Bruckner: Symphony No. 0

1. Symphony No. 0, in D Minor (Die Nullte), WAB 100
Composed by Anton Bruckner
Performed by Stuttgart SWR Radio-Symphony Orchestra Conducted by Neville Marriner

2. Locus iste, gradual for chorus in C major, WAB 23
Composed by Anton Bruckner
Conducted by Martin Flamig

3. Ecce sacerdos, antiphon for chorus, 3 trombones & organ in A Minor, WAB 13
Composed by Anton Bruckner
Conducted by Martin Flamig

4. Pange lingua et Tantum ergo, motet for chorus in Phrygian mode, WAB 33
Composed by Anton Bruckner
Conducted by Martin Flamig

5. Ave Maria (II), motet for chorus in F major, WAB 6
Composed by Anton Bruckner
Conducted by Martin Flamig

Bruckner: Symphony No. 0,Anton Bruckner,Martin Flamig,Neville Marriner,SWR Radio-sinfonieorchester Stuttgart,Delta,Chamber,Choral,Classical,Orchestral & Symphonic,Romantic Motet,Romantic Symphony,Symphonic

Bruckner: Symphony No. 8 (1887 version, ed. Nowak) / Symphony No. 0 "Die Nullte"
Average customer rating:

All about Naught (or, To Say Nothing of the Eighth)

Tintner makes the best case, yet, for the 1887 version

Good ....but

Impressive Bruckner

First thoughts...

Bruckner: Symphony No. 8 (1887 version, ed. Nowak) / Symphony No. 0 "Die Nullte"

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009OMA
Release Date: 1998-07-28

Tracks:

Symphony No. 8 In C Minor: Allegro moderato
Symphony No. 8 In C Minor: Scherzo : Allegro moderato - Trio : Allegro moderato
Symphony No. 8 In C Minor: Adagio : Feierlich langsam, doch nicht schleppend

Tracks:

Symphony No. 8 In C Minor: Finale : Feierlich, Nicht Schnell
Symphony No. 0 In D Minor 'Die Nullte': Allegro
Symphony No. 0 In D Minor 'Die Nullte': Andante
Symphony No. 0 In D Minor 'Die Nullte': Scherzo : Presto - Trio : Langsamer und ruhiger
Symphony No. 0 In D Minor 'Die Nullte': Finale : Moderato

Amazon.com

George Tintner's program notes forthrightly touch upon both the strengths and gaucheries of Bruckner's seldom heard 1887 first version of the Eighth Symphony and the composer's early "Symphony No. 0." Tintner proves just as clear-headed and loving a Brucknerian from the vantagepoint of the podium. He takes the composer's tempo relationships on faith, letting the music run its natural course while never letting the momentum sag one drop. The orchestra breathes as well as sings together, although the splendid brass section tends to overpower the winds during loud tuttis. Still and all, anyone who cares about Bruckner should not pass up this illuminating release. --Jed Distler

Customer Reviews:

All about Naught (or, To Say Nothing of the Eighth).......2006-07-27

So many reviewers have discussed Tintner's interpretation of the Eighth that "Die Nullte" hasn't received the focus it deserves. Tintner himself in the liner notes for this recording calls the opening movement of "Die Nullte" "perfect in form and content" (though he is practically apologetic about the Finale). One would hope that this recognition of perfection would lead to an interpretation somewhere closer to that standard. Unfortunately, this has not been the case.

I see two major problems with this performance of "Die Nullte." The first has to do with the orchestra. Other reviewers have alluded to the inadequacy of the NSO of Ireland in dealing with the Eighth, and certainly in the much earlier "Die Nullte," where Bruckner's indications are rather sparse, this comes through. The sound of the brass is brash, harsh, interjectory, insensitive to orchestral and compositional context, and Tintner and the producer should have realized this and corrected it early on. One example--there could have been many more--can be found in the trumpet line at the end of the expository statement of the secondary material. Bruckner does write a crescendo, but Tintner allows the trumpets to swell from a brass piano to a brass fortissimo, thereby completely obliterating, in a gesture that goes nowhere, the sound of the rest of the ensemble. The overall line is obscured and the revelatory power of fortissimo brass, which should have been saved for the Coda, has been cheapened through overuse before we've even reached the development. The problem is complicated by the string section's refusal to break out of the piano-forte dynamic range. I can hear absolutely no distinction between double and triple forte in the string section throughout the performance; nor is there ever any archness or bite in the articulation of notes, and in the Scherzo that would have been most welcome.

The second major problem has to do is one of the classic Bruckner issues, and it is related to the first. As so many are fond of creating architectural metaphors for Bruckner's music, I would characterize the problem as being between an architecture of blocks and an architecture of lines. Tintner has certainly opted for the former here, where individual sections are often phrased beautifully, but those sections don't relate to each other and don't create a feeling of forward momentum. Create an architecture of free-standing blocks without connection or mutual support and, no matter how individually inspiring, the whole will collapse. For Tintner's "Die Nullte," this block-like conception is at its worst in the Finale, where the initial Moderato section is treated almost as a separate piece of music from the fugue that follows. (From the liner notes, one can surmise that Tintner wished the Moderato really was a separate piece.) In the development, for example, there is hardly any attempt to create tension in the bars that lead up to the reappearance of the fugue, even when Bruckner clearly calls for it in the score. Suddenly, we are dropped back into the fugue, and the overall sense is that the music has unfolded as a series of interruptions instead of as a process of fulfillment.

