Another
compelling Bruckner performance from
Daniel Barenboim and the Berlin Philharmonic
Orchestra. He is one of the leading
Bruckner conductors of our time, of
course, and his expertise and understanding
are such that his performances are always
authoritative and compelling. This one,
of the epic Fifth Symphony, is no exception
in that regard, while the standard of
the recorded sound maintains the excellent
qualities of the preceding issues in
the series.
That
said, this performance of the Fifth
is somewhat more volatile, even a little
wayward, in comparison with Barenboim’s
other interpretations. That is because
he sees the music that way, and there
is no doubt that the symphony is strong
enough, both architecturally and emotionally
to take such a reading. The quieter
passages really do have a pianissimo
dynamic when there is one listed in
the score, whereas the climaxes are
overwhelming in their power. The approach
is therefore clear from the outset,
as the opening paragraph releases a
tutti explosion that sets the standard
for the whole performance.
One
advantage of this powerful emotional
commitment is that the music’s symphonic
momentum can be compelling in its release,
and so it proves in the first movement.
The danger is that continuity of line
might be undermined, though there is
little danger of longueurs and vulgarity
with a masterly Bruckner conductor like
Barenboim in charge. Does the symphony
necessarily have to maintain the dignity
of a symphonic overview of tempo and
line. There is room for more than one
view of a great symphony, and by that
token the discerning music lover can
accommodate more than one performance
of a masterpiece as great as the Fifth
Symphony. In any case, how does one
choose between exponents as convincing
as Herbert von Karajan (DG), Günter
Wand (BMG-RCA) and Barenboim?
The
highlight of the slow movement is the
glorious release of eloquent string
music that develops the principal theme.
This is surely a high point even among
Bruckner’s many inspirational summits.
On the other hand, the scherzo is all
pointed rhythmic accenting, delivered
with much sensitivity and skill by the
Berlin Philharmonic.
Yet
for all these abundant strengths, it
is on the finale that judgements will
ultimately rest. Surely Bruckner wanted
to show an intellectual show of strength
in this extraordinary and large-scale
movement, with its fusion of sonata,
chorale and fugue. Again Barenboim does
not hold back from delivering a committed
and sometimes volatile emotional response.
But with playing and recording as good
as this the result is compelling, and
the performance is one that all lovers
of the great symphonic composer must
hear.
Bruckner
himself was too ill to be present when
Franz Schalk conducted the premiere
at Graz in 1894, but he would surely
have been pleased with the passionate
commitment shown here by Barenboim and
his Berlin orchestra.
Terry
Barfoot
Berlin Philharmonic Orchestra/Daniel Barenboim
