23 February 2010

An enlivening path to re-tread (12) -- Bruckner 7th by Matačić

 

I have to thank my good friend Savio for reigniting my interest in this CD and for that matter this grossly underrated Brucknerian, Lovro von Matačić. I came back to this B7 recording just because of a conversation with Savio yesterday: he called me asking for my opinion of this recording because he was lately taken to HQ-CD issued by Columbia Japan. Within the first two batches of these HQ-CDs, two Bruckner symphony recordings are included: this one, and B4 by Blomstedt and Staatskapelle Dresden.

I've always had a personal fondness for the Czech PO because of their special strings and woodwinds sonority. Matačić has recorded B5, 7 & 9 with Czech PO, and this B7 is one of the finest on record. The only other conductor who has recorded more Bruckner symphonies with Czech PO is Gerd Albrecht, with B4, 7-8 for Pony Canyon, and B5 & 6 for Exton. However, Matačić's B7 occupies a special position in my heart.

There are many loveable qualities in this recording. The first to strike me is his rhythmic stability and drive, which goes hand in hand with a natural flow of music. That is not to say that his rhythm is welded on rigid steel, far from it, but there exists nice and gentle rubato which leads to the second nicety of prudent expression of passion and ethos. The orchestral playing is first-rate. I'm also amazed at the degree of transparency Matačić brought to his orchestral palette. The details are all clearly audible there. That may have something to do with the Albert Gutmann edition (1885) he used, which contains a little more "ornamentations" in the orchestration compared with the Haas or Nowak editions, but checking with the Nowak study scores just shows that how meticulous Matačić caressed this music, which brings Sinopoli to my mind.

The felicitous orchestral sonority is consistent with that of Czech PO that I love, and here reinforced by the transparent treatment is all the better. The strings are silky albeit without the sheen of those of VPO, but beautiful in a way of itself. The rich basses should attract many hi-fi buffs, particularly the pizzicato of the double basses which sound so springy. The woodwinds, especially the flute here, are lovely.

I was filled with awe that the exposition of the first movement was so full of bass, almost like a bass continuo. The recording belies its age, as around 18'42" the tympani rumble in the background is clearly audible when the theme reappears. The development is treated like chamber music, which is so delightful.

Matačić is excellent in climaxes and transitions. The buildup to the climax in the Adagio is filled with a strong undercurrent that is wave-like. After the climax the serenity is so beautiful and that is also true in the transition from the flute tune supported by bass pizzicato to the horn tune (19'50" - 20'03"). This is here after the climax that creates a special moment in my mind -- it is so Celibidache. I'll come back to that later. The rhythmic energy is strong in the Scherzo but the trio with much warmth. The finale may be the only blemish in the whole diamond with the brass chorales a little raucous, but what musical energy is released in these chorales which are dotted with some nice rallentando!

In the end, when I listened to the whole symphony yet once again, I was telling myself half-jokingly that it is exactly late Celibidache style with a "normalized" tempo, with the transparency, details, dynamic range, buildup to those climaxes and serenity in the slow passages. But wait a minute. As this recording was made in 1967, well before Celibidache developed his unmistakable late style, should I rather say Celi's most-loved style is just Matačić's with a much broadened tempo?  That may bring me much trouble from Celi fans, but it is really fruit for thought. To be fair, what Matačić ultimately lacks, with his more "down to earth" approach, is what Celi does best in providing his listeners with ample space to imagine and search for their own otherworlds -- in a sense the lure of Zen Buddhism.


14 comments:

  1. after seeing this post,i took much delight in listening to the B5&7 supraphone recordings this week.

    eaquson

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  2. I'm glad you like them. What are your impressions?
    Thanks.
    Horace

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  3. i find the Herreweghe b7 recording really interesting after i turn up the volume by almost 1/2.

    The interaction between different part of the orchestra sounds so new to me that many orchestra writings,which i considered to be decorations or just backgrounds before, seems to have significant meanings.this may have something to do with different articulation of the wind family.

    the brasses at the climax are powerful, which are very impressive.

    do you agree with the tempo in 1st movment ?
    maybe u will mention that afterwards,can't wait!

    eaquson

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  4. As for the matacic's B7,it really takes time for me to understand it.

    i never experience such terrific orchestra playing in bruckner's music. the Bamberg SO under Blomstedt is also remarkable,however this time i feel like listenning to an orchestra specialized in bruckner.

    eaquson

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  5. I'm happy that you enjoyed this recording. In fact Czech PO has many memorable recordings and their ensembleship is excellent.

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  6. just started to read Korstvedt's
    Bruckner: Symphony No. 8
    some idea quite inspires me. i especially like this one:
    "thus rhythmic patterns become preeminent sources of continuity and coherence,while pitch structures continually evovle and develop."(p.32)

    i think the so called "rhythmic solidity" is Maestro Matačić's main concern in this b7 recording. this trait is not so obvious in his previous b9 (1958,weitblick),which i consider not so successful. i suppose that his idea about bruckner had changed in 1960s and the several recordings with cpo are something bruckner fans really can't miss.

    btw,you've mentioned the rhythmic energy in the scherzo,and i think this 3rd movement is my favorite. it's very intense and in the trio keeps some daymical potential while in serenity (poor description ^^)

    sincerely

    eaquson from tw

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  7. Korstvedt's book is an excellent treatise on B8. I particularly like Chapter 4: The Adagio and the sublime.

    He is also an advocate of the authenticity of the pre-Haas published editions which in the past people discounted as inauthentic.

    You're also a very serious lover of Bruckner's music and I'm glad to have the chance to communicate with someone as knowledgeable as you. Thank you.

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  8. Unfortunately Matacic's later recordings with the NHK are not as successful.

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  9. I have previously listened Matacic NHK B7, which was exciting in a sense but not totally convincing. May I ask where can one get the supraphon version??

    and pardon me Horace, I'd like to use this place to ask equason to recommend some good, economical classical CD shop in Taipei, as I will be going there soon. I hope you don't mind. haha

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  10. Dear Ntheson,
    The old CD and the new HQCD were bought from Japan. The old one when I was there, the new one through HMV Japan.
    Regards,
    Horace

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  11. Dear Horace,

    I'm deeply moved by the Altus 8th(1975.11.26/27) with NHK. The orchestra is also much better than the denon one(1984.3.7/8).

    i think Matačić's reading of the 8th,as well as Janowski's 5th,is more close to Bruckner.

    eaquson from tw

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  12. Thank you eaquson for your comments. The Altus NHK B8 is the one I only recently got hold of and haven't got the time to listen to it. His NHK B7 (Altus) and B8 (Denon)are not as "good" as his Czech PO B7 though.
    I'll definitely squeeze some time to appreciate the Altus NHK B8 you recommend.
    Thank you once again.
    Horace

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  13. Hello Horace
    I hope you're well - I do enjoy your site. I thought of you only this morning as I listened to a 70 minute long discussion on the radio of a batch of recently released Bruckner 5s and 8s.

    I have it as an MP3 if you wish I can send it to you via Sendit - you would enjoy it I am sure.

    Best wishes
    from Richard

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  14. Dear Karafan,

    I'm fine, thank you. I just didn't have time to write my blog. My wife was struck down with influenza last month and I had to take care of her. OTOH, I've been too occupied by my work, e.g. designing and establishing a new board in my academic college but as expected meeting with a lot of resistance to change from some "interested parties". Am looking forward to the Bruckner 8th concert by Chailly and Leipzig Gewandhaus Orchestra 3 days later.

    Thanks and regards,

    HL

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