Bruckner, A.: Symphony No. 7 Mariss Jansons
- Anton Bruckner (1824 - 1896): Symphony No. 7 in E Major, WAB 107:
- 1Symphony No. 7 in E Major, WAB 107: I. Allegro molto vivace20:24
- 2Symphony No. 7 in E Major, WAB 107: II. Adagio: sehr feierlich und sehr langsam22:00
- 3Symphony No. 7 in E Major, WAB 107: III. Scherzo: sehr schnell09:48
- 4Symphony No. 7 in E Major, WAB 107: IV. Finale: Bewegt, doch nicht schnell12:55
Info zu Bruckner, A.: Symphony No. 7
A world-class orchestra, one of the most significant conductors of our time and a concert hall, where the unmatchable acoustics enjoy a legendary reputation: in this Bruckner recording, all the parameters are just right!
Not just since placing sixth in Gramaphone’s much-cited orchestral ranking have Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks been regarded as an artistic team that complements one another in their individual qualities and reaches a musical level surpassing many of the most famous top international ensembles. Right from its world première, Bruckner’s Seventh was an instant audience success. Its deeply stirring slow movement was dedicated in Bruckner’s own hand to the “highly blessed, deeply beloved, immortal” Richard Wagner, who died in Venice while Bruckner was working on the symphony.
"Not especially known as a conductor of Anton Bruckner's symphonies, Mariss Jansons' recordings have been few, hitherto only the Symphonies No. 3 and No. 4 on the Royal Concertgebouw Orchestra's label, and this recording of the Symphony No. 7 on BR Klassik. This presentation with the Bavarian Radio Symphony Orchestra is comparable to RCO Live's in strength of execution and vivid audio reproduction, and listeners who have all these recordings have reasons to be happy with them. Jansons gives a straightforward interpretation of this symphony, and the orchestra plays with ample warmth and enthusiasm, showing a profound love for this music. Being a live recording, there are unavoidable noises from the audience and a few spots where the breezy ambient sounds of the auditorium give the all-digital sound a slight hiss, reminiscent of analog tape. By and large, though, the orchestral sound is clear and closely detailed, and everything can be heard in the direct stream digital recording. From time to time, it also captures Jansons humming along with the orchestra, and while this is usually heard as a faint, out-of-tune groaning in loud passages, it can still distract. But with these flaws taken into consideration, this is still a lyrical, graceful, and moving reading of one of Bruckner's best-loved works, and Jansons deserves great credit for communicating the heart and soul of this symphony through such a committed ensemble. Note to Bruckner purists: Jansons includes the cymbal crash and triangle roll at the climax of the Adagio, which the composer ultimately rejected."
"…some of the deepest insights occur in pastoral or contemplative passages: the woodwind-violins exchanges in the coda of the Adagio, the tender rumination of the Scherzo's central trio, and most of all the symphony's hushed, magical opening." (BBC Music Magazine)
"As always with Jansons's Bruckner, the performance is broadly based yet purposeful." (Gramophone Magazine)
Symphonieorchester des Bayerischen Rundfunks
Mariss Jansons, conductor
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