Bruckner: Symphony no 6, Wagner: Wesendonck Lieder

Bruckner: Symphony no 6
Wagner: Wesendonck Lieder

contralto: Christa Ludwig
New Philharmonia Orchestra
Philharmonia Orchestra

Conductor: Otto Klemperer



Next target for ideal Bruckner Sixth: Wiener Philharmoniker/Horst Stein and Muncher Philharmoniker/Sergiu Celibidache


Bruckner's Sixth Symphony has been called the black sheep of the family. To quote an interesting article from en.wikipedia.org, "Whereas the Bruckner rhythm (triplet plus two quarters, also in inverted from: two plus three) is completely absent from the previous Symphony, in this one it permeates everything, appearing in the first movement in multiple simultaneous instances overlaid in divergent patterns resulting in rhythmic complexity. Perhaps the rhythmic difficulties of this work, especially in the first movement, are part of the reason why this work is so seldom played." The last movement poses another great difficulty as thematically it seemed irrelevant compared with previous three movements. Achieving unity and cohorent equilibrium to this work as whole will be a miracle itself. Klemperer was exceptional, but came close.

Critics have fired astounding superlatives for this recording. Gramophone claimed this recording is the only one that does justice to Anton Bruckner's most difficult symphony (read the claim at the back of CD). David Hurwitz from Amazon.com and classicstoday.com said; "Bruckner's Sixth by Otto Klemperer is one of these--a recording on which everything just went right." Oh, really?

One word of warning. With Klemperer as an interpreter, you have "grumpy", unromantic and unsentimental approach to Bruckner contrary for those spoiled by Karajan and Jochum. The first movement gets off on what seems to be a limping start on string triplets. This kind of trademark is probably typical of Klemperer but then the big march launches off with great majesty, without bombast, pomposity of any sort. Rest of the movement flows fine, even for the second subject. But when it comes near to coda where Bruckner employed cross rhythms and solo brasses here exchanged calls with each other, it isn't what is written in the score. Even a friend of mine, Mr Mark B Astendig who is a big Klemperer fan pointed out the flaws at that part. Shame since it's one of the most glorious, most Nature moments in symphonic writing.

The second part gets better fortunately. Here, this movement is always associated with Mahler in terms of melancholy and the tonal writing especially at the opening bars. Klemperer, an authority in Mahler excels in this movement. I adore his treatment of the second subject where there's great lieder-esque quality in string playing. The oboe playing sounds a little too individualistic however, just a minor gripe.

The taut and gritty Scherzo is also perfectly managed by a conductor of Klemperer's fashion. Tempo is slower than what I am accustomed, but the rhythmic underpinning is consistent and unrelenting so when it comes to the Trio transition, it is natural. Kudos to the maestro when it comes to the Finale, where the abrupt gear changes and tempo transitions are non-existent. It's a pity the Majestoso of the first movement could've used the same consistency.

I think the recording will probably unveil itself by time and repeated listenings. Not up to the hype, but I could understand the acclaim. Any doubts on buying this CD should be dispelled, because Wagner's Wesendonck Lieder here is a triumph that is unlikely of Klemperer. Why? There's playing of great passion and great romanticism (vulgar word for dear ol' Klemp). What more of a greater joy with the old Philharmonia and great German contralto Christa Ludwig. The highlight is a Straussian Schmerzen, where the lush strings are a feast to the senses. I still do not understand Walter Legge's disbandment of the old Philharmonia conducted by various greats such as Furtwangler, de Sabata, Toscanini, Cantelli and Karajan. If you ask me, I thought it was a tragedy that it happened. Nevertheless, with great CD cover design i think this CD is a steal even if it was not entirely perfect.

Technical: 9
Interpretation: 8
Recording: 9