Sinfonie 9/+Bonusdisc für 2 Klaviere
Anton Bruckner
Remy Ballot / Altomonte Orchester / Laczika / Giesen


Releasedate: 10.12.2015

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€ 19.90

Download: 14.99 € WAV
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Sinfonie 9/+Bonusdisc für 2 Klaviere

"The loveliest thing that I [Bruckner] have ever composed" was performed in summer 2015 at the Bruckner Festival at Monastery St. Florian in Upper Austria, Anton Bruckners refuge, home and final resting place. This refers to the Adagio of his Unfinished Symphony No. 9, dedicated to the "dear Lord" (cit. Anton v. Webern) and his willful personal confrontation with the transition to the hereafter. Remy Ballot and the Altomonte Orchestra form a liaison with the extraordinary acoustics of the basilica - virtually the Holy Spirit in this musical Trinity - and transform the woe and sorrow of the bereaved as well as the ambiguity about what remains after one's death into heavenly spheres. Bonus disc: The transcription for two pianos presented on Disc 2 was made by Matthias Giesen and Klaus Laczika using the transcription by Dr. Karl Grunsky (1911) and adapting it to Bruckner's original text in terms of instrumentation and dynamics. Remy Ballot Remy Ballot was born in Paris. He studied violin, conducting, music theory and music education and completed his studies with a diploma from the Conservatoire National Supérieur de Musique de Paris. While still a student he took lessons from maestro Sergiù Celibidache and, at the age of just 18, founded his own orchestra, the ensemble FAE, with which he gave a debut in Paris. In 2004 he moved to Vienna for artistic reasons. As a conductor Rémy Ballot has worked with many orchestras, among them the Mozarteumorchester Salzburg, the Orchesterakademie Ossiach, the Orchestre National des Pays de la Loire, the Stage Orchestra of the Vienna State Opera, the Altomonte Orchester St. Florian, the Akademischer Orchesterverein Wien and the Junge Salzburger Philharmonie, most recently he has worked over a longer period with the Oberösterreichisches Jugendsinfonieorchester (OÖJSO). Both the St. Florian recording of the original version of Bruckner's Third Symphony with the Altomonte Orchester at the Brucknertage 2013 and of the Eighth (OÖJSO, Brucknertage 2014, both produced by Gramola) attracted ecstatic local and international reviews and were awarded numerous international record prizes (Diapason d'or, Supersonic Pizzicato, Stereophile). Altomonte Orchestra St. Florian The Altomonte Orchestra in St. Florian was founded in 1996 by Augustinus Franz Kropfreiter (1936-2003) and Thomas Wall (solo cellist, orchestra director). The name of the orchestra refers to the Baroque painters Martino and Bartholomeo Altomonte, the creators of the frescos of the magnificent halls in St. Florian's Priory. A musical range from the Baroque to contemporary music, cultivation of musical tradition and church music in St. Florian and especially the promotion of young musicians define the central tasks under the principal conductor, Matthias Giesen. For the major international festival orchestra of the Bruckner Festival in St. Florian, in 2013 it was expanded by musicians from 12 countries in order to perform the St. Florian premiere of the first version after 140 years in the Priory Basilica with Rémy Ballot.

CD Track Titel Dauer Komponist PLAY
1   Sinfonie 9        
1     1. Feierlich, misterioso 32:11   9.99€
2 2. Scherzo. Bewegt, lebhaft - Trio. Schnell 14:19   2.39€
3 3. Adagio. Langsam, feierlich 30:31   9.99€
2   Sinfonie 9, Version für 2 Klaviere        
1     1. Feierlich misterioso 27:00   9.99€
2 2. Scherzo. Bewegt, lebhaft - Trio. Schnell 12:15   2.39€
3 3. Adagio. Langsam, feierlich 26:39   9.99€

