Bruckner Symphony nº 9, Tonhalle Orchester Zürich, Paavo Järvi
MundoClasico
Juan Carlos Tellechea
jueves, 19 de septiembre de 2024
Bruckner Symphony No. 9, Tonhalle Orchester Zürich, Paavo Järvi
Following the award-winning recordings of Anton Bruckner's Symphony No. 7 (by Diapason d'Or magazine) and No. 8, the latter being the best of the year in its category (International Classical Music Awards), the new CD by the Tonhalle-Orchester Zürich, under the aegis of its artistic and principal conductor Paavo Järvi (ALPHA Classics/OUTHERE MUSIC FRANCE label) with Symphony No. 9 in D minor (WAB 109), is a good example of the historical link between this musical group and the reception of the famous composer in Switzerland.
To close the latest cycle on his work, which began with great success in January 2022 at the Tonhalle, Paavo Järvi and the famous orchestra opted for the original version of Bruckner's unfinished Symphony No. 9. They did not include any of the sketches for the final movement, which Bruckner worked on until the morning of October 11, 1896, the day of his death, in the custody wing of the Belvedere (upper) Palace in Vienna. Under Järvi's direction, the Tonhalle Orchester Zurich breathes more energy and subtle characterizations into the last symphony of the St. Florian master.
Crucible
The Zurich Orchestra's history with Bruckner's music began in 1903 when Richard Strauss conducted the Third Symphony in D minor (WAB 103), dedicated to Richard Wagner, at the Tonhalle. This special relationship and Järvi's innovative approach are brought to life in this recording from the mysterious opening I. Feierlich onwards, vividly and ardently accentuating the lyrical intensity and contrapuntal layers of the Ninth.
The dialogue between the instrumental sections is lively and characterised by strong expressiveness and a lot of weight in each phrase. The impressive II. Scherzo: Bewegt, lebhaft – Trio: Schnell underlines the rhythmic and dancing vitality of the movement. In this differentiated version, Paavo Järvi here revives Bruckner's music with a fresh and dynamic approach, without ever deviating from the original line laid out by the composer.
The Trio, in particular, is agile and fluid, rich in contrasts, with prominent, commendable and refined work from the woodwinds and percussion. The antiphonal position of the violins opens up the sound to space and accentuates the orchestral dialogue, giving the dramatic climaxes of the second movement an ineffable, almost irresistible logic.
Content
Although the conductor keeps the almost demonic element of the Scherzo at bay, with the timpani somewhat restrained, the execution is fascinating for its clarity and precise elaboration, with a reading that immediately captivates the listener. Finally, the III. Adagio: Langsam, feierlich, Anton Bruckner's last word in this unfinished symphony, unfolds a deep consumption under Järvi's baton, who at the same time strives to resolve it.
The bright spots established by the conductor shine with clear intensity, while Bruckner's modernity becomes even more limpid and intense with the dissonances of the climax. The final passages are shaped by Paavo Järvi, emphasizing the dramatic and spiritual depth of the work, as if it had reached an abysmal moment of redemption.
Instrumentalists
The woodwinds and brass impress with their tonal expressiveness and the strings with their vibrant, warm and rich sound. The conductor seems to knead the music with his hands to give it that peculiar form with its tempo and detailed depth. The result is a Symphony No. 9 that immediately captures the listener with that lucidity, coherence and redemption that extends to the levitating final moments of this Adagio.
The capture and balance of sound by engineer Jean-Marie Geijsen in the airy space of the Zurich Tonhalle is magnificent; all the colors and exquisite nuances of the Orchestra are on this recording and are extremely moving for their infinity and incommensurability.
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