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MU 1265
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MU 1265

BRUCKNER, A.: Symphony No. 3 / MAHLER, G.: Symphony No. 2 (Vienna Symphony, Adler) (1953-1956)

The Classical Shop
release date: July 2013


Artists:

Vienna Symphony Orchestra

Orchestra

F. Charles Adler

Conductor

F. Charles Adler

Conductor

audience

Ensemble

Anny Felbermayer

Soloist

Austrian Radio Chorus

Choral

audience

Chamber

Venue:

Wiener Konzerthausgesellschaft, Austria

Venue

Record Label
Music and Arts

Genre:

Orchestral & Concertos


Classical

Total Time - 139:11
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ANTON BRUCKNER

 

Symphony No. 3 in D minor, WAB 103 (1890 version, ed. T. Raettig)

 


Select Complete Single Disc for
1 I. Massig bewegt 18:58
2 II. Adagio, (etwas bewegt) quasi andante 12:01
3 III. Scherzo: Ziemlich schnell 6:27
4 IV. Finale: Allegro 12:07
 F. Charles Adler Conductor
 F. Charles Adler Conductor
     
 

NA NOT APPLICABLE

5 

Applause

1:03
  audience Ensemble
     
 

TRADITIONAL

 

Symphony No. 2 in C minor, "Resurrection"

 
6 I. Allegro maestoso 23:55
     
     
     


Select Complete Single Disc for
1 II. Andante moderato 10:45
2 III. In ruhig fliessender Bewegung 10:40
3 IV. Urlicht: Sehr feierlich, aber schlicht 5:27
4 V. Finale: Im Tempo des Scherzos - 21:19
5 V. Finale: Langsam - Misterioso 16:29
 Anny Felbermayer Soloist
 F. Charles Adler Conductor
     


Adler’s broadcast performance of the Bruckner Third has the appropriately Viennese manner and an excellent recording that maintains the spacious ambience of the Musikverein. And it has more pointed than the commercially issued SPA LP recording he made, without any sacrificing of the Viennese charm. The third movement trio and polka section in the finale are deliciously idiomatic, and the first movement manages its rhetorical points within a framework that cuts fully two minutes off the studio reading’s duration. The slow movement opens with a warm outpouring of Viennese string tone that overrides any minor ensemble slips.

This "Resurrection" bears the hallmarks of Adler at his best, with the opening movement beautifully sustained with broad pacing and an overarching view similar to his Mahler Third recording previously issued on Music & Arts. This movement can easily become episodic with many temptations to over-phrase; Adler however never loses sight of the long line The second movement Ländler is artfully inflected, and the desperate interlude in its central section brings an air of bittersweet nostalgia. The Scherzo again explores the intricacies of Mahlerian texture, and is nicely paced. "Urlicht" brings the creamy alto tones of Sonja Draksler, performed again with true Viennese style. The final movement opens impressively, and the offstage interjections are nicely balanced (These sections would famously cause trouble in both the Scherchen and Walter commercial recordings made in 1958). The choral entry "Aufersteh’n" is a forthright outpouring of warm tone rather than hushed mystery. We can hear the impressive tonal weight of the Viennese basses anchoring the choral ensemble. Anny Felbermayer is a fine match for Draksler in their respective solo passages, and the ending arrives with sustained majesty. The entire performance resonates with conviction from beginning to the final bar.

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