Superbe enregsitrement de la 7e Bruckner... Cependant, il n'y a guère de différence de conception dans l'enregistrement du même chef avec Vienne paru chez Deutsche Grammophon. (Le DGG et le Testament sont tous deux des enregistrements publics). Or il y a moins d'imprécisions de la part des Viennois en état de grâce que chez les Berlinois. C'est pourquoi il faut en priorité acquérir et écouter Giulini avec OPV (DGG) plutôt que ce disque-ci.

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Huntley Dent

A great Brucknerian surpasses himself in concert

2011年3月30日にアメリカ合衆国でレビュー済み

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If I have it right, Giulini came to the Bruckner Seventh rather late, leading it first in 1982 with the London Philharmonia in a Royal Albert Hall concert that has been released by BBC Legends. I loved that reading and shared in the general amazement that it was his first attempt -- you would never guess, although it's easy to read into that fresh, urgent performance the excitement of discovery. Now we jump to March, 1985 and Karajan's Berliners, who had established themselves as pre-eminent in Bruckner on disc. Despite their massive sound and even more massive reputation, when the BPO recorded the Seventh for DG and EMI, Karajan exhibited plenty of delicacy and finesse. What Giulini adds, I think is tenderness and a degree more warmth.

Over time I've cooled on his acclaimed recordings with the Vienna Phil. of the Eighth and Ninth, finding them too slow and weighty, with a certain emotional pall hanging over the score. That's one reason the BBC Seventh surprised and pleased me so much. Here the first movement (marked by soft but clearly discernible crooning from the conductor, moves at a pace faster than either of Karajan's recordings, and I think it benefits from that -- urgency is always welcome. The lead reviewer finds that the tempo doesn't work, but he also hears ragged playing that I don't. The musicians play in top form, yet they noticeably pull back from Karajan's tight discipline and gleaming finish. The intensity of the strings when the big tune returns in the first movement is riveting, as are all the woodwind solos. The only detriment is that the recording, although full and clear, has a bit of edge when the brass reach their loudest climaxes.

The Adagio is handled with flexibility and lightness. You can never make Bruckner's monumentality sound like Schubert, but Giulini gets close, the secret again being his tenderness and unforced lyricism. I sat back and basked in the beauty of this movement, which rises in great surges without becoming oppressive. The glory of Berlin under Karajan was their dark, deep string sonority, here brought out at its most impressive. The Scherzo, whose underlying pulse is taken fairly slow, features wonderfully massed horns and ,best of all, Giulini's way with the rhythm, which never sounds foursquare or repetitive. There's a lovely contrast, too, between the exuberance of the first subject and the relaxed songfulness of the second. The Trio is taken quite slowly, with swelling grandeur. The finale is especially urgent and vital, moving forward with more energy than any of the preceding three movements.

In all, I welcomed this CD as one of Giulini's great Bruckner interpretations.

P.S. - The Memories Bruckner Seventh mentioned by the previous reviewer dates from June, 1986 and would essentially be the same as the DG recording, also live from June, 1986.

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Mogulmeister

Worth hearing, but Giulini has better recordings of the 7th

2011年2月10日にアメリカ合衆国でレビュー済み

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I have heard 3 of the 4 recorded performances (that I'm aware of) that Giulini has conducted of Bruckner's magnificent 7th symphony, including the studio recording with the Vienna Philharmonic on DG, and the live 7th with the Vienna Philharmonic on Memories (coupled with a live 9th).

Overall, the best of the lot is the live 7th with the Vienna Philharmonic on Memories. This Testament BPO performance is diminished by a somewhat ragged first movement (I think Giulini's basic tempo is faster in this performance than in any other I've heard him conduct, and it doesn't work). Even worse, there is some pretty ragged playing from the Berliners, most notably in the first movement--which made me realize they are in fact human and as capable of making ugly sounds as any other orchestra (and Karajan had me thinking otherwise!). The best parts of this performance are the 2nd and the 4th movements. I don't know how he does it, but somehow Giulini is able to bring out spirituality in his performances that eludes others who conduct these same orchestras, and you can hear it most in the 2nd and 4th movements (it eludes this performance of the first movement altogether, although Giulini captures that more effectively in his VPO live performance).

So overall, this is worth hearing, but not the best work that Giulini has done in this symphony. My vote for his best performance of the 7th would go to the Memories recording. And better performances yet of the 7th would be Simon Rattle's performance on EMI with the CBSO, with an honorable mention to Chailly's London/Decca 7th with the RSO Berlin Orchestra, Karajan's DG 7th, and Celidibache's glacially-paced yet still moving performance with the Munich Philharmonic on EMI.

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Symphony Bo. 7

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