Of the major symphonists, Bruckner has always beenthe composer who eludes me. I admit that I probably project expectations aboutdramatic arch, present in other large symphonies, that are not there in thesame way in Bruckner’s work. For years I have repeatedly tried to come toBruckner freshly, with new ears. I’m getting better at it. I was impressed athow intently and quietly, without restlessness, the audience listened to this80-minute work.
Renes coaxed full-blooded color from the orchestraon Saturday evening, pushing expression to an intensely emotionalheart-on-the-sleeve quality, stressing dynamic contrasts. While not astechnically refined as the MSO under Edo de Waart, an admirable, gutsy, darklyhued orchestral tone emerged in this symphony, reminiscent of Andreas Delfsperformances of German/Austrian music. Renes was especially good at gracefullystopping the music for dramatic pauses, with an acute sense about how long thepause should be.
William Barnewitz, principal horn, made the most ofhis solos, supported by wonderful horn choir sounds from the expanded section.Trumpets, trombones and tuba played with richness that filled out the piecewithout overwhelming it.
For now MSO has apparently abandoned the enhancementamplification put into the hall at its redesign more than a decade ago. I spenta good bit of the concert weighing what I was hearing. Depending on seatinglocation, at times I have been aware of and sometimes vaguely disturbed byamplification in the past. It is more difficult to pinpoint its positivebenefits. With the amplification off I notice a more natural blend to thesound, but it is also a bit less lively. In the acoustics of Uihlein Hall thereis certainly not a perfect solution in either of the choices.