A few points about individual movements could be made. Particularly in the first movement, I think Tintner has made some excellent tempo choices. Of course, "Die Nullte" is the "young" Bruckner, from the point of view of his compositional career, and generally these younger pieces can do amazing things at faster tempos; having said that, Tintner chooses the relaxed, more uniform approach to pacing reflected in his other Bruckner recordings for Naxos, and the music bears up well. Unfortunately, the orchestra seems to disagree with the conductor from time to time--in the retransition of the first movement, and several places in the second movement--which often results in a sudden flurry of catching up on some instrumentalist's or section's part. Some severe tuning mishaps occur in the winds in the second movement, and there are a handful of poorly played passages. One of the most regrettable is the hissing and splatting of the horn on the last note (!) of the Finale. Tintner himself makes the recurring mistake all too common in Bruckner of dropping a quarter rest from two bars of silence (just after the opening "ritornello" of the Scherzo). These are all small points, though, and the fundamental disappointment of the performance stems, I think, from the mishandling of strings and brass and the neglect of the overall musical line.

Though it has problems of its own, I would recommend the Chailly/RSO Berlin recording of "Die Nullte," which quite frankly dances circles around this one both in terms of performance and interpretation.

Tintner makes the best case, yet, for the 1887 version.......2005-02-19

Sometimes I really wish that I had become acquainted with the original 1887 version of the Bruckner Eighth before I became so well acquainted with the Haas and Nowak editions, because I might be able to appreciate Bruckner's first intentions a little more...and, conversely, I might also have an even greater appreciation of where Bruckner went from there with the score. Regardless of all that has been said and written about Bruckner's insecurity; suggestibility to cuts and changes; and obsessive inability to leave some of his scores alone--and the subsequent academic disagreements over his "final intentions"--the final product that Bruckner came up with has got to be one of the greatest editing/revising jobs in music history. Can you imagine sending your latest, and what you believe to be your greatest, creation to a mentor whose opinion you value greatly, only to receive it back with a befuddled reaction from him? Yet, despite Bruckner's well-documented "oversensitivites," he went on to turn it into an even greater masterpiece. How many of us have the insight and fortitude to take a rejected "magnum opus," and turn it into an even greater work? It's somewhat fitting, in a way, that this was the fate that Bruckner's Eighth Symphony faced, for I feel that the running theme of his works is the ability of faith (whether Catholic, like Bruckner's, or otherwise) to overcome all obstacles.

Personally, I am a "Haas man," when it comes to the Eighth, i.e. I prefer the Haas edition to the Nowak. I do not subscribe to the opinion that the Haas is somehow not a valid edition because it incorporates elements from different versions so it represents a score that Bruckner never really laid eyes on. I have been an avid Bruckner fan for nearly 20 years, and yes, like many of us, I got caught up in "the problem of the versions" for awhile...but I eventually got tired of all of that, and now I go mainly by what my ears tell me, and I like the passages that Haas put back into the Adagio and Finale of the Eighth; and when I listen to a recording of the Nowak edition, it sounds like something is missing to me.

I think Tintner makes a great case for the 1887 score, and it is a well-played and well-recorded version to boot. This recording blows Inbal's away. Inbal's first two movements are so fast they sound like a "run through," and even the finale sounds too fast. I have never understood Inbal's approach: in addition to just not sounding "right," the fast tempos don't really allow some of the details, such as the woodwind parts that were left out of the later revisions, to be fully heard. Some of Tintner's tempos are a bit slow, but he lets us hear a lot more details, and ultimately his tempos are convincing. Hats off to Tintner and Naxos for having the courage to release a recording of this "rare" version, in a market flooded with Haas and Nowak.

I am very pleased that Tintner has crowned his cycle with very satisfying accounts of the Eighth and Ninth, especially since I am not really a fan of the rest of his cycle. His Bruckner is too slow and "single tempo" for me. There is a style of Bruckner that I have come to refer to as "New Age Bruckner." This style, which began to emerge not long after the onset of the "digital era" is characterized by uniformly slow, safe, cushy performances, dressed up in the latest plushy digital finery. They are relatively light in the bass, and do not have strong timpani to underpin Bruckner's grand climaxes. Many of them are not without an element of spirituality, and some are actually quite lovely, but they make little attempt to present and overcome the spiritual upheavals that are central to the Bruckner symphonies, and that make the hard-won victories of their finales, and their codas (esp. those of the Fifth and Eighth), all the more satisfying.

