Customer Reviews

Bruckner: Symphony No. 5 - Staatskapelle Dresden / Giuseppe Sinopoli

5 star:		(12)
4 star:		(5)
3 star:		(1)
2 star:		(3)
1 star:		(0)

 

 

I decided to pick up this release without any previous sampling on radio or elsewhere and having not read any reviews. I have the same force's previous Bruckner releases and I am an admirer though I don't hold them in any extraordinary place. Indeed I believe Sinopoli's Bruckner Eighth is a tad overrated in some quarters. However I am glad I opted to get this CD because it's excellent on most fronts. First let me say that the Dresden Staatskapelle really are satisfying to listen to. They produce rich and broad sonorities that are ideally suited to carry Bruckner's gothic trusses and guide one through those austere Brucknarian landscapes. Credit must also be given to Sinopoli who has done an admirable job during his tenure in keeping that fabled Dresden sound intact. Often when I listen to their brass section images of Rembrandt's "Man In A Golden Helmut" come to mind...an aged medieval knight in old and tarnished armor that can still intimidate. This particular performance in question is some of Sinopoli's best Bruckner I have heard. It's a live recording though you would not know it with either a very quiet audience or excellent post production work from DG's Oliver Rogalla. The opening of the first movement is a good indicator of Sinopoli's performance as a whole; measured and calculating with a seriousness that dominates the proceedings like I haven't heard previously from this conductor. The episodic nature of this work containing immense brass fortissimos alternating with delicate and almost whimsical string and woodwind passages are all cogently delivered. I only wish Sinopoli would have a little more momentum and impetuousness packaged with his sound picture. The first movement inparticuliar suffered from a sometimes too calculating approach as if it were being governed by a conductor who kept his "thinking cap" on too long. Otherwise it seems unfair to knit-pick for it delivers the goods admirably. The adagio is played with a nobility and nostalgic like feeling that well conveys the music's lonely and quite restlessness. Sinopoli chooses a somewhat mild tempo for the Scherzo not pushing it too hard and allowing adequate breathing space around the soundstage. The highlight of the evening is found in the great last movement where Sinopoli holds things together while simultaneously releasing a majesty and inspiring his players to real nobility. This is one of the most convincing arguments I have heard for the Fifth's last movement. A fourth movement unequalled in Bruckner's oeuvre until the Eighth's final summation was penned some years later. It sounds like an extraordinary tough thing to keep together and Sinopoli never lets go of the concentration that has been articulated from the beginning. In the coda the great final brass chorale is breathtaking in its authority and decisiveness. Here Sinopoli unleashes a power from his Dresden brass players that is simply astonishing. He pays particular credence to the trombones giving a massive weight to the last bars that I have rarely heard since Klemperer. DG's sound will probably not be pleasing to everyone as it's somewhat dense and thick however with a substantial, well-defined bass. All in all, a fine memorial to a conductor who's schooling in archeology and Egyptology seem a fitting background to illuminate the antediluvian like narrative found in Bruckner's music.

This recording has been hailed by many as one of the best Bruckner 5s on the market, and quite rightly so. Equally justified is the praise for the recording technique. Even if you're not a Bruckner-fanatic you would do well to check this recording out simply for the quality of the sound. The opening bars alone amply demonstrate it: the prowling pizzicati come through with such uncanny realism that it's almost startling. And none of the airiness, spaciousness and transparancy is lost as the sound expands. In fact, as one reviewer observed, this recording is so detailed that it amounts to the aural equivalent of a study score. If you have a score, just pick any detail in a secondary voice, listen to this record, and you are guaranteed to be able to hear it, even in the most massive tutti's.
I know some people find such 'audiophile' niceties beside the point, but in fact it is this transparancy that provides the marvellous coherence in this recording of what is potentially a fragmentary work, especially in the Finale. Seemingly unrelated passages are woven together because for once we can hear how Bruckner prepares a theme in a secondary voice before it is fully stated, or how echoes of a theme reverberate in the background while a new idea is developed. And of course this is not just a matter of technique; it is mainly the result of Sinopoli's totally committed but clearheaded vision of the work, combined with the matchless playing of the Dresden orchestra. I relished their burnished brass, which is powerful without the aggressiveness or fierceness often associated with ff brass playing, presenting a coherent pciture from the highest trumpet notes to the marvellously effective lowest tuba pedals. Horns are not buried beneath the other brass, as happens too often, and sound glorious as well. Another boon, apart from the magnificent first oboe, is the well-defined presence of the timpani.
Sinopoli refrains from any of the excentricities that have marred too many of his recordings; his realisation of the score is as truthful as the sound recording. Only at the beginning of the Scherzo he is somewhat wayward, starting below the tempo and then speeding up to the required `Schnell`. Maybe this was done in an attempt to underscore the close connection to the Adagio (the opening pages of Scherzo and Adagio are identical, only at different speeds). Uncalled for, but not something to fidget about, given a disc that sets a standard of excellence only very rarely achieved!

