Philippe Herrweghe’s “authentic” approach to the Bruckner Seventh is only marginally effective. Yes, the Champs-Élysées orchestra’s smaller forces and period instruments do bring enhanced clarity of individual lines, and the lighter textures expose the baroque styling of some of Bruckner’s themes, particularly the opening Allegro’s dancing third subject. But the sound lacks body and is almost devoid of bass–a crucial element in this work. A passage such as the gorgeous string interlude before the close of the first-movement exposition loses most of its emotional impact without the bottom octave. The coda’s big crescendo is an even bigger disappointment, as it never achieves the necessary sonic amplitude.
However, the climax of the Adagio, where Herreweghe eschews the controversial cymbals but retains the timpani, is largely effective. Herreweghe’s taut rhythms and assured tempos make for a nicely propulsive scherzo, but the finale’s big brass passages sound clipped, leaving the symphony’s ending noticeably short on grandeur. Harmonia Mundi’s recording reproduces the ensemble with clarity and a solid presence, and listeners who find the very sound of Bruckner’s music heavy and tiresome just may gain new appreciation for it in this stripped-down version. Bruckner lovers who can’t imagine such treatment would best stick with the big-band alternatives.