Imo, some of the conductors and performances that fall into this "New Age" category are: Chailly's 2,3,5&7-9 (although his 7&9 do have their satisfying moments); Haitink's most recent (VPO) recordings of 4,5,& 8 (athough his earlier 2,6; 1970's 7th; and 1980's 8&9 Concertgebouw recordings are still among my favorites); and Sinopoli's 8&9 (a shame because his 3,4,&7 are still among my favorites). Some of you Karajan bashers may like hearing that, as much as I enjoy most of his full DG cycle, his final recordings of the Seventh and Eighth, as much as I was intitally impressed with the latter, have not worn very well. Even some of Barenboim's Teldec cycle has the ring of "New Age Bruckner" to me, esp. his 2,4,6,&7, which is a little curious considering that his style is generally very much informed by Furtwangler and the "old school" of Bruckner conducting, with it's more flexible tempi, heightened sense of drama, strong underpinning of bass and timpani, etc. (although his BPO Ninth is one of my five favorite out of the nearly 60 that I have, and I also like his Eighth very much). Incidentally, I feel that Barenboim's earlier Chicago cycle on DG is one of the most underrated, as a whole, and in terms of the individual performances, overall exceeding the Teldec BPO cycle, mostly by virtue of the fact that the former's 2,4,6,&7 are all preferable.

Some might put Celibidache's late Bruckner into the same category, but while his late Bruckner recording were slow, some agonizingly so, slow alone doesn't necessarily make it "New Age Bruckner," imo. There were elements of Celibidache's approach to Bruckner that continued to be informed by the "old school," such as the full bass and strong timpani, even as his tempi wandered off into eternity. I feel that part of what was going on with Celibidache, other than the fact that he always "marched to his own drummer," was that he was trying to make the listener hear Bruckner as he heard it in his head, and experienced it in his soul...and sometimes, toward the end of his life, the "Being Celibidache" ride was a bit too slow for many of us.

My early days as a "Brucknerian" were very much influenced by the "New Agers," and in fact, I was not very receptive to the "old school;" but once I heard some of the better Bruckner recordings by conductors like Furwangler, Schuricht, Abendroth, Kabasta, Hausegger, Horenstein, etc., I began to feel like there were elements of their approach that were still valid, and shouldn't be written off as anachronistic. I have, by no means, become stritctly an "old schooler"--hell, one of my favorite Bruckner recordings is still the Giulini VPO Eighth, hardly an "old school" interpretation, despite its strong bass and timpani (btw, has the Vienna Phil ever sounded better, in a recording, than they do on Giulini's Eighth and Ninth?)--but I have come to prefer Bruckner performances that effectively incorporate the old and the new.

Anyway, enough of my ramblings. If you don't already have Tintner's Eighth and Ninth, get 'em, but unless you like your Bruckner slow, approach the rest of the cycle with a bit of caution...but maybe at Naxos prices you can't go wrong; and sometimes you can get them REALLY inexpensively through the marketplace. Once again, Naxos raises the question: if they can produce good recorded performances at reasonable prices, why can't more other labels? Currently it seems like they are the only label keeping the rather stagnant classical music market alive.

Good ....but.......2004-09-13

I was a bit dissapointed with the Irish orchestra here and the sound spectrum was a bit diffuse...the strings are good but not as good in the previous #2 performance in this series. I am still a believer in Jochum's 8 in Berlin from the early 60s...it is a less literal approach to the score but the phrasing is superior to this interpretation. As to Tinter I tend to find some of the phrases wonderfully natural but a bit more bite at times could defintely go a longer way.

Overall good for budget but does not dissplace Karajan and Jochum and even Barenboim.

Impressive Bruckner.......2003-06-21

I don't see a problem with revised works until debates emerged about Bruckner's various versions of each symphony (I think with exception of Symphony no 7). Tchaikovsky, Mahler and considerable number of symphonists particularly revised their works thoroughly, but it is Bruckner who gets most attention because usually his revision are done under pressure from many who didn't understand him as quoted from one of his admirers "He is a genius without talent".

This symphony is fascinating mainly because the market only practically has original Haas 1890 version and Nowak recordings in the market and only Inbal, as I understand, recorded this 1887 version. What struck me was this symphony's difference from Haas version is like stepping into an alternate universe. It doesn't sound independent from Haas version, yet there is many intriguing differences.

I personally love the first and second movement. The first movement is much more spiritual and mysterious compared to Haas version, whereas the latter sounds rushed when you hear both versions of the same movement. The second movement has much more vigour whereas the Haas version is more simplified and rather, dignified compared to a much more brash 1887 version. My only complaint is the 1887 version of Adagio, with painful counterpoints and very, very sappy climax. No fault of Tintner for that is why the Adagio is the only redeeming feature of 1890 Haas Version.

Georg Tintner maybe the sole sparkling gem of Naxos' compared to a huge array of maestros on other labels like Deutche Gramophon or EMI. Listeners don't simply buy his Bruckner because simply the recording is much more affordable. The Ireland Symphony is on a class on it's own with Tintner leading "Die Nullte" symphony, i considered the best symphony of Bruckner after Symphony no 4 and 8. I think it's one of the CDs that all lovers of symphonic music should own.

