Abbado during his last, his last concerts. We write here within the scope of the hearing of this CD which is not necessarily expecting a miracle, some press reviews of these public sessions have been dubious. Where was getting Abbado? Perhaps our culture 9th Bruckner was too formed listening to the apocalyptic and deeply metaphysical Furtwängler (Berlin 10.07.1944), by an absolute darkness and violence of Jochum (DG Ultimate ). Here Abbado seems successful synthesis between a frantic quest for light and the inevitable expression of deep anguish, collapses that dot this symphony. Aided by an orchestra Lucerne Festival superlative, Abbado gets in the first movement of the orchestral textures of incredible finesse that make this ship inexorably translucent receptacle of celestial light, a glass cathedral, a large portico crossed lightning but already appeased. The central scherzo in proportions marries beautifully proportioned at these concerts, gravity and earthly terror naive astonishment, candid central trio. The concluding adagio is another matter, shadows and lights that constantly rub, confront (the sounds emaciated violas) or exchange their cash until this inhuman clarity hole, played by a carpet of strings, and for which Abbado, from the beginning, seems to lead his quest. Recent work on the fourth movement (here absent) and conducted between 1983 and 2012 Saumale-Philips-Horns-Mazzucca, movement recorded by Rattle in Berlin (EMI), evoke me a Bruckner looking in this work that Romain Rolland later called "the oceanic feeling", even that of a fugitive agreement between a being and his surroundings. The feat Abbado and his fabulous band is to make myself heard this space-time desired watermark of all their intentions. Admirable!
