Bruckner: Symphonien Nr.3 & 6 / Berner Symphonieorchester, Mario Venzago [Doppel-CD] – Tonträger gebraucht kaufen

wie neu

103 Min.

2013

Doppel-CD

140 g

Album: NEU und EINGESCHWEISST (OVP). STILL SEALED

Bruckner: Symphonies Nos. 3 & 6 / Berner Symphonieorchester / Venzago

Release Date: 04/30/2013
Label: CPO Catalog #: 777 690 Spars Code: DDD
Composer: Anton Bruckner
Conductor: Mario Venzago
Orchestra/Ensemble: Berne Symphony Orchestra
Number of Discs: 2
Recorded in: Stereo
Length: 1 Hours 45 Mins.
EAN: 0761203769025

Works on This Recording
1. Symphony no 3 in D minor, WAB 103 by Anton Bruckner
Conductor: Mario Venzago
Orchestra/Ensemble: Berne Symphony Orchestra
Period: Romantic
Written: Vienna, Austria
Venue: Grosser Saal, Kultur-Casino Bern
Length: 54 Minutes 32 Secs.
2. Symphony no 6 in A major, WAB 106 by Anton Bruckner
Conductor: Mario Venzago
Period: Romantic
Written: 1879-1881; Vienna, Austria
Venue: Grosser Saal, Kultur-Casino Bern
Length: 50 Minutes 30 Secs.

Notes and Editorial Reviews
AllMusic Review by Blair Sanderson [-]
Continuing his impressive series of Anton Bruckner's symphonies on CPO, Mario Venzago leads the Bern Symphony Orchestra in period style performances of the Symphony No. 3 in D minor (1889 version) and the Symphony No. 6 in A major (1881 version), using scores edited by Leopold Nowak. Venzago strives for historically informed performances that give varying perspectives on Bruckner's development, employing different orchestras with each release to reveal important differences in the composer's orchestral conceptions and to show that there wasn't one prescription of how the symphonies should sound. Instead, Venzago rejects the massive and heavy-handed interpretations of the early 20th century and tries to re-create the 19th century sound world in all its variety and intimacy. The glistening, vibrato-less string tone, pungent woodwinds, and crisp brass and timpani are easily distinguished from the more homogenized tone colors of a modern symphony orchestra, and Venzago ensures that these distinctive timbres aren't obscured by keeping the orchestral sections lean and discrete. Indeed, there are many places where the Bern musicians sound like a chamber orchestra, and their pristine lines and transparent textures reveal many inner parts that are lost in bigger sounding recordings. CPO's clean audiophile reproduction reflects the care that went into producing such crystalline performances, so this is about as good as it gets on a conventional CD. Highly recommended

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Mario Venzago continues his interesting Bruckner cycle for CPO with a set coupling the Third and Sixth Symphonies. Various orchestras have been involved in this project and this time both performances feature the Berne Symphony Orchestra, who give a thoroughly creditable account of themselves.

The discs are nicely presented in a slimline box, and there are full programme notes, albeit in tiny print. In an interview the conductor shares his ideas about Bruckner's music.

In whichever version (1873, 1877 or 1889) Bruckner's Third is a marvellous symphony, which proclaims the full range and power of his genius. Mario Venzago is an experienced and committed Bruckner conductor, as previous issues in the series have proved. He has also shown great concern for choosing the most appropriate edition of each symphony. This makes it something of a surprise that he has opted for the third (1889) version of the Third, with its shortened finale. The recorded sound brings great clarity and a suitable atmosphere; nowhere more than in the first movement's opening phase, when Bruckner so skilfully articulates the evolution of the first subject through scoring of the utmost imagination. Each section of the Berne orchestra acquits itself admirably here.

In the slow movement there is a good balance between lyrical flow and profound expressiveness, and when the strings are required to glow, they certainly do. The rustic scherzo is also well characterised, with strong rhythms as in a dance of the earth at one extreme, and pastoral innocence at the other.

As so often in 19th century symphonies, the finale is the most problematic part of the score. There are those who will contend that only the original 1873 version will do. The 1889 version is more drastically cut than that from 1877, in which the musical structure holds up more strongly. To be fair, Venzago makes a strong case for the shorter span of the 1889 version, with dramatic incident all the more important therefore. He and his players generate suitable energy and even vehemence in the first subject, which overall provides probably the most important aspect of the movement. However, it is the second theme that warrants the most exact description, since it is a subtle combination of polka and chorale which Bruckner described with a telling anecdote: ‘In the tavern there is dancing, while next door the master lies in his coffin.' The performance articulates these aspects very successfully and this adds considerably to the whole experience. Towards the end of the work the principal theme from the first movement comes back to make its emphatic point. It confirms the essential unity of the conception, which it most certainly does in this fine performance.

Bruckner's Third Symphony is well served on CD in all three versions. Among those who have recorded the 1889 version, Günter Wand and the North German Radio Symphony Orchestra (RCA 09026613742) and Sylvain Cambreling and the SWR Symphony Orchestra (Glor Classics GC10391) are also highly recommendable.

However, this new CPO issue is a 2 CD set, and comment on the Third Symphony must therefore be linked with comment on the performance of the Sixth. Alas, this seems to me to be much less successful. This work is often regarded as being difficult to bring off. If that is indeed the case Venzago adds further fuel to that particular flame. Again the recording is good, and so too is the orchestral playing. Unfortunately there is rhythmic unsteadiness in the first movement, which begins quickly but later on starts to drag. The phrasing can misfire too, with some of Bruckner's most poetic ideas becoming somehow matter-of-fact;, take, for example, the horns' pp rocking figure which swells so majestically towards the final climax.