First thoughts..........2003-03-31

Allow me to add my two cents worth on this recording. First of all, this is the first time I've heard the original version of Bruckner's 8th. I must say its a fascinating experience, since it diverges so substantially from the 1890 version that we all know. Particularly the first three movements. The last movement is virtually the same, except for the coda and final peroration. Overall, I find the orchestration more interesting, colourful, and polyphonic; although it lacks the emotional impact of the standard 1890 Nowak version. Well...to be fair, I did find much that is quite beautiful and spiritual in this version that seems to be lacking in the later edition. But overall, if I had to make a choice, I'd prefer the standard 1890 edition. My suggestion: if you already have a recording of the 1890 version, you have to add Tintner's eighth to your collection, just to hear the composer's fascinating first thoughts. The performance is first rate and both the conductor and orchestra make an eloquent case for this rarely performed version. Oh yes, I almost forgot, this double cd set includes the 0 symphony (interesting historically but not particularly inspired). If, on the other hand, this is the only recording you have of Bruckner's 8th (highly doubtful but I suppose stranger things have happened), hurry up and buy the standard 1890 version as well! I recommend Karajan's 1958 version on EMI with BPO. Its a lot better than his last version on DG, which is very muddy and lacks a clear polyphonic texture. I haven't heard Celibidache's recording(s)(a little harder to find in my neck of the woods), but I suspect he has a far less conventional approach than Karajan. I would also recommend Giulini's VPO recording on DG, except I haven't heard it yet, but going by hearsay it seems like a winner. Bruckner's symphonies need spaciousness, and Giulini is one conductor who can always be counted on for that. Although in other works, say Brahm's first for example, it can work to his detriment. Anyway, coming back to the 1887/1890 comparison of Bruckner's 8th, I guess the ideal version would incorporate elements of the 1887 account but merge them with the more mature and emotionally powerful 1890 Nowak version. However I doubt that will happen any time soon....

Average customer rating:

Some of the best Bruckner on disc
Solti's Sine Qua Non of Brucker Ninths
It's that superb brass
Bruckner will not get any better than this!
4.5 stars- A great and vividly recorded Bruckner boxed set

Anton Bruckner: The Symphonies

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
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ASIN: B0000042ED
Release Date: 1996-07-08

Tracks:

I. Allegro
II. Andante
III. Scherzo: Presto
IV. Finale: Moderato

Tracks:

I. Allegro
II. Adagio
III. Scherzo: Schnell - Trio: Langsamer
IV. Finale: Bewegt, Feurig

Tracks:

I. Moderato
II. Andante: Feierlich, Etwas Bewegt
III. Scherzo: Massig Schnell
IV. Finale: Mehr Schnell
I. Adagio - Allegro

Tracks:

II. Adagio, Sehr Langsam
III. Scherzo: Molto Vivace (Schnell)
IV. Finale: Adagio - Allegro Moderato

Tracks:

I. Gemassigt, Mehr Bewegt, Misterioso
II. Andante: Bewegt, Feierlich, Quasi Adagio
III. Scherzo: Ziemlich Schnell
IV. Finale: Allegro

Tracks:

I. Bewegt, Nicht Zu Schnell
II. Andante Quasi Allegretto
III.Scherzo: Bewegt
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Majestoso
II. Adagio: Sehr Feierlich
III. Scherzo: Nicht Schnell - Trio: Langsam
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Adagio: Sehr Feierlich Und Sehr Langsam
III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Scherzo: Allegro Moderato - Trio: Langsam
III. Adagio: Feierlich Langsam, Doch Nicht Schleppend
IV. Finale: Feierlich, Nicht Schnell

Tracks:

I. Feierlich, Misterioso
II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
III. Adagio: Langsam, Feierlich

Customer Reviews:

Some of the best Bruckner on disc.......2007-05-31

Anton Bruckner was as organist all his life. He so loved the instrument that he actually requested to be buried under the instrument on which he served the longest tenure. No better description can be given to his music other than "organ-like". Listen to the symphonies and youll understand why. These works, espeically the later ones (4-9) contain some of the most emotionally charged, thrilling, sonic passages you will ever hear an orchestra play. Fast changes from loud to soft, thick orchestrations and beautiful chords and harmonies make these symphonies the epitome of romanticism. Bruckner was writing music that was well advanced for his time (the adagio of the 7th symphony is a music theory student's nightmare!), many would have considered his pieces "daring" or "strange" when they were written. The CSO and Solti definately capture the essence of these pieces, and with one of the world's greatest brass sections playing some of the most brass-heavy symphonies, how could you go wrong?

Solti's Sine Qua Non of Brucker Ninths.......2006-05-18

Let me state very succinctly and unequivocally that there is no other Bruckner 9th on earth I can listen to with such rapt, undiminished joy as Solti's.

The overpowering (almost terrifying) coda of the first movement hits the listener like some inexorable, demonic force of Nature, thanks exclusively to Solti's stealth-like tempo and slow-mounting crescendo, where the CSO's thundering brass suddenly takes on a life and will of its own. Once you experience (and survive) the impact of this near-cosmic cataclysm -- sorry, I tend to wax hyperbolical with this particular work -- no other recording will ever satisfy. (Psst! -- and just wait until God Himself throws open the Celestial Gates (TWICE!) in the third movement.)

Although Solti is by no means my favorite Bruckner conductor -- consider Knappertsbusch's underrated, yet unparalleled, SCHALK VERSION! for the Fifth; Haitink and the Concertgebouw for the Third; Anton Nanut and the Ljubljana for the Eighth; Erich Leinsdorf and the Boston Symphony (LP only) for the Fourth; Sawallisch and the Bavarian State Orchestra for the Sixth -- I nonetheless award 5 generous stars to this boxed edition, only because life, for this listener, would lose all sense and meaning without Solti's brilliant, never-to-be-equalled interpretation of the heaven-inspired Bruckner Ninth.