Here we go again: for the third time, Rémy Ballot has presided over the longest recorded account of a Bruckner symphony, this live performance of the Ninth exceeding even Giulini’s monumental and divisive performance with the VPO at 68’30” and also the next slowest recording from Ballot’s onetime teacher, Celibidache, whose Ninth with the Munich Philharmonic clocks 76’50”, a timing almost identical to Ballot’s. At 29’30”, Giulini’s and Celibidache’s Adagios are in fact even longer than Ballot’s, as the duration given as  30’31” in fact includes two minutes of applause . Nonetheless, overall Ballot has followed the precedent he set by the extreme timings of his acclaimed live recordings of the Third and the Eight at the annual Bruckner festival, in the same venue, with the same orchestra and for the same label, Gramola.

I welcomed both recordings in previous reviews as highly impressive and enjoyable; I once again find that the intensity of atmosphere and dedication of execution justify Ballot’s ostensibly extreme choices of tempi. As a final point of comparison, and to emphasise the daring of his vision, at 77 minutes, the overall duration of Ballot’s recording is some 23 and 24 minutes longer than the shortest versions from Rögner and Sawallisch respectively – yet I enjoy both extremes and it seems that Bruckner’s music can tolerate that enormous disparity of timings as long as the conductor plays it with conviction and has mastery over phrasing and pacing. I have some twenty different recordings on my shelves and the vast majority of them take just over an hour, but that norm presents no bar to the vision of a more adventurous interpreter.

Even if the experience of the listeners present at the live occasion itself was more dependent upon their seat location, the challenges posed by the reverberation of several seconds in the Stiftsbasilika have once again been triumphantly resolved through the ingenuity of the recording team, which has tamed the echo of that cavernous acoustic without sacrificing the sense of the immense space and cosmic significance of the music. The audience is virtually silent apart from some mild coughing towards the end of the first movement and the previous issue of a humming from the lighting has evidently been addressed.

The Altomonte Orchestra might not be as sumptuous or silken in tone as the BPO or the VPO, but it once again plays with enormous integrity and virtuosity. There is a lovely, warm sheen on the strings and no muddiness or loss of detail in concerted passages; in the first movement the horns and indeed the brass in general are majestic, like a summons from another world. The prevalence of grandeur in Ballot’s concept is both palpable and paramount; his loving control over the shaping of the phrasing of the musical “sentences” within the long “paragraphs” prevents any feeling of slackness, demonstrating how a conductor’s ability to mould expression from bar to bar is far more crucial than mere time-beating.

Nonetheless, there is no getting away from the fact that the Scherzo will for some listeners come across as verging on the elephantine; it is literally 50% slower than the fastest from Sawallisch. Most interpreters take ten or eleven minutes and I cannot in all conscience claim that Ballot’s risk-taking here is wholly successful. However, once again his phrasing and his judicious application of both rallentando and accelerando make for an impressive, imposing account; similarly, the Adagio generates a massive, cumulative power which is enhanced by the generous acoustic. Time stands still in the last three minutes but without being suggestive of stasis; Ballot conjures up the “still point” of T. S. Eliot’s “Burnt Norton” in that coda.

As a bonus we are given a recording from 2006 in conventional sound rather than SACD of a two piano transcription of this symphony, which is how the composer himself more often heard his work. It is obviously a great advantage to know the music well before listening to it, but it is extraordinary how much of its texture, colour and drama emerges intact, especially when it is so well played. Occasionally the effect, such as at the beginning of the Adagio, is rather stark but it is always absorbing. Of course tempi are considerably brisker here, given that pianos cannot produce long, arching chords in the same way as an orchestra, yet the expert performers here still sustain the phrasing over 66 minutes – longer than the average symphonic recording – without sagging. Silences in Bruckner are always important, too and what the pianos cannot provide in legato they compensate for by rhythmic vitality and clever use of repeated chords, as in the conclusion.

Daring, confident and controversial, this reading of the symphony will not please all Bruckner aficionados but it demands to be heard – and the bonus is fascinating.
Ralph Moore


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