Bruch: The Complete Symphonies
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Composer: Max BruchConductor: Kurt Masur
Orchestra: Leipzig Gewandhaus Orchestra
Edition: Music CD
CD Release Date: 1998-06-09
Music Label: Philips
Soundtracks:
Music CD 1
- 1. Allegro Maestoso
- 2. Scherzo. Presto
- 3. Quasi Fantasia. Grave
- 4. Finale. Allegro Guerriero
- 1. Allegro Appassionato, Ma Un Poco Maestoso
- 2. Adagio Ma Non Troppo
- 3. Allegro Molto Tranquillo
- Romanze In A Minor, Op. 42/A-Moll/En La Mineur
- 1. Andante Sostenuto - Allegro Molto Vivace - Adagio
- 2. Adagio. Adagio Ma Non Troppo
- 3. Scherzo. Vivace
- 4. Finale. Allegro Ma Non Troppo
- Adagio Appassionato, Op. 57
- In Memoriam, Op. 65: Adagio For Violin And Orchestra/Fur Violine Und Orchester/Pour Violon Et Orchestre
- 1. Allegro Appassionato
- 2. Adagio, Ma Non Troppo Lento
Music reviews of Bruch: The Complete Symphonies
Music Review: Greater recognition will surely come
Rating: 4 Stars
Of the music I have explored outside of, what might be called, 'the core repertoire' these orchestral works, and those of Muzio Clementi, are, perhaps, the best and most satisfying. There is plenty of good stuff to really get you teeth into on these two CDs. The Gewundhaus Leipzig are up to their usual high standard while Kurt Masur leads with assuredness. The competition is thin on the ground but runs it very close overall. It may be wise to explore the other sets available, having better sound, if not playing, than the present record.
The Music: 5/5
There is little music of this consistently high standard outside of that core of composers whose names reel effortlessly off the top of one's head. Why Bruch has never been remembered beyond his First Violin Concerto and Scottish Fantasy (both of which are available from the same forces present here on another two-disc Phillips set Bruch: The Complete Violin Concertos) is a mystery considering the wonderful melodies, harmonic progression and rhythmic life of these works. If comparisons must be drawn then Bruch is close to Mendelssohn and Schumann and somewhere between Schumann and Brahms in the overall idiomatic development of the romantic period. Perhaps this is where the problem for Bruch's legacy lies. At a time dominated by forward looking Germanic composers such as Bruckner, Brahms and Mahler (Bruch continued composing until his death in 1920, no less), his voice has been forgotten. If he had been a contemporary of Schumann or Mendelssohn, we may know him better today. Bruch's idiom is, of course, very unique and such comparisons are probably unfair in light of that fact; his orchestration is generally clearer and more attentive than that of either Schumann or Brahms while he is willing to experiment with formal structures - Symphony No. 2 has only three movements. In short, disappointment is unlikely to be the result of any encounter with Max Bruch and the musical content of this set is highly satisfying.
The Performances: 5/5
Generally, the Gewundhauss punches above its weight in this set. Instead of trotting out any old indiscipline at the sight of a relatively unknown composer, they play with verve and commitment that betrays an air of quality and excellence. At times, greater commitment could be asked for, though this is a minor quible and it should be remembered that this isn't the world's greatest orchestra. Suffice it to say, ensembe is comfortably assured while the orchestra plays with discipline and rigour, utilising an appreciable palette of colour and contributing to the tension of the musical lines. The orchestral performance is very engaging.
All the smaller scale pieces in this set are scored for violin and orchestra - the soloist being Salvatore Accado. His playing is sumptuous and refined while he treats the music with great sympathy and passion. Considering most of these pieces are broadly paced and meditative and introvert, it could be reasonable to expect that this music may eventually become tiresome. Accado dispels such misconceptions with a mesmerisingly fascinating quality of playing and warm yet exciting tone and phrasing. The orchestral support is shrewd and faithful - perhaps performing better here than in the symphonies! Don't discount these shorter works, they are equally expressive of Bruch's genius as the symphonies.
Sound: 3/5
Unfortunately, this is where this set falls down. While the orchestra is caught quite faithfully and within the bounds of acceptability, the engineering could have been much better. Listen to any of the symphonies, the orchestra is distanced spoiling the concert ambience. The sense here is not of being in a privileged position of the best seats in the house but of being far away against the back wall of the theatre. Not only this, there is a murky viel compounded by over-reverberation. Much detail and colouring is lost as a result while Bruch's scores are not being done full justice. A contrapuntive style which parallels this composer with Mendelssohn is lost and is generally not one of the qualities that one is capable of appreciating the performances or the music for. The dynamic range is also slightly constrained which may contribute to the impression that other reviewers have got that this music deserves more life and energy - a punch - that isn't really present here. In short, this is quite a let down considering the obvious quality of the composition.
Fortunately, sound improves in the smaller works with the orchestra still distanced but with greater presence and chance to shine. Accado is also captured well, if at times, very brightly. There is little to complain about here but that really doesn't make up for the disappointments of the symphonies.
Interpretations: 5/5
Both Masur and Accado interpret this music very convincingly. Others have noted Masur's affinity with the scores and his literal readings are logical and satisfying. Masur lets Bruch speak for himself without intrusion, exaggeration or self-consciousness. The music is left to do the talking in a fresh and easy style that is welcome in little known music such as this. Masur's leadership - experienced and confident - makes this set first choice among the Bruch Symphony cycles.
Overall, a very welcome and satisfying set. Even if the sound quality is lacking, these records make a very good case for Bruch as a composer. If sound quality is a big issue, there are alternatives but they lack something of Masur's fresh and unexagerated interpretations: Bruch: Symphonies 1-3, Concerto for 2 Pianos, Symphonies 1 & 2 & Bruch: Symphony No. 3; Suite on Russian Themes and, finally Bruch: Symphony No 1; Violin Concerto No 3 / London SO & Bruch: Symphony 3/Violin Concerto 2 make up the recommendable list. Unfortunately, Hickox died before he could give us a Bruch Second - a real tragedy. This set is highly recommendable and is critically acclaimed as first choice in its field; something that can't be disputed though a few caveats needed highlighting.
Description of Bruch: The Complete Symphonies
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