Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Friday, April 6, 2018
Bruckner, Sinfonie Nr. 9, Carlo Maria Giulini, Radio-Sinfonie-Orchester Stuttgart Des SWR
That is so much the case that when I threw an "end-of-the-world" party as Three-Mile Island seemed to be cataclysmically melting down not far away from us, I immediately chose Bruckner's Symphony No. 9 as one of the soundtracks. The maelstrom of music that is the 9th seems truly like the Voice of God to me, as much as one might imagine such things.
Given my life-long appreciation of this work, I do not shy away from versions yet unheard. So today we have the "Original SWR Tapes, 1996" of Carlo Maria Giulini conducting the 9th with the Radio-Sinfonie-Orchester Stuttgart des SWR (SWR Classic 19411CD).
It is a version that is markedly well-paced and deliberate, in no hurry to race along and fill two sides of an LP. And that is all for the best. Giulini's cosmos does not unfold rapidly, so that each section comes to a predetermined weight without haste, in a heavenly canopy that need not arrive anywhere according to a set timetable.
Bruckner of course is one of the weightiest composers in terms of large orchestral girth and a stoic refusal to entertain so much as bring a heavenly world to light, to the light, to life.
It strikes me on the 9th that many would-be Minimalists could learn from Brucker how repetition and periodicity could still take on a developmental forward momentum that avoids what in some hands is the mediocrity of the banal. Motivic cells germinate, spin around a vortex, then develop without obvious, filler sorts of sequencing. The 9th has this wondrously spinning quality to it at times, sometimes as slowly as a huge cosmos of bulk like the heavenly material canopy of stars above us or of large sections of the universe that slowly turn in on themselves. One way to look at it is that Bruckner takes the leitmotif idea from Wagner and looks at it like a mass of cosmic frisbees. He spins them in slo-mo throughout his musical universe, spiralling, mutating, sequentially jettisoning their way through an eternity that only lasts (practically) for over an hour. What glory is to be heard in this opening up of aural things to our manifold listening experience! Seriously.
The deliberate interpretation Giulini gives us lends itself well to the stately, ponderous spin of the music of the spheres as Bruckner hears it. And we can now perhaps gauge later Bruckner not just as some sort of obviously exploded Wagner. It is also music that hears in the heavens a spinning that post-High Modernism too hears in its own way.
Of necessity Bruckner could not really be the voice of God. So he is in a way the ultimate ventriloquist. God in this lushly, grandly exciting canopy is really the voice of Bruckner impersonating God! I can think no better (but a few equally) convincing versions of this most remarkable work and what it is doing.
I recommend this work as essential, this version as utterly proper and majestically uber-grand!
Posted by Grego Applegate Edwards at 7:10 AM
Labels: brucker and his legacy to modernity, bruckner symphony no 9 giulini swr stuttgart gapplegate classical-modern review, late romanticism as proto-modern-postmodern postminimalism
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