One of the most grown-up review sites around

51,000 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider


colourful imaginative harmony
Renate Eggebrecht violin

Brahms Symphony 3
Dvorak Symphony 8
9 cello sonatas
Piano Music

Clara Schumann
piano concerto

Asmik Grigorian

Breathtaking Performance
controversial staging
Review Westbrook
Review Hedley n/a
Every lover of Salome should see this recording
Mullenger interpretation

Vraiment magnifique!

Quite splendid

Winning performances

Mahler Symphony 8
a magnificent disc

a huge talent

A wonderful disc

Weinberg Symphonies 2 & 21
A handsome tribute!

Roth’s finest Mahler yet

Mahler 9 Blomstedt
Distinguished performance


REVIEW Plain text for smartphones & printers

We are currently offering in excess of 51,000 reviews

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this from

Symphony No.3 in D minor
Symphony in Three Movements
Bavarian Radio Symphony Orchestra/Georg Solti
rec. live, Philharmonie im Gasteig, Munich, 1993
Sound Format: PSM Stereo. Picture Format: 4:3. Region Code: 0. DVD9 NTSC
ARTHAUS MUSIK 100321 DVD [89:00]

Little visual evidence is necessary to reinforce the memory of Solti’s vitality and rhythmic attention to detail, but almost everything is nevertheless welcome. And the latest example to come my way is this performance from 1993, given at the Philharmonie in Gasteig in Munich. The programme conjoins Bruckner’s Third Symphony and Stravinsky’s Symphony in Three Movements. The Bavarian Radio Symphony Orchestra plays with crisp sectional discipline under Solti’s watchful eye, constantly attentive to dynamic shaping and to Solti’s relatively taut conception of the Bruckner.
One of the most effective camera angles is from the back of the orchestra, slightly to Solti’s left, facing toward the conductor and audience beyond. It’s rather as if one were sitting right at the back desk of the fiddles, centrally seated. The director has a yen now and then to superimpose wind solos, although the horn principal is often as not given a single, full-face shot. Good panning shots allow one access to the technical security of the Bavarian orchestra. Concentration too on Solti allows one to see moments of passing felicity. At around nine minutes, pleased by a flute solo, a half-smile crosses the conductor’s face. The Solti mouth is often agape, at first, but assumes a tense fixity as the music develops. His characteristic bustling athletic style is still strongly in evidence – like a man conducting confined in a small box - but those familiar gestures are invariably directed toward a strong expressive and architectural goal. There is no needless languishing, though the music never sound harried.
His choreography is more explicit and Cubist in the Stravinsky – he has a particularly vivid way of cueing the pianist - and whilst the rhythmic profile is still taut, he has time to relax his raptor gaze and enjoy the music a little more than in the Bruckner. There’s a particularly engaging moment when he grins at the principal oboist and it’s clear throughout that he has considerable trust in - and admiration for - the orchestra. Technically, from a directing point of view, there is a very well prepared shot of the harp and piano together.
I did notice on my copy a ghostly ‘print-through’ during a flute passage in the first movement. At times, too, it seems that clarity of image is not quite 100%, though this small deficiency didn’t unduly trouble me.
How essential this will be depends on your affinity with the repertoire and also your intention to watch and re-watch this concert footage. I happen to be somewhat uncertain about my own interest in repeat viewing of such things – things that aren’t of historic significance, that is – so despite its many attractions, and a few brief technical deficiencies, I’m cautious about recommending it more enthusiastically than this. However for those partial to conductor and repertoire I would have no hesitation.
Jonathan Woolf

Previous review (2002 release): Colin Anderson

Masterwork Index: Bruckner symphony 3