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+46 (0)19-766 62 02
abonnent@orebrokonserthus.com
Phone hours: M 10-12, W 14-16
(Closed for Christmas &
New Years Dec 23-Jan 3.)
THE ARTSDESK PICKS OUT BRUCKNER FOR ITS MONTHLY CD ROUNDUP
Publicerad: 27 March 2011
"Thomas Dausgaard’s direction suggests he’s steering a lightweight racing bike rather than manoeuvring an oil tanker."
You don’t expect Bruckner to sound this charming. The composer’s final three symphonies are colossal late-romantic breezeblocks, austere, stately and majestic. The lesser-known 1872 Second Symphony already prefigures some of Bruckner’s tics – shimmering strings at the opening, an earthy Scherzo and the characteristic duplet-triplet rhythm, which dominates the later works. In this slimmed-down Swedish performance it sings and dances – a 40-piece orchestra can react with a fleetness which theVienna Philharmonic can’t match; Thomas Dausgaard’s direction suggests he’s steering a lightweight racing bike rather than manoeuvring an oil tanker. The sextuplets on high strings at the start are so cleanly articulated, and Bruckner’s galumphing bass lines are for once audible as melodies.
Listen to the beautiful wind writing, which looks back to Schubert and Schumann. Dausgaard’s slow movement is compelling – it’s great to hear those slow Brucknerian chord progressions for the first time in this work. In this symphony there’s no cymbal-capped climax, but the journey still thrills. Dausgaard’s witty Scherzo delights, and the Finale ends things in high style – Bruckner’s abrupt, almost brusque coda bringing us into bright, breezy daylight.
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