I have long admired Bruckner for his choral, church and symphonic music. The power and energy has captivated me for many years, in particular his eighth symphony. Bruckner being a strict Catholic was heavily influenced by the church. He came to symphonic music quite late with the bulk of his music being for a played on the organ. In fact he was in his forties before starting to wright for orchestra. He deemed his first two attempts as unsatisfactory to be performed, these are now known as ‘0’ and ’00’. His first four symphonies were heavily revised leading to much debate as to which edition is the best. The most noticeable difference is often added brass and wind particularly in the various versions of the fourth symphony.
In 1884 he started the eighth completing it in 1887. The finished work was then sent to the conductor Hermann Levi who was not impressed with the length, difficulty and lack of variation throughout the symphony causing Bruckner to revise it over the following three years. Bruckner scrapped the loud, powerful ending of the first movement in favour of a more delicate quiet finish. He also omitted the second movements trio as well as removing several codas. This second edition finished in 1890 is the most played and well known with very few performances of the original.
Unlike his earlier works the eighth has no programme, his first symphony has the mononym of the lusty maid for example. However in an old edition of the Oxford Companion to Music I believe it is referred to as Apocalyptic, a term I don’t think best fits the music yet has stuck to the work and seems to be generally accepted. This work has four movements and is in C minor, the adagio being in D flat, the same as his first two symphonies.
The work has been recorded well over a hundred times with almost as many conductors, Karajan for example recorded it three times. The two recordings I would like to compare are Boulez, Vienna Philharmonic, 1996 and Haitink, Royal Concertgebouw Orchestra, 2005. Both of these were recorded live and both influenced by one of the most iconic interpreters of Bruckner, Herbert Von Karajan.
Boulez wrote a great deal about music yet on Bruckner he simply said ‘Bruckner and Mahler appear as the Castor and Pollux of the symphony’ referring to the legendary greek twins revered as Gods. It is for this reason I am amazed that he conducted a Bruckner symphony at all after simply glossing over him, albeit in a most flattering way. The eighth was the only Bruckner Symphony he recorded yet is full of raw power and emotion, it makes me wonder what his interpretation of the others would have been like.
I am surprised by how this recording has been over looked by so many. Boundaries have been pushed and, in my opinion, the gamble has paid off. The first two movements are fast passed, brimming with electric energy and momentum whereas the last two are broad and expansive creating this wall of perfectly uniformed sound showing off the Vienna Philharmonic at its very best.
Unlike Karajan, who’s versions many take as near gospel, Boulez ploughs through the first two movements, as previously mentioned, with a seemingly unstoppable momentum. In fact the first movement is over two minutes quicker than Karajan the structural integrity is still clean and crisp with nothing being omitted in the complexity of emotions in order to maintain the speed. The thin textures are still as enthralling, a skill many fail to master. The ending is so quiet and restrained it almost seems like this was done in a studio in several takes, it is at this point it must be emphasised that this is a live recording.
The Scherzo is also at a generous pace yet somehow he manages to create free and almost elasticated space for the Trio allowing the iconic solo trumpet line to ring perfectly.
One of the most demonstrative moments of Boulez’ knowledge of the work is the Adagio as he implements a marvellous dynamic range, clearly in tune with the likeness of the music to that of the organ. Often the harmony seems to rush but when thinking about the composition style of Boulez himself along with his work as a conductor, his knowledge of Stravinsky for example this makes sense but does make one feel a little on edge in places. About twenty minutes in as the harmony is rapidly heading towards the climax this rushed nature becomes most obvious with the very distinct and rapid dynamic changes that work more to shock the listener into the next section rather than take the listener on a journey like in Haitink’s second recording that I will come to later. Amazingly however the end of the movement Boulez creates one of the most delicate endings of the adagio I have come across. He ends with the faintest sound almost like a failing heartbeat mirroring the opening of the movement more than Karajan before him and Haitink after him. The warm sound he gets from the strings as well as the tension underpinning the movement shows his skill as an interpreter and conductor in fine form.
The eighth is known for being a symphony in two halves presenting equal challenge for the conductor, performers and listener. To reach the finale is a momentous achievement, to carry on with the same force and intensity is a new challenge. After such a powerful adagio the opening of the finale is a real showcase of the brass and horns. The length of notes is incredible and the precision of placement is again a remarkable thing to behold. The string figurations over the top are also so crisp and clear creating an almost unbelievable contrast.
The thematic clarity is not sacrificed by the ever present crescendos and diminuendos with Boulez’ near perfect judgement aiding the block like transitions from section to section making light of the common complaints about the work (the germanic block transitions).
The coda is handled with precision but also has a strange physical quality to it that I have not previously experienced outside of the concert hall yet it is handled in the most sublime way by the orchestra, particularly the strings who’s talents have been displayed in fine form throughout the recording. The timpani around twenty minutes in signposts the end of the broad and solemn wall of sound to a final run of some of the most majestic music I have ever experienced. The codas forte is perfectly judged with the brass rising as seamlessly as turning to the volume up on a good set of speakers. With the orchestra approaching the end at full, yet controlled, tilt the symphony is brought to its astonishingly powerful end. A masterpiece masterfully interpreted and performed.