The Adagio gains from some refined dynamic shadings, while the music moves fluently at a mobile tempo. This can work well in this movement, as Otto Klemperer's celebrated performance proved (EMI 4 04296 2). Again too much of the phrasing feels wrong, not least in the wonderful third theme in funeral march rhythm. This quite misses the mark here.

The Scherzo is altogether more successful, with abundant detail in the texture thanks to the splendid recording. The finale succeeds in generating plenty of drive and energy. Overall, this performance of the Sixth fails to achieve the vision and eloquence of the conductor's other Bruckner performances.

Quite why CPO chose to issue these two symphonies together rather than individually is hard to fathom. There is no obvious musical reason for doing so, other than that the same conductor and orchestra are featured. That is hardly sufficient reason, and even without the mismatch between the relative merits of the two performances the logic seems flawed.

Terry Barfoot

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Gramophone Magazine
Awards Issue 2013
“Venzago demolishes - and clearly enjoys doing so - the idea that all conductors need to do is think big, think solemn, pour on lashings of string vibrato and, bingo, an authentic Bruckner is theirs for the taking...In contrast to the inexorable rightness of the Third, the first movement of the Sixth Symphony is hurried....Venzago's Third is state-of-the-art, though.”

MusicWeb International
17th June 2013
“Venzago is an experienced and committed Bruckner conductor, as previous issues in the series have proved...Each section of the Berne orchestra acquits itself admirably [in the Third]...Alas, [the Sixth] seems to me to be much less successful”

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Venzago dirigiert Bruckner 3 und 6

Fünf Sinfonien von Anton Bruckner in aufsehenerregenden Interpretationen des Schweizers Mario Venzago sind jetzt auf dem Markt, und schon wird deutlich, dass hier neue Maßstäbe gesetzt werden. Einige Presseauszüge: klassik-heute. com 12 / 11: "Mario Venzagos neuartige, durch und durch eigenständige, für manche vielleicht auch etwas verstörende Bruckner-Lesart findet hier ihre nicht nur faszinierende, sondern elektrisierende Fortsetzung. Alles atmet, alles ist in seiner jeweiligen Aussage unverwechselbar und macht Sinn. Eine Bruckner-Deutung, die Unerhörtes und bislang Ungehörtes ans Licht befördert.“Christoph Jetzschke in klassik-heute. com: „Hier beweist jemand einen unverwechselbaren Charakter und ein unverkennbares Profil. An dieser Bruckner-Sichtweise kommt niemand vorbei." Pizzicato 09 / 12: "Venzagos Mut, Bruckner eher romantisch als postromantisch zu deuten, macht Sinn, denn die Zweite entwickelt plötzlich ein Eigenleben und begeistert durch eine eigene, stilsicher Musikalität. Die ist gewiss eine der besten Aufnahmen dieser Komposition!" Nun geht es also weiter mit der 3. und 6. Sinfonie, dieses Mal mit Venzagos eigenem Orchester, dem Berner Symphonieorchester. Die dritte ist jenes Werk, dessen Widmung im Juli 1873 der von Bruckner so hoch verehrte Richard Wagner angenommen hatte. Ursprünglich gespickt mit Wagner-Zitaten, hat Bruckner sie nach viel Kritik grundlegend überarbeitet, erst 1875 dann noch einmal während der Komposition der neunten 1888. Die sechste von 1879 ist dagegen ein isolierter Einzelfall in Bruckners Schaffen: Sie entwickelte sich von Anfang an organisch und wie von selbst. Es gibt von ihr nur eine Fassung!
Product Information


Venzago Conducts Bruckner's Third and Sixth

Five symphonies by Anton Bruckner in sensational interpretations by the Swiss conductor Mario Venzago are now on the market, and even now it is apparent that this edition is setting new standards. A few excerpts from the press: klassik-heute. com 12 / 11: “Mario Venzago's novel, absolutely independent Bruckner reading, perhaps somewhat unsettling for some, here enjoys a continuation that is not only fascinating but also electrifying. Everything breathes; everything is distinctive in its particular statement and makes sense. A Bruckner interpretation that brings to light what is unheard-of and so far has remained unheard.” Christoph Jetzschke in klassik-heute. com: “Here somebody displays an individual character and a unique profile. Nobody can afford to miss this new approach to Bruckner.” Pizzicato 9 / 12: “Venzago's courage to interpret Bruckner more romantically than postromantically makes sense because the second symphony suddenly develops a life of its own and enthuses the listener with its own stylistic musicality. This is certainly one of the best recordings of this composition!” This month our edition continues with the third and sixth symphonies, this time with Venzago's own orchestra, the Bern Symphony Orchestra. Richard Wagner accepted Bruckner's offer to dedicate the third symphony to him in July 1873. It was originally larded with Wagner quotations, but Bruckner thoroughly revised it after it had been roundly criticized, first in 1875 and then again while working on his ninth symphony in 1888. In contrast, the sixth symphony of 1879 represents an isolated case in Bruckner's oeuvre: it developed organically from the very beginning, as if automatically. It exists in one sole version!

Rezensionen

Pizzicato 05 / 13: "In der Tat revolutionieren Mario Venzagos Interpretationen das gängige Brucknerbild, und man muss sich hinsichtlich dieser recherchierten und unwahrscheinlich musikalischen Auslotungen fragen, ob es sich die bekannten Bruckner-Dirigenten nicht doch manchmal etwas einfach gemacht haben."
Berner Zeitung 04 / 13: "Venzago verschreibt Bruckner eine Schlankheitskur, die man als Schubert-Diät bezeichnen könnte. Und er bringt ihn ins Schwitzen, so wie er auch 'seinen' Schumann ins Schwitzen bringt - mit hohen Grundtempi und kunstvollen Temposchwankungen im Kleinen. Es ist ein unerhört freier, subjektiver Zugang zu Bruckner."

CPO 777 690A