Anton Bruckner’s (1824-1896) Sixth Symphony (1879-81) in A Major is simultaneously the most Romantic and the most modern of its author’s canonical nine. In its striving and aspiration, it exceeds the Romanticism of the Fourth; in its rhythmic precociousness, it exceeds the modernism of the Ninth, with its demonic, pounding Scherzo. Listen to the telegraph-rhythms of the opening Maestoso, over which the horns blaze forth the first subject of the movement. The urgency of the marcato iterations is the modern element, the Alpine horn-theme is the Romantic element. In his study of the composer, Derek Watson argues that “the metrical complexities [of the First Movement] are more marked… than in any other [Bruckner] work” and guesses that “this may be a factor in the strange neglect the [Sixth] has suffered.” Watson mentioned the Sixth’s “abundance of warm and memorable themes.” F. Charles Adler recorded the Sixth (mono) in the early 1950s in Vienna. Otto Klemperer made the definitive recording of the 1960s (stereo) with the New Philharmonia on EMI/Angel, a performance which still ranks near the summit. In recent times, the Sixth has been better served. Sergiu Celibidache’s Munich performance, on EMI, is the least idiosyncratic in that Bruckner-cycle and is convincing all by itself. Georg Tintner on Naxos is a superior entry-level CD of the work. Stanislaw Skrowaczewski’s account with the Saarbrücken Radio Symphony Orchestra, because of both its interpretive excellence and its low price, takes the front position in the current pack. Like Tintner, Skrowaczewski has recorded a cycle of the Bruckner nine, produced and distributed by the Arte Nova budget label. (Symphonies nos. 1, 2, and 9 in this cycle are taken, however, by Hiroshi Wakasugi.) In all of these readings, Skrowaczewski exploits the rich string-band and precision brass-choir of the Saarbrüken ensemble in traversals that pace the music perfectly, so as not to anticipate the actual climaxes of Bruckner’s many-tiered symphonic structures. When we reach the blazing march at the conclusion of the Fourth Movement, a new level of intensity is reached. Some conductors (Karajan and Solti, for example) spoil the Sixth by coming on too strong too soon. The opening Maestoso should be tense, not frenetic. The Adagio needs to be muscular but calm. The Scherzo should not be pressed too strenuously… Otherwise, the Finale seems like anti-climax. Bruckner referred to the Sixth as his “Cheeky One.” It’s marvelous openness supports the appellation. I strongly recommend this disc to all prospective buyers, especially to newcomers to Bruckner’s Sixth, who can use it as their benchmark as they add additional performances of the same work to their CD libraries. (P.S. Skrowaczewski has recorded Bruckner’s Third and Ninth Symphonies with the Minnesota Orchestra for a different label at full price. I read somewhere that Arte Nova has downsized their Nirth American distribution – so acquire the Skrowacewski/Bruckner CDs while they remain.)
