BRUCKNER: Symphony No. 5 – Orchestre des Champs-Élysées /Philippe Herreweghe – Harmonia mundi HMC902011, 73:36 ***1/2:
Philippe Herreweghe’s rendition to the Bruckner 5th is a somewhat hit-and-miss case, only marginally effective for the Bruckner aficionados out there. Indeed, the Champs-Élysées Orchestra is a fine body of musicians, however, the orchestra does sound a little under-rehearsed in this recording compared to its former release of the Bruckner 7th. As such, there are a few inconsistencies in execution when intonation suffered, with the exception of the solo oboe Marcel Ponseele, the woodwind solos were at times undistinguished. Harmonia mundi’s recording reproduces the ensemble with a solid presence as one would expect from a live performance, although the French label fails to do justice to indicate at all who are the recording engineers involved in this laborious work. Listeners, who associate the very soundscape of Bruckner’s music particularly here with the 5th as a cyclopean colossus, may gain new perspectives in this stripped-down version. On the contrary, those Brucknerphiles who cannot conceive such treatment as justified would be best off sticking to the big-ensemble alternatives of the Cleveland Orchestra (with Christoph von Dohnányi or the recent reading from Franz Welser-Möst) or the New Philharmonia Orchestra (with Otto Klemperer).
Alternatively, as a small ensemble, the Champs-Élysées Orchestra’s period instruments can offer its advantage to bring great effectiveness to deliver transparency on those very individual lines. Herreweghe shapes the angular theme that opens the symphony with strong, propulsive energy. Satisfactorily, this rhythmic quality is maintained throughout most of the movement. Much of the great Adagio second movement that follows has a lovely elegiac quality, and here, the orchestra offers an alternative to lighter textures exposed to the baroque styling of some of Bruckner’s themes. For example, the merger of the two thematic groups depicts Bruckner’s fascinated explorations into contrapuntal possibilities at the fullest. Interpretively, Herreweghe has some interesting things to say in this Bruckner 5th; listen to how he conveys Bruckner’s profound sense of mystery and energy by allowing the orchestra room and space to produce and project contrast to some thrilling sounds. Listen also to the effective pizzicato opening at the third movement Scherzo presented at a faster tempo played arco (with the bow), and how the trio section affords an effective contrast gradually thereafter. The Scherzo is incisive, fully rustic in quality. However, to my disappointment, though the musicians’ efforts are well-intentioned, including Herreweghe’s, much of this performance did not convince. Consistency and mission, in some aspects, are lacking, and this lack of conviction greatly diminishes the profundity to what this music of Bruckner is capable. At the end, I felt unmoved. It was well until the last movement Adagio, before I sensed the mutual synergy grown between Herreweghe and the orchestra that I was seeking all along in this recording. The great fugal movement is given a fine reading, with an autumnal quality prefacing this dramatic fugue that followed.
This is a mixed bag then. I wanted to recommend this performance. I truly admire Harmonia mundi’s philosophies in marketing classical music, one of which is to bring the recording business with experimentations and alternative approaches on big-scale repertoire. The French label always had a strong affinity with the music of Anton Bruckner – their practice has given the public some wonderful performances over the years that included additional recordings with Herreweghe, Kent Nagano and Günter Wand. Sadly, this Bruckner 5th cannot be included among the greats I would recommend. Definitely, it is for Bruckner completists only.
— Patrick P. L. Lam
