Composer: Anton Bruckner
Works: Symphony No. 3 in D minor; Igor Stravinsky, Symphony in Three Movements
Performers: Bavarian Radio Symphony Orchestra, conducted by Sir Georg Solti
Recording: Filmed in 1993, Philharmonie am Gasteig, Munich
Label: Arthaus Musik
Anton Bruckner’s Symphony No. 3 in D minor, composed in 1873 and revised in 1877 and 1889, represents a pivotal moment in the composer’s output, showcasing his burgeoning mastery of symphonic form and spiritual depth. This particular performance, under the baton of Sir Georg Solti, is based on the Nowak edition of the 1877 version, a choice that presents both opportunities and challenges due to the complex history of the symphony’s revisions. The pairing with Stravinsky’s Symphony in Three Movements further emphasizes the stylistic contrasts—Bruckner’s expansive, almost metaphysical approach to symphonic writing juxtaposed with Stravinsky’s sharp, neoclassical precision.
Solti’s interpretation of Bruckner’s Third is marked by a majestic sense of architecture in the first movement. The orchestra’s sound is rich, yet the recorded sound quality occasionally reveals limitations, particularly in the brass, which at times dominates the texture, risking a lacerating effect rather than the enveloping warmth that Bruckner’s music ideally conveys. Nonetheless, Solti’s pacing remains commendably measured, allowing lyrical moments to unfold organically. For instance, the transition into the lyrical second subject is exquisitely handled, showcasing the orchestra’s sensitivity. However, the subsequent ‘Scherzo’ feels overly emphatic, losing some of its inherent buoyancy. Here, the dance-like elements lack the natural spring that would elevate the rhythmic vitality, even as the punchy accents maintain a level of excitement.
The slow movement, a hallmark of Bruckner’s emotional depth, is lovingly shaped, yet it too suffers from moments of over-emphasis in its latter sections. The coda, which Solti chose not to suppress as per Bruckner’s original request, swings towards grandiosity, detracting somewhat from the movement’s introspective essence. The finale, while featuring some well-paced dance elements, again suffers from a lack of lightness, despite its ultimately grand resolution.
Turning to Stravinsky, Solti’s approach here is refreshingly decisive, bringing a clarity that occasionally eluded his Bruckner interpretation. This Symphony in Three Movements, crafted during a period marked by the tumult of World War II, is characterized by its rhythmic vigor and structural ingenuity. Solti’s reading emphasizes the work’s dramatic contrasts and sharp rhythmic profiles while avoiding the tendency to gloss over structural details. The concertante roles of the piano and harp are rendered with remarkable clarity, and the visual component of the DVD captures Solti’s engagement with the orchestra, revealing his charisma and authoritative presence. His control allows the piece to unfold without sagging, maintaining a level of grit and determination that ranks this performance among the finest available.
The sound engineering, particularly for the Bruckner, presents challenges, with the brass overpowering in climactic moments, while the Stravinsky benefits from a more balanced mix. The visual component, though at times distracting with its dissolving images, still provides insights into Solti’s dynamic relationship with the orchestra and his unyielding focus on musical clarity.
The performances captured in this DVD offer a compelling, if imperfect, exploration of two monumental works. Bruckner’s Symphony No. 3 is delivered with a grand vision that occasionally falters under the weight of its own ambition, while Stravinsky’s Symphony in Three Movements shines with clarity and rhythmic zest. Ultimately, this release will appeal to those interested in Solti’s interpretative choices and the unique challenges of these orchestral masterpieces, solidifying its place in the catalog of essential performances for discerning listeners.
