John Barbirolli’s stature as a proponent of the music of Gustav Mahler was well-documented by several commercial recordings made in the 1960s. His comparable work on behalf of Anton Bruckner is being revealed only now, 36 years after his death, through the release of taped concert performances. The latest installment–following the Third, Eighth and Ninth symphonies–is a Seventh in clear monaural sound from 1967 that conveys the sense of occasion often felt when performances of Bruckner’s music still were far from common. As ever with Barbirolli, it is an inspirational account, burningly intense at the end of the first and last movements as well as surrounding the great (spurious) cymbal crash in the Adagio. But the Trio in the driving third movement also has touching relaxation and sweetness, illustrating the affinity Barbirolli found with the spirituality of Edward Elgar. There’s scarcely an inexpressive bar, so responsive is the playing both in the symphony and fillers.
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