In contrast to the surprise that Boulez did not record more Bruckner is perhaps the fact Haitink recorded the eighth symphony for a fourth time. His first recording was not very well received, the second two are great but it is his fourth recording I would like to discuss. This recording with Royal Concertgebouw, like the Boulez, was recorded live and I think it demonstrates Haitink’s growth as a conductor over the last four decades.
His interpretative views have clearly shifted over the years as he has grown as a conductor since his first recording in 1969 and as he has got to know the work more intimately in a way Boulez didn’t. His eighth is now more expansive, it has time to make a statement and move the listener. He has not taken the fast pace of Boulez but has placed him in the middle ground with Karajan’s later recordings. The broader tempi give more room and life to the music but it does create a challenge to keep the momentum up. This becomes clear in the faster passages and when nearing climax when the momentum can become present without the aid of the conductors skill but simply due to the direction of the harmonic movement.
At 74 Haitink has clearly gained a wealth of knowledge on the symphony that Boulez through his contemporary music endeavours may have overlooked giving Haitink the courage to be more expansive and take more time, even if personally I prefer the brisker pace of the first two movements.
However he does give the music more of a flow, more cohesion between sections although perhaps disrupted in the pulling around of tempos during the works two climaxes.
Each movement and there respective ‘episodes’ seem to follow each other well and without obvious gear changes or incident. In the case of Boulez I feel it is fair to say the changes are often quite obviously signposted, a little too well at times, but Haitink manages these very tastefully demonstrating his skill and the the responsiveness of the orchestra.
Whilst musically I do not believe Haitink says anything terribly unique or controversial it does feel very organic, there is no forcing of emotion with each change being well understood and navigated.
The lengths of the movements in general are very similar to his recording Vienna Philharmonic so if you liked that you will have no complaint with his latest rendition, although the first movement does start a little slow. In places it is more reminiscent of Celibidache towards the end of his life.
As mentioned in regards to the Boulez’ recording the expansive adagio, many would argue it to be one of Bruckner’s greatest achievements, is the corner stone of the work. Noble yet delicate, the adagio does not have the tension of Boulez but Haitink gives it such a light touch in many ways it is almost incomparable. It requires a more longe term outlook and immense concentration, because of these attributes Haitink executes it with poise and precision. The slightly tortuous, seemingly never ending string string passages are sustained and the brass plays with glowing tone, in this respect not much differs from Boulez yet Boulez and the Vienna Philharmonic do offer a clarity not present to such an extent with the Concertgebouw. The coda is wonderfully executed with the core of Wagner tubas and horns coming through with great depth to there sound, something not quite so present in the Boulez. However more generally the strings are the dominant force through out often, and unusually, dominating the brass. This is particularly evident in the Scherzo where the clarity of the horns is sacrificed for the juggernaught that is the Concertgebouw’s string section.
The unbalance in the orchestra comes as quite the surprise considering I have found record of over twenty performances of Bruckner’s eighth given by Haitink and ‘his’ orchestra, the Concertgebouw. I am unsure whether this is down to poor recording or whether the orchestra are simply going through the motions of a piece they have played one or two times too many. They did not have the crisp bright winds or biting brass that I have come to expect from Holland’s flagship orchestra. This becomes more apparent when compared to Boulez and Vienna who, as previously mentioned, blanched the orchestra near perfectly.
The finale still has the driving pace one expects yet not as full of angst and tension as I have come to expect but the sense of discovery as the movement progresses and the thematic material develops, full of power, mite and contrast between sections that one expects from such a fine orchestra and conductor. The effect of this becomes most evident after the blaze of glory that is the end. I have seen Bruckner’s eighth live on four occasions, every time rapturous applause has followed within a second of the final chord however on this recording there is a gap of a few seconds whilst the chord resonates. Whilst Haitink has not risked anything or tried to make his mark on the work he does captivate. The gap between chord and applause is a great compliment from the audience after hearing a great performance of a great work.
Haitink presents a work of nobility and integrity. It lacks the solemnity of the last recordings of Karajan and the pace of Boulez but that’s not Haitink’s way of interpreting with his recording still being a monumental achievement coupled with some great playing and a very high quality of recorded sound. Although on this Haitink recording the sonorities do not have time to ring in the same way as the Boulez recording, but this could be down to technology available as opposed to artistic license.
I find it interesting to note however that of these two great conductors the visionary, the one pushing the boundaries and making his own mark is Boulez. Haitink has recorded the eighth four times and has performed it countless times, it is he that has out the Concertgebouw on the map for Bruckner yet he doesn’t stray to far from what is considered the usual. Boulez does try to make his own views come across and they compliment the symphony beautifully.
To conclude I think it would be fair to say that if one is after a more romantic interpretation then Haitink may be a bit to objective but if you are after a very effective yet overt approach Boulez will not disappoint. Haitink has shown his ability of course but after two lack lustre recordings and one that is near identical to his latest in this comparison it is Boulez and his masterful command of both the music and the Vienna Philharmonic that I prefer. It is a true shame he never recorded more.