By the way, his beguiling (read absolutely perfect!) phrasing of the long melody line at the opening of the Seventh is quite frankly to die for. Though why he chose such a comparatively "sluggish" tempo for the energetic Scherzo is beyond my comprehension.

[..]

It's that superb brass.......2006-01-23

'Bruckner is brass' or at least the brass is much more involved. To hear a good Bruckner the brassplayers of the orchestra needs to be outstanding. Unfortunately many brass sections of top orchestras do not have quality brass. That's different with the Chicago SO under Solti where all brass player were superb (and maybe they still have such brassplayers)

The top European orchestras do not have that extra quality brass one would expect. The Berliner Philharmoniker and the Wiener Philharmoniker even today use trumpets with rotary-valves... I even heard a top British Orchestra with a lead trumpet player using that 'weird' brassband vibrato.

Further the Tuba players in Europe usually are just not good enough and lack tone and power in the low register of the instrument. But here with Solti and the Chicago SO one can enjoy the beauty of Bruckner with bass playing as it should be. Even the famous recordings by Wand are not my choice.

The fact that Solti is directing must be considered as well as he is also extremely convincing directing Wagner, so he does understand (or at least that's my view) the way brass should sound.

If you are looking for a box that you will play over and over again, this is the one and at a fair price.

Bruckner will not get any better than this!.......2006-01-04

Usually when I encounter box sets of classical music ( with the exception of operas and the like) I'm a little wary of it. Many of them, like this recording, span many years and often there are 2-3 years between recordings.

Even though that is true of this set, it sounds like it was recorded successively. With the exception of the 6th which was recorded on analog, there is no discrepancy in either the performances or the quality of the recordings and even the 6th is very well recorded and extremely vivid, I would argue one of the most vivid. The years of the recordings span from 1979 ( the 6th) to 1995 ( no. 0).

It would take much too long to do a review for every single recording so I will just give some highlights.

Of the recording of the 3rd, Penguine guide referred to it as "the one failure, relatively crude and coarse." I don't agree, if anything, it seemed to me that this recording was not only on par with the others, but that the CSO was equally on top of their game with this one as with the others. I found it very moving, clear, precise and powerful.

Moving onto the recording of the 4th I will say the same thing: very moving, clear, precise and powerful. What struck me about this recording was the tension maintained in the outer movements. Often with Bruckner symphonies, tension can easily be lost because of the length. Here the Chicago Symphony nicely maintains the energy with much thanks to their outstanding team of brass players. The gem of this recording, in my opinion and as much as I love the 1st and 4th movements, is the Scherzo. I love Bruckner Scherzi anyway but the Chicago Symphony does a bang-up job on this one. This track can be characterized as simply authoritative, powerful and overwheliming in the best way possible. In the first minute or so, Solti uses the powerful brass to gain thrust and to propel the entire orchestra into the statement of the main theme with the trombones and echoed by the trumpets.

I have already mentioned how pleased I am with the sixth. It is remarkable that it was recorded on analog. It sounds so amazingly vivid. Of course, the brass is nicely ensnared but the sharpness of the timpani deserves attention as well. Besides the excruciatingly exciting outer movements, the quality of the adagio is enough to leave with breathless at the end. When the orchestra finishes it, the listener gets the overwhelming sense of tranquility - very well done. That is the way to do Bruckner adagios.

The recording of the 8th was made while on tour in St. Petersburg Russia in 1990. Another triumph in my opinion. The real tokens of this recording are the adagio and finale. Again, as in the recording of the 6th, this adagio is enough to leave the listener suspended in calmness. I especially like the way the bring out the religious quality of Bruckner's music ( the same could be said of all the recordings of this set) by emphasis on certain tonalities and harmonies which can easily be passed up by the unwary conductor. The finale is of comparable quality. I have never heard a recording of this piece that has as strong a brass soli as is heard at the beginning of this one - utterly amazing. The sound never, ever wavers. It is simply solid tone throughout and sustained even in moving to the next note. Here again, the listener is confronted with the chorale-like chords that make Bruckner's music so remeniscient of religious music. With many thanks to the CSO brass section, one can hear the beginning of this played on the organ, Bruckner's main instrument. Also, I love the end where the motif of the first movement is triumphantly belted out by the trombones. These guys have such a presence and it really helps to bring the symphony full circle.

Finally, the 9th. I love the 9th symphony anyway. I love the construction of it. I love the use of chords and harmonies that seem distant to the tonic but then find themselves alluding to the tonic. Everything about it I love. And the CSO does it well. Awesome maestoso brass make up the first movement along with a breath-taking coda just overflowing with snipets of chorales first heard in the woodwinds then carried on by sustained brass. This is a first movement that is centered, precise, focused and musical above all. Which brings me to the scherzo. Again, with many thanks to the brass section, the scherzo takes on a veritable demonic quality - very menacing indeed. I believe this is probably Bruckner's most violent scherzo. You can certainly hear it in this recording the way the orchestra pounds away at the double eigth plus quarters motiv practically relentlessly. In matter of fact, the whole scherzo pounds...it is absolutely relentless and I like the fact that the CSO brings out the obvious anger found in it.

Finally, some very trivial negative things. I don't like how London splits up the 5th. They put the 1st movement on one disc and leave the remaining movements on another. There is great chorale-like brass playing on this recording. Another great recording like the other and very powerful indeed. I just prefer to enjoy it all on one disc.