The symphonies of Anton Bruckner are so large in orchestration and often so lengthy that it has taken a very long time for them to have anywhere near as permanent a place in the orchestral repertoire as those of Beethoven, Brahms, or Mahler. Of the nine numbered symphonies Bruckner composed, the Fourth (or "Romantic") is generally agreed to be the most popular. But its immediate successor, the Fifth, composed by Bruckner in 1878, seems to be reaching those heights now too.

This symphony highlights the hallmarks of Bruckner's symphonic style--the often grand pronouncements of the brass, mimicking the sounds of grand cathedral organs (Bruckner himself was a church organist); the shimmering string passages (redolent of the opening of the Beethoven Ninth), the vigorous scherzos, and the sometimes violent crescendos. Here, in this 1999 recording made by Deutsche Grammophon, the work is seemlessly performed, under the direction of the late Italian conductor Giuseppe Sinopoli, by the Dresden State Orchestra (Staatskapelle Dresden). The orchestra is one of the most qualified to handle Bruckner's massive symphonies, having recorded the complete set under Eugen Jochum between 1975 and 1982; and while Sinopoli may never have quite been able to reach Jochum's level with Bruckner, he still managed to achieve the best out of the orchestra and the symphony itself. The trombones and the tubas cleverly accentuate the organ-like passages of the score, and the rumbling timpani at the end of the first and fourth movements give the right sonic impact.

This is one of the best Bruckner recordings out there, and is highly recommended.

.
The 5th in Karajan's box set (1976) is the best, but increasingly difficult to obtain as a single.
Anton Bruckner: Symphonies Nos. 1 & 5 - Herbert von Karajan / Berlin Philharmonic

For a single disc, this Sinopoli is probably the next best Bruckner 5th.

I. Adagio-Allegro [20'51"]
II. Adagio [18'48"]
III. Scherzo-Trio [13'30"]
IV. Finale [23'28"]

Nominally "live," audience noise (applause) is not a problem here.

A classic from the late Sinopoli. Out of print: get it while you can...

No. 5 is in fact the most quintessential Bruckner symphony in that it suffered the least revision--(none)--while it represents his most mature style.
It's a supremely original unified work of art--from any aspect--and splendidly orchestrated.
See also:
Bruckner: Symphony No. 5
.

The problem with Bruckner's symphonies for most listeners apart from their length is that they can leave you unsatisfied. Nos. 1,2 and 3 are not played that often. No. 9 was never finisehd but feels like a complete symphony with only three movements. The popular 4th and 7th tend to be let down by their finales, as does the lesser played 6th. The 4th is too disjointed and the finales of #6 and #7 are too short to balance the first three movements. The longer 5th and 8th symphonies have the opposite problem in that they have great finales but it can be a chore to sit through the first three movements. This is the problem I have had with the 5th until this recording. It can be a tough, gritty, elusive symphony that never seems to get going until the finale. Sinopoli has helped me out by getting me to like the Bruckner 5th at last. I still like the 4th and 6th more and for some reason I cannot explain the 7th and 8th seem overrated (Heresy you say)!

