Eugen Jochum (1902-1987) was internationally known as an authority on the performance of Bruckner. His performing style was gradually changing with the master’s age, but it can be said that his performing style was sure enough completed in his last years. As for the last and unfinished ninth symphony of Bruckner, all of the recording with the Bavarian Radio Symphony Orchestra in a studio (DGG in 1954), the recording with the Berlin Philharmonic Orchestra in a studio (DGG in 1964), and the recording with die Staatskapelle Dresden in a studio (EMI in 1978) succeeded in that they made a drama run like a flow of blood. However, the intentional strong blows of the trumpets offended ears, furthermore eager shifting gears in tempo called in restlessness like a fit of coughing; sometimes they were restless and in some parts they made the work undersized. Jochum performed music like waves which came in and went out, while he sometimes made it music which exploded like a counterattack against it. I felt that I was shown the weak points of the master who was even an authority on performance of Bruckner. However, the master furthermore repeated trial and error as to the ninth symphony, and finally in his last years he could perform this ninth symphony that is the best masterpiece of Bruckner with such high precision as remains in the history of performance.
In the record of the performance with Munich Philharmonic Orchestra (the debut of the master as a conductor in 1926 was with this orchestra) in 1983 which we here listen to, there are at all no disadvantageous factors in the recordings in studios which the master left. On the contrary, it is filled with calm as if he is another person. Listeners are overwhelmed by the solemn sound of the first movement, such noble musical cosmos as overwhelms the vicinity. And he advances so easily and cheerfully in the parts where former Jochum would perform more dramatically than needs by making full use of changes in tempo, the manner of which is simply splendid. But he is never without means. If it is carefully listened to, usual strong blows of the trumpets are performed intentionally. However, the strong blows do not project but they are rather effective, since the magnificent and noble entire molding is firm. Strength of life force and a throbbing feeling of tremolos in strings are the good points which Jochum had by nature. Listeners would know his obsession as an artist and his feeling of attainment to have achieved a higher place while the good points are left and utilized. The second movement, scherzo, is also terrific. We meet performances like an air raid or explosion of a mine too. But Jochum spins eloquent and catchy music which continued to Mahler and modern music, while he lays his pivot leg on classical music to the end, not on such tone clusters. Jochum is not such a conductor as directs by plainly changing sound volume (for example Sinopoli). He is a conductor who frequently uses direction by changing tempo. And the reason why he has an established reputation for changing tempo is that he has a good rhythmic sense. So in the second movement scherzo in which part rhythm is important, the best point to be listened to is Jochum’s quick musical reflexes. The best part of the entire work would be sure enough the third movement adagio. Here also Jochum does not impose a feeling of extreme tension on the orchestra and make a climax by the following opening and emission. He conducts the whole work through by natural procession of scenes which he showed in the first movement. The spacious molding and the timbre which I would call deep breathing by music or something pervade our hearts. Urgency of the end where there is also a sign of loneliness by the thin instrumentation is not connected with sentimentalism, and persuasiveness of the wail with a big structure on a universal scale is unparalleled.
I would have to mention the orchestra, the Munich Philharmonic Orchestra. As I described, though it was the orchestra with which Jochum started off as a conductor on the right foot, there have been no official discs of this combination at all by now. In the beginning of 1980s the timbre of the Munich Philharmonic Orchestra was greatly changed. It is the effect of Celibidache’s training. The strings came to have always light and splendid rich sound. The winds came to perform precise and joyful music, and the brass came to be able to continue powerful and long sustained roar. The ensemble well listened to one another and always presented music which had continuation. Not only ecstasy of a big sound but also subtlety of a small sound is worthy of special mention. Jochum achieved here the best performance by making full use of the orchestra which was in its best condition.
The coupled prelude to the music drama “Tristan und Isolde” by Wagner is also a performance worthy of special mention. About this work Jochum must have a great deal of experience too. We are overwhelmed by dignity as is composed as in Bruckner. This music also would be one which originally involves a drama and in which artists cannot completely repress temptation to set forth an extreme drama. But Jochum who completed his performing style spins calm music here as well. It is clear that Jochum was strongly influenced by Furtwängler, and we cannot deny the part in which he further aimed at the performing style conscious of Furtwängler. In the disc of “Tristan” which Furtwängler left there are many intoxicating parts which evoke catharsis by bombing of sound as if pushed over a cliff. Though Jochum would once aim to present them, here we can hear his noble artistic state in every corner which he himself gained by repressing his desire. It could be said to be a rare performance in which polished beauty and sensual beauty are compatible.