To me, the 7th is the only odd ball in the bunch, and even then, it is a fabulous recording. In referring to the Penguin guide again, they cite that this recording lacks tension in the outer movements. I agree, the brass just doesn't seem to all there, most of the time, and the strings take on a not-so-likable thin palor. The outer movements could be more tight and precise but how they are at the moment is just fine with me. There are some real good moments on this disc. The interpretation of the adagio is absolutely gorgeous. The sonority of the Wagner tubas is perfect, the climax is devastatingly spine-tingling. All in all, perfect and again, it ends with that indispensable sense of irrevocable tranquility. The scherzo is just as you would expect it to be - ferrocious. There are some real tempests present in this interpretation. The dialog between the trumpets and trombones at the full tutti sections gives me goosebumps every time. Finally, even the outer movements lack tension, there is still a good deal of powerful and precision in the rhythmic tuttis...frankily, unlike the first movement ( which still has beauty and grandeur, don't get me wrong), the only part where I'm not convinced is the coda. I wish it was just a tad more powerful.

I have to admit, however, that I'm extremely biased for 2 reasons - one, i'm aspiring orchestral trombone player myself so I look for recordings that have a great deal of brass pressence to them and two, I find that the Chicago Symphony obliges me greatly in that area. All the recordings I get now are with the CSO if I can help it. I absolutely love them. In opinion, they're the best orchestra out there. They are my favorite. And Jay Friedman, principal trombone, is my hero. So while my review of this set might now seem as petty hero worship and one deluded and clouded by admiration, I advise to see for yourself. As with Mahler, I don't think you should listen to Bruckner without a great deal of power and brass...

4.5 stars- A great and vividly recorded Bruckner boxed set.......2005-07-29

I have heard, I think, all of this Bruckner boxed set, when I checked it out at the library. I think the 3rd symphony is probably my least favorite of the nine. I do own the single disc of the seventh symphony. This Seventh is very powerful indeed! I don't think he misses too much of Bruckner's spirituality in this particular reading. I think he does go for the power and impact aspect of the score. I have many versions of Bruckner's Seventh, but this was my first Bruckner purchase, that I doubt I will ever sell. His timing of the adagio of the Seventh is perfect in my opinion. It does clock in at 25:11, which many would think is too long, but that pace is just right. The vividness and brilliance of these recordings (especially the Seventh of which I'm more familiar) is breathtaking. Don't ever let anyone tell you that this isn't a great Seventh!!! I do prefer Jochum for the adagio of the Seventh, as far as the aspect of spirituality goes, but no one is as bracing and as powerful as Solti is. The brass cuts through superbly from this great Chicago Orchestra. It's good to have a great boxed set with demonstration sound that this superb set deliver's. If I remember right, the 6th,8th,4th,and 9th come off very well also. If nothing else (although the performances and interpretation are superb also) get this set for the incredible sound quality. ENJOY!!!

Average customer rating:

A very solid, enjoyable Bruckner Cycle
HAITINK'S EARLY BRUCKNER CYCLE
Literal, often gentle Bruckner without complications
Shipshape, predictable and reliable
unbelieveable recordings of the complete Bruckner Symphonies

Bruckner: The Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: The Symphonies
Anton Bruckner: The Symphonies
Brahms: Works for Solo Piano
Brahms: The Symphonies
Brahms: Chamber Music (Complete) (Box Set)

ASIN: B0009A41VU
Release Date: 2005-10-11

Customer Reviews:

A very solid, enjoyable Bruckner Cycle.......2007-07-21

This is one of my 3 complete Bruckner Cycles (Jochum 50s/60s Deutsche Gramophon on CDs & Barenboim Chicago Symphony 1973 to 1981 Deutsche Gramophon on LPs are the other two). I am happy with all three sets and the renditions by each conductor/orchestra are different enough to be distinguishable and stand out from each other.

Some of the comments here at Amazon, while giving this set 4 stars, knock Haitink in a left handed way. This has WAY more to do with that fact that Haitink's initials are not HVK and very little if anything to do with the music and the performances. This set will give the performances by HVK a run for their money. You can enjoy them while not committing idolatry at the HVK shrine as some are apt to do.

Some of the reasons for buying this box set are: convenience, cost savings, quality and consistency in performance, and uniformity in the engineer recording aspects. That means we may not get the all time great recordings of each symphony with the box set. We are instead hoping to get solid, above average recordings all bundled together in one Nifty Neat O box. Haitink and the Concertgebouw Orchestra are definitely Nifty!

I gave 4 stars because this box set offers solid performances of each symphony, the sound engineers did a quality job, and the orchestra is much better than above average. I really love the adagios from symphony's 7 & 8. Sure, there are better performances available individually of each of the symphonies. But your ears will not get triple eardrum cancer from listening.

The first time I heard these discs was after I cracked open the shrink wrap and plopped them into my CD player. I have no regrets after purchase and have not been disappointed with any of the discs.

HAITINK'S EARLY BRUCKNER CYCLE.......2006-06-27

This was my first Bruckner cycle (in its earlier black-box incarnation), and the date was October 11, 1996. Only while writing the check for it, did I remember that this day was the centennial of Bruckner's death. Say what you want, but it was a happy omen.

