Symphony No. 5 in B flat major



Life seemed promising when Bruckner settled in Vienna. He taught harmony, counterpoint and organ at the Vienna Conservatorium, and he also taught at the Teachers’ Training College for women. He represented Austria at an organists’ meeting in France and two years later in London, and his organ playing was a triumph. However, A disaster was waiting for him when he on his way backs to Vienna. He had to defend himself against the accusation that he had spoken rudely to two girls at the College. Although he was exonerated, the principal transferred him to another class, which was later abolished. Therefore, Bruckner not only suffered profound humiliation, but a severe decrease in his income. The composer regretted having moved to Vienna and longed for his former job as organist at Linz Cathedral. In such a situation, he poured out another masterpiece—the Fifth Symphony. It is interesting that many great composers’ fifth symphonies describe their fights against their fates and finally triumph (like Beethoven, Tchaikovsky, Mahler and Shostakovich). Bruckner’s Fifth is the same. It is the most intellectual of all Bruckner’s symphonies, and it is furthest removed from the seductive world of Wagner’s harmony and orchestration. However, Bruckner never heard the performance of this work in his life. Franz Schalk conducted the premiere of this symphony on April 8, 1894, in Graz, but the composer was badly ill and didn’t attend the concert.



Günter Wand
Berlin Philharmonic Orchestra
RCA 09026 68503-2

Peformance  
Recording
Overall


Wand’s Berlin Philharmonic version of the Fifth comes from a concert performance given in 1996. It is a taut, dramatic reading that held listeners’ attention from the beginning to the end. The Berlin brass rise sonorously to the occasion and the recording is altogether first class, bright, clear and full, with a concert hall ambience. Wand’s spontaneity of expression, whether in pointing the main melodies or in molding the important transitions, carries the ear on magnetically. This is absolutely one of the best versions of the Fifth symphony.


Riccardo Chailly
Royal Concertgebouw Orchestra
Decca 433 819-2

Peformance  
Recording
Overall


Chailly’s control of this symphony is notable for its diverse episodes is unerring. The finale has enormous energy and bite, and an exuberant thrust, leading onto a thrilling coda. Again the Concertgebouw Orchestra is unmatched in precision, with a sparkling lightness of articulation that is a joy to ear. The Decca digital recording is full-blooded and wide-ranging with a full depth of string-tone.


Wilhelm Furtwängler
Vienna Philharmonic Orchestra
EMI CDH5 56750-2 (mono)

Peformance  
Recording
Overall



Furtwängler’s performance of the Fifth Symphony comes from the Salzbug Festival in 1951. The great Brucknerian brings a fervor that is fairly special, and intensity shines through the primitive recorded sound. The mono recording dates from 1951, and the sound is remarkably fresh and well balanced, with the dynamic range in the Finale strikingly wide. There is a special authenticity that conveys the flavor of the period and the vividness of the experience more effectively than many modern recordings.


Georg Tintner
Royal Scottish National Orchestra
Naxos 8.553452

Peformance  
Recording
Overall



Tintner’s approach is direct, and the lyrical feeling underlies the surface brightness and the crisply sprung rhythms are exhilarating. He draws a splendid response from the Scottish Orchestra, and the playing has tremendous fervor. Everything is carefully throught out, and the general effect is impressive. However, as the first release of Tintner’s complete Bruckner cycle, the recording sound is somewhat on the lightweight side.



Other Recommendations:

Welser-Möst
London Philharmonic Orchestra
EMI CDC5 55125-2

Herbert Von Karajan
Berlin Philharmonic Orchestra
DG 415 985-2