has full
control of his forces and a commanding view of the score. However,
this recording enters what has become a crowded market-place,
and while it has abundant strengths the vision of the finale
doesn’t quite come off.
Terry Barfoot
Masterwork Index: Bruckner
3
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Royal Stockholm Philharmonic Orchestra/Sakari Oramo 
[55:36] 