Back in college I had listened to some of these performances on LP, and wanted to get back to them. The first thing to emerge was how much better these CDs sound than those wretched, domestic 1960s Philips LPs. It was clear that until now, I hadn't really HEARD these performances...The Philips engineers (including the late Jaap von Ginneken) KNEW WHAT THEY WERE DOING. Thanks to their craftsmanship, we can relish the distinctive "tang" of the post-war Concertgebouw- that is, before the onset of the Post-Jet, Post-Karajan "International" Sound.

It goes without saying that only the mediocre are equally good at everything- or even all the works within a given cycle. Haitink does better with some of these symphonies than others. Still, a newcomer to Bruckner could hardly go wrong with any of these performances, except maybe the 8th (more on that later). They are all FRESH- even the least successful of them. This is because Bernard Haitink & Philips wisely chose not to plow through the whole cycle within a year or so: they took their time- 9 years, in fact (1963-72).

The "0" Symphony (June 1966) receives a truly sympathetic performance and recording. The Concertgebouw's woodwinds make a bittersweet feast of the more plaintive passages in the 2nd movement. And Haitink wisely plays the very opening "straight ahead," not trying to make the "nebulae" motifs as doom-laden or dramatic a Brucknerian "fingerprint" as they would become in the later symphonies. Still, everything comes off- in a work that often "goes for nothing." (Bruckner's VERY first Symphony, the F Minor "00," another work which often "goes for nothing," is not included in this box. Still, any true Brucknerian should have it, and the 1992 Inbal/Teldec does nicely.)

The 1st (May 1972), actually the last to be recorded, is rather aggressive (i.e., in a good way), brimming with daring and "intestinal fortitude." This is hardly the "unimaginative" performance of which Haitink has too often (i.e., wrongly) been accused. I can't think of a greater 1st- although Jochum's 1968 Berlin 1st perhaps "ties" with it.

The May 1969 2nd (Haas edition) may be the greatest performance in the box- and for my money the best 2nd ever recorded. In THE ESSENCE OF BRUCKNER, Robert Simpson points out the deleted 1872 passages which Haas restored to Bruckner's 1877 revision; he approves of all but one, in the second movment: the "repeat" of a solo-horn-and-woodwind passage, ending with a lone, climbing bassoon line. This performance is absolutely complete, but I think you'll find that it's not a moment too long. Haitink and the Concertgebouw bring out such a subtle, "tangy" sheen in the strings, project such a purity of spirit, that they all seem to be possessed by the ghost of Eduard Van Beinum (who never recorded a Bruckner 2nd). In spite of characteristic "fingerpints" in the "00," "0," and the 1st, it was only in the 2nd that Bruckner really began to evolve his own kind of structure. (You might say that this stretch of symphonic territory, initially staked out by Schubert in his "Unfinished" & "Great," had been abandoned until Bruckner reached this point.)

The October 1963 3rd (1878 edition) is actually the earliest recording in this box. (The 8th is from September 1969, not 1960, as an uncorrected typo would have it. ) Now, I confess a greater preference for the craggier, less "symmetrical" 1873 edition of the 3rd. (The 1982 Inbal/Teldec is superb, and so is the 2004 Nugano/Harmonia Mundi. Between them, the Nugano is a bit better played and recorded, but Inbal's grasp of pacing and structure is slightly more convincing: take your pick.) Still, if you must have the better-known 1878 edition, this performance is the one to have. It is far more fleet and unassuming than Haitink's rather lugubrious 1988 remake with the Vienna Philharmonic. This 1963 3rd was the first disc I took out of the box, and it pulled me in.

The 4th (May 1965) is one of the best in stereo- but I can't help comparing it with the live 1956 Van Beinum 4th (also with the Concertgebouw). Somehow, EVB struck an even more convincing balance between grandeur and humility...As did Jochum in his 1954 Bavarian Radio 4th (only available through amazon's German site). Still, as an introduction to the 4th, you could do a lot worse.

The 5th (December 1971) was also my introduction to THIS symphony. It struck me then (and it strikes me now) as just a bit too "serenely objective." This impression was confirmed when I finally tumbled onto EVB's live 1959 5th (his very last recording, by the way) and especially Jochum's 1964 5th - both with the Concertgebouw. And in spite of how Robert Simpson and several others have criticized Eugen Jochum's rubati, I find that Jochum gains greater access to the "molten core" of this symphony, and generates more excitement than anyone else, ever- at least in hi-fi . (I haven't yet heard the 1986 aircheck of Jochum's final Amsterdam 5th. But if you find the '64, grab it.)

With its many potentially awkward transition points and "gear shifts" (at least in the outer movements), the 6th may be the toughest of Bruckner's nuts to crack. Rarely will you find a great conductor and a great orchestra (in the same hall at the same time- that's the catch) who UNDERSTAND this work. What we usually get is a 6th, played and conducted in light of the 4th, 5th, 7th or 8th and "Here's this odd thing of Bruckner's and let's a GO at it shall we." The Haitink 6th (December 1970) was, at first, my favorite. (At this risk of a well-aimed bolt of lightning, I find Klemperer's fabled 1964 6th a tad overrated; yes, it's excellent, but the Philharmonia, for all their collective genius, was NOT a Bruckner orchestra- compared to the Concertgebouw, the Berlin, the Bavarian Radio, or even Inbal's North German Radio. It just wasn't.) Now, Haitink and the Concertgebouw inscribe an almost supernatural performance-even if the Finale is a little brisk. Still, it "works," and then some. But if you can find it, the 1969 Steinberg/Boston account grasps the 6th's "DNA" better than any other...What had seemed "quirky" and inconsequential becomes not only logical, but enchanting: an alpine village progression from late summer to Christmas Festival, if you like.

