There seems to be
a mini-industry growing up in making recordings of large-scale
orchestral works in cut-down versions for chamber forces or
piano. I am thinking of the extensive Brahms four-hand piano
series on Naxos, Shostakovich’s Fourth Symphony for two pianos
and, very recently reviewed on MusicWeb, Mahler’s Fourth and
Bruckner’s Seventh Symphony for chamber orchestra (see links
to reviews below). Here is Bruckner’s Third Symphony for piano
duet in a version mostly created by a youthful Mahler. There
seems to be some debate about who did exactly what but the simplistic
solution seems to be that Mahler transcribed the first three
movements and Krzyzanowski (who?) the last. As far I can judge
from Nowak’s 1877 orchestral score, the middle movements are
barely altered although the debatable coda of the scherzo is
omitted. The last movement contains some cuts towards the end,
perhaps foreshadowing the later 1889 revision of the work. In
the first movement it seems as though Mahler occasionally used
his creative powers but essentially this sounds like Bruckner
throughout. The recording dates from the mid-1990s and it seems
still to be the only version on disc.
Despite generally
positive previous experiences, I still approach “cut-downs”
with some sense of disbelief. There are inevitable losses since
it is impossible to recreate the levels of contrast which the
orchestra brings. In particular, the brass is most missed and
not only in the famous trumpet solo near the opening. But, as
previously, I did find gains in clarity and Bruckner’s vision
does not merely survive in this performance – it burns brightly.
Speidel and Trenkner are an impressive duo, combining great
technical skill and functioning as one. Most of all, they recreate
the music in an interesting and valid way. Some of their tempi
are daringly slow in the first two movements – more than 22
and 17 minutes respectively puts them amongst the slowest on
record for the 1877 version. This was contrary to my prior expectations
but nevertheless mostly convincing, especially in the slow movement.
For an example of how good this is, listen to the feeling of
mystery the pianists manage to create at the letter C in the
second movement.
In the last two
movements speeds are generally quicker than the norm. The scherzo
in particular fizzes along and sounds quite spectacular – making
this a “must hear” for any Brucknerian. In finale, the striking
section juxtaposing polka and chorale comes off surprisingly
well. The very end of the work is never quite going to pack
enough punch on the piano but Speidel and Trenkner give it their
best shot and the finale as a whole is impressive.
The recorded sound
is perfectly acceptable and there are reasonable notes. More
information on the creation of this edition and Krzyzanowski
rather than the (well-known and chequered) history of the work
would have been welcome.
If you don’t know
Bruckner’s Third, come back here when you do. Otherwise, give
this a try – it is as refreshing as a mountain stream. At the
back of the booklet I noted an advertisement indicating that
piano duet versions of Mahler’s Sixth and Seventh Symphonies
are also available on MDG. Of course, I’m sceptical but ...
Patrick C
Waller
Links to other
discs mentioned above:
Sontraud Speidel,
Evelinde Trenkner (piano duet)
