May 2012
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FULL-POINTS FOR BRUCKNER FROM INTERNATIONAL RECORD REVIEW
Dausgaard takes the opening movement as an unarguable though never inflexible Moderato, the first subject coming gradually into focus, then its successor yields an expressive warmth which merges seamlessly into the mounting restiveness of the codetta. The development, prepared for with exceptional poise, unfolds with finely judged momentum so the reprise opens at a higher level of intensity. Dausgaard is right in having restored almost all the material excised from the coda: the tonic key being reiterated the more forcefully at the close. The Andante is the highlight of this performance, Dausgaard drawing as much rapture from its main theme as he does poignancy from the alternating episodes, and highly preferring horn over clarinet in the eloquent coda.
Although shorn of all its repeats, the Scherzo never feels too brief thanks to observance of its “Mässig,schnell” marking and an astute interplay of its incisive and more capricious elements, with a trio of shimmering wistfulness and a coda of such coursing energy as to make one regret the composer abandoned the procedure soon after. As so often in Bruckner, the finale is the most difficult movement to make cohere, but Dausgaard leaves little to chance with a first theme whose stealthy emergence is countered by the easeful progress of what follows before the provisional release of tension in the codetta. Few have made the development so effective an extended transition into the reprise whilst the reinstatement of those first-movement allusions in the coda makes its triumphal close seem the more warranted in context.
Clearly this account is something of a hybrid in terms of its edition. Those wanting the 1877 revision as Bruckner envisaged it will hardly go wrong with Carlo Maria Giulini, smoothing out excisions with a burnished eloquence in which the Vienna Symphony gives of its best and with spacious EMI sound. Dausgaard, however, can reasonably claim to have captured the best of all worlds: with SACD sound the best yet in this series for overall perspective, and an informative note by Benjamin Korstvedt, his is arguably a first choice for those new to the work.
Richard Whitehouse, International Record Review, March 2011
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