I am not a classical scholar so forgive me for basing my review on melody and recording quality. This recording has both. Sinopoli has uncoverd more to this symphony than I realised. I still think the first movement is too long and too repetitive. But I appreciate the slow movement more than I did before. Unfortunately the slow movements of the other popular symphonies (4-delightful,6-gorgeous,7-heartbreaking,8-exalting,9-at peace) are more gratifying. It is in the finale that Sinopoli wins me over to this symphony. I have read how great this finale is with its amazing fugue and brass chorale etc but it seemd to escape me. Now i find it amazing and thrilling to listen to. Whether it is one of the greatest finales to a symphony, I cannot say. The same words have been used for Mozart 41, Beethoven 5 and 9, Brahms 1 and 4, Mahler 2 and 9, Tchaikovsky 4 and 6, Shostakovich 5, even the Bruckner 8 and Celibidache's recording of the Bruckner 4.

Overall this cd has helped me like and appreciate the Bruckner 5th. It is the last of his symphonies I have tried to grasp (apart from Symphony # 00). It is in my cd player a lot lately and every time I listen to it I discover something new.

Track times:
1. Introduction. Adagio-allegro 20.51
2. Adagio. Sehr langsam 18.48
3. Scherzo. Molto vivace (schnell) 13.30
4. Finale. Adagio- allegro moderato 23.28

The Bruckner Symphony No. 5 is a gargantuan creation, the first of the conductor's more complex symphonies from the perspective of the score and the listener in terms of understanding what the composer was trying to say. Far from the obvious message of the preceeding "Romantic" Symphony No. 4, Bruckner's Fifth is sometimes called the "Church of Faith" symphony for its projection of the composer's Catholic faith. It is also variably called the "Tragic" and "Pizzicato" symphony. None of these nicknames characterize the symphony's other uniqueness, its overwhelmingly complex counterpoint, witnessed most directly in the long finale whose span includes two lengthy double fugues in a modified sonata format that lead to a monumental finale at the coda. Bruckner himself called this symphony "my contrapuntal masterpiece."

Under the baton of Giuseppe Sinopoli in this concert recording, I am unsure if any of these elements are most important. To me, this recording has no point of view whatsoever and is perhaps the clearest view to the score itself. The crystal clarity of the recording, combined with the orchestra's masterful playing, and Sinopoli's textureless and emotionally neutral conducting, all add up to show you what is in the score. No one seemed interested in telling you the possibilities of the natural or supernatural message that's in the score, however, especially during the magnificent finale.

To give you an idea what others can achieve, I use the finale from the coda to the final chords as a metaphor. Anyone that knows the historic 1974 documentary The World at War has seen the first hour in the collection called The New Germany 1933-39. This film characterizes the new nation under Hitler, its rise from ashes to world power, the willingness of the people to give up liberty for fanaticism and economic growth, the crysal night pogrom and the beginnings of racism against Jews, and the first foray into World War II in Poland. Near the end is a scene in Berlin where Germans celebrated Hitler's 50th birthday. Played over Sir Laurence Olivier's voiceover is the finale from the Bruckner Symphony 5 from coda to end, shorn of the final chords. The music creates an overwhelming sense of victory, pomp and ceremony, and emotion that doubles the visual imagery.

This is what I expect to hear when I hear the Bruckner Symphony No. 5, especially the conculsion. I expect to be moved the same way the Germans were in 1939 when they celebrated Hitler's birthday. There was no such occasion on this recording. While Sinopoli's dissection of the score was magnificent, his reading is neutral in terms of point of view and emotional content. Listeners interested in everything there is in this symphony can do far better than this.

For me, the best bet in this symphony is Jashca Horenstein's 1971 recording from Royal Albert Hall for the BBC Bruckner - Bruckner: Symphony 5. This recording has rightly been celebrated everywhere and it remains a top recommendation in light of five new super audio recordings and everything else that has been recorded in recent years. Horenstein consistently finds in the score the metaphysical message others miss and does so with a unique sense of timing and musicality. He never plays a repeat the same way twice and routinely varies pacing and inflection to maintain interest in the lengthy pages where less successful conductors turn the Fifth into Brahms' "boa constrictor," the unkind description of Bruckner's works from his camp.

