Search - Anton Bruckner, Franz Welser-Möst, London Philharmonic Orchestra :: Bruckner: Symphonies Nos. 5 & 7

Impressive Brucker at a bargain price, but mind the applause

Roger Robinson | Virginia, USA | 07/28/2008

(4 out of 5 stars)

"Two of Bruckner's most magnificent symphonies are given vibrant readings in these live recordings. While there are better interpretations available of both symphonies you're not likely to find them at such a low cost.



For those of you who, like myself, dislike applause in your recordings, however, beware. While there is little noise from the audience during the performances, the explosion of (albeit well-deserved) applause at the end comes even before the last notes of the symphonies have entirely faded. There was no indication on this page that these were live recordings at the time I placed my order.



I would recommend Wand's final take on Bruckner's No. 5 with the Berlin Philharmonic (also recorded live, but without applause) and Bohm's 1977 account of Bruckner's No. 7 with the Vienna Philharmonic, but at a price this low and with performances so alive this two disc set is too good to pass up."

A great bargain, showing thee young Welser-Most off at his b

Santa Fe Listener | Santa Fe, NM USA | 01/03/2009

(5 out of 5 stars)

"I am an admirer of Welser-Most and am hapy to see EMi couple two of his highly enjoyable Ruckner recordings at such a bargain price. The Seventh dates from 1991, when the very young Welser-Most headed the London Phil. Compared to the fiery, robust Bruckner led by their former maestro, Klaus Tennstedt, this version is light and elegant.



It's also beautifully phrased and very Viennese. Are those qualities enough to make it an outstanding interpretation? Probably not. Welser-Most shows incredible promise here, and the orchestral control is already amazing, but his view of the work seems a bit callow compared to Karajan, Klemperer, Harnoncourt, and Giulini. Even so, this fluid, almost sensuous Bruckner Seventh was a harbinger of greater things to come, and it'w well worth hearing. For sheer enjoyment, I'd place it ahead of Barenboim, Solti, Mehta, and Wand.



The Fifth, derived from two live concerts in 1993, asks for comparison with a fellow Austrain, von Karajan, who made a mastrful recording with the BrlinPhil. on DG. W-M's approach is lighter and faster than Karajan's, with punchy accents and a flexible beat. He cuts two minutes from the first movement and almost six from the Adagio compared to Karajan's famous account with the Berliners (DG, 1976). The Scherzo and finale are less drastically different. Two years ago W-M brought the Bruckner Fifth to Carnegie Hall with his present orchestra, the Cleveland, and it was a miracle of precision, elegance, and clarity -- but not excitement. This earlier account is more dashing and alert. He gets his London Phil. to play with commitment if not the finest sense of style; there's something dry and less than exuberant in the sonority. It would never be mistkaen for Viennese.



The cliche about the Fifth is that it is structurally episodic and difficult to organize. To the listener, though, those aren't the issue so much as keeping the piece interesting and varied -- it's easy to find your attention wandering otherwise. I think Welser-Most does quite a good job. Events are more pointed than massive, yet there's dynamism in the big brass climaxes. EMI provides so-so sound, but at this bargain price the performance is outstanding.



(note: this review combines two earlier posts about these performances in their original single-CD issues.)"