Karajan made three
studio recordings of Bruckner’s 7th
symphony, of which this was the first.
It is a version of high repute which
I have never managed to hear before
now. My immediate reaction was very
positive. There is a tremendous sense
of mystery in the opening, and great
pathos leading ultimately to repose
in the slow movement. Throughout the
work transitions are seamlessly managed
and Karajan’s structural grip never
wavers.
A quote from the Gramophone
on the liner suggests that this is "arguably
the most purely beautiful account of
the symphony there has ever been on
record". Despite my scepticism
of such claims, I would have to concede
that it does encapsulate an important
element of this recording – the playing
of the Berlin Philharmonic is very beautiful.
Whether there is a price to pay for
it could be questioned. The scherzo
is, I feel, the least successful movement,
lacking in rustic charm and framing
a trio which becomes a supplementary
adagio. Perhaps Bruckner’s marking Etwas
langsamer (somewhat slower) is ambiguous
but he surely can’t have meant this
much slower. A case of beauty before
truth here perhaps?
In his interpretations
of this composer, Karajan had a reputation
for consistency over long spans of time
but this can be questioned. His later
1989 studio recording, made in Vienna
for DG just before his death was significantly
tauter in the first movement and less
langsamer in the trio, although
the tempo there was unsteady. One similarity
between the 1970/1 and 1989 versions
is that the ending of the work fails
to convince completely. Overall, I prefer
the earlier version, despite less immediate
recorded sound. The recording quality
is nevertheless perfectly acceptable
for the period. The disc is now offered
at lower mid-price and is attractively
presented as part of "The Karajan
Collection".
I also made a comparison
with my own personal favourite version
of the work – Bernard Haitink’s 1978
remake with the Amsterdam Concertgebouw
Orchestra. Unfortunately, at the moment
this version seems to be unavailable
- both the complete set and a Philips
Duo contain his earlier, less compelling
reading of this work. Perhaps Karajan
is marginally preferable in the first
two movements but to my mind Haitink
wins the last two at a canter with perfect
tempi and mood in the scherzo and trio,
an opening to his finale that really
dances and great conviction in the final
coda. So my loyalty to Haitink was not
displaced after all. Nevertheless, despite
some reservations, Karajan’s first studio
version of Bruckner’s 7th is
well worth seeking out.
Patrick C Waller
Berlin Philharmonic Orchestra/Herbert von Karajan