Most of my other favorites recordings of the Fifth are historic and/or out of print including the fire-breathing Furtwangler and Abendroth's fabulous concert from 1949. Among newer recordings generally available, the one from Salzburg under Ivor Bolton is the best, in my opinion.

I have heard all five super audio recordings that are available and none is up to the standards set by these conductors. Of those, I would say the version by Janowski and L'Orchestra de la Suisse Romande Symphony No 5 gets the most from the score while Haronocourt's Vienna version Bruckner: Symphony No. 5 is full of his typically disappointing personal affects that become bigger than the music.

I had never considered the 5th to be one of the "great" Bruckner symphonies, but here, Sinopoli gives a performance that reveals of real greatness. The music shines with a clariety of voicing, with great emotion and architecture, that I found spell-binding. It was as if I heard this music for the first time. My biggest concern when purchasing this, was that Sinopoli would insert some mannerism, or too broad a tempo, but there is nothing to complain about in any aspect of the interpretation. We may never hear a better performance. If you love any Bruckner, then this will be a cherished recording for your collection.

Somehow, Bruckner's 5th Symphony gets overlooked, situated as it is between the more popular 4th and 7th. Actually, it has every bit as much appeal as those works, and would make a perfect introduction to his oeuvre. This live recording is the one to buy.

Modern live recordings can be just as plagued with balance problems and audience noise as older ones, but this one somehow manages to avoid these annoyances, conveying the spontaneity of this live event in clear, distortion-free sound.

The performance itself is remarkable. Sinopoli was always one to re-think standard repetoire, but he is never mannered or willful on this recording. Instead, he clearly communicates the structure of the symphony, and allows the listener to hear lines of counterpoint that would usually get buried under Bruckner's heavy textures.

The same could be said of the grand Statskapelle Dresden; conductor and orchestra together provide the requisite Brucknerian weight, but with a light enough touch that the orchestration sounds clear and unclotted.

In short, a true rarity: a performance that is technically and sonically impeccable, but also emotionally overwhelming. This 5th is revelatory and not to be missed.

Sinopoli recorded quite a bit of Bruckner during his tenure at Dresden. He was a curious conductor: sometimes inspirational, sometimes curiously detached, in Bruckner and in other composers he visited. I purchased this when it was released some years ago and consider it one of his best performances overall, and, along with his 9th, the best of his Bruckner recordings.

Bruckner was an organist, and composed inprovisationally on that instrument. His symphonies require both a sense of architecture and spontaneity. In order to bring it off, the Fifth needs a flow and sense of rhythm to keep it from getting bogged down in the somewhat granitic facade. When it works, as it does here, it treads that fine line between propulsion and atmosphere. This is abundantly evident in the Sinpoli's handling of the Finale, whose final peroration seems like and organic outgrowth of what went before.

In Dresden, Sinopoli recorded symphonies 3-9, with the exception of 6. His 4th and 7th were curiously detached and colorless, the 8th (not easy to find, as it was not generally released in the US) was interesting but overly fussy (as was Sinopoli's wont on occasion). As previously mentioned, he also rose to the occasion with the 9th symphony, but sadly it does not seem to be listed here (unless I missed it). If you are curious about the Italian composer/maestro's take on this reclusive Austrian composer, this and the 9th are the ones to get.

I cannot understand how anyone could call this recording dull. If sound alone was a factor, then this Bruckner Five would be a "Must buy". As it is, this is an astonishing interpretation. The amount of sonic and interpretive detail on this CD is amazing, and this alone allows this listener to more fully understand this masterpiece. Bruckner symphonies are not easy on the listener, and symphony no 5 can be described as a battle between keys, which from a tonal perspective, is quite classical, but in the first movement alone, and indeed in the first fifty bars, there are some huge harmonic contradictions despite the B flat beginning and end. The final movement is simply massively inspiring, with its final return to B flat, and Sinopoli and his orchestra carry it off with assurance and style. I like Horenstein in this symphony, but Sinopoli gives a different, but coherent, view that is both revealing and satisfying. This CD has received a lot of critical praise, and on repeated listenings, this is easily understandable. Five stars, without a doubt!