The 7th (November 1966) is up against formidable competition. In terms of hi-fi alone, this includes Van Beinum's 1947 and 1953 Deccas (and yes, they are both "hi-fi"), and several by Jochum. My personal favorites: the 1947 EVB (in Dutton's transfer, which captures and enhances the original sound AND eliminates the infamous early Decca "ground hum" far better than the Tahra edition), and the surprisingly hi-fi 1952 Berlin Jochum (on Tahra, if you can find it)- one of those life-enhancing rarities which should be snagged-at-first-sight. Jochum's recently re-issued 1939 Vienna 7th (on Hanssler) has perhaps his most "trauerisch" second movement, but the Viennese turn in one of their sloppier performances; and the vague, rather undifferentiated articulation detracts from the momentum of the scherzo and the finale. Haitink's 1966 7th is indeed a convincing, beautifully rounded account, and you couldn't go wrong with it. Still, one can do better.

The 8th (September 1969, not 1960) is the weak link in this "chain." Compared with Haitink's own later version of 1981, and next to Jochum's 1949 Hamburg or Karajan's early stereo 1957 (to name a few), it simply doesn't deliver the INNER drama and spirituality that a Bruckner 8th must-have-or-what's-the-point. It's played well enough, but I suspect that, in 1969, Haitink didn't yet have the measure of this work. (In time, he did- let it be said !) The 8th was my "first" Bruckner symphony (Karajan '57); I would not recommend this 1969 8th as anyone's "first." You might not be "put off," but unless you already knew the 8th, you would miss the CORE.

The 9th (December 1965) is fantastic, and nearly ties with the 1956 Van Beinum 9th . Haitink takes the scherzo just a mite slower than Jochum and others (Furtwangler flogged it like an old-horse-ready-to-drop)- but this allows the unsettling harmonies to sink in, all the more exquisitely. The first movement and finale are riveting. This is a good introduction to the 9th. But Jochum's 1954 Bavarian Radio, EVB's 1956, Karajan's 1966 Berlin and Wildner's 1998 (with "realized" 4th movement- see my review) all convey a greater ontological intensity.

So there you have it. You WILL need another 8th, but there are several hi-fi choices for that: Van Beinum's 1955; Haitink's 1981; any of Jochum's; Karajan's 1957 or 1989. Still, this box grants us nearly perfect performances of "0," 1, 2 and 3 (1878 edition); and can't miss, can't-go-wrong versions of 4, 5, 6, 7 and 9.

Literal, often gentle Bruckner without complications.......2006-05-30

The young Haitink had a consistent way with all the Bruckner symphonies in this cycle recorded between 1963 and 1972. In a review listed below, Mr. VanDeSande describes the approach better than any professional critic I've read, the key words being literal, honest, reliable, unimaginative, unaffected, and natural. (Strangely, The Gramophone's longtime Bruckner specialist, Richard Osborne, mischaracterizes these readings as intense--that they are not.) Haitink steps aside and allows the score to unfold, usually at one steady tempo, without intrusions.

Unfortunatley, intrusions are what conducting is about in great music, finding a unique response, asserting your deepest reaction to genius. As if often said, the art of conducting lies between the notes as written. Haitink does a lot of interpreting, but not with Bruckner. What stands out is the lovely balance of the Concertgebiuw tone and the simple beauty of Bruckner's writing, which is often much gentler than anticipated (listen to the non-tense opening of the outer movements of Sym. #3, or the deliberately plain Adagio of Sym #8).

Because of Haitink's modesty, he succeeds best in the modest early works, Sym. 0 (Die Nulte), #1, #2, and #3. By consensus his Sym. #5, always a difficult work to hold together, is a high point. But a conductor can't triumph in Burckner without great, ear-catching readings of Sym. #4-#9, and although Haitink is never less than agreeable (except for his wrong-headed breathless tempos in the outer movements of Sym. #8), I don't hear greatness--I wanted to be deeply moved and wasn't. When it comes to building cathedrals, you shouldn't send a chapel Methodist to do the job, and that's what Haitink is.

Shipshape, predictable and reliable.......2006-05-15

This box of Bruckner symphonies, recorded from 1960-72 in Holland, was rereleased in 2005 with many outlets offering it at vastly reduced cost from the $72 list price. These were recorded during Haitink's halcyon days as director of the Concertgebouw Orchestra, when, in my opinion, he did his best and most reliable work in the recording studio. These performances include Bruckner's "Nulte" symphony, the so-called Symphony No. 0, and the traditional nine symphonies in varying arrangements. Haitink plays the original versions of Symphonies 0-4 and the first version of the titanic Symphony No. 8.

What I like about these performances is Haitink's unaffected way with the music and how it allows you to hear Bruckner's progression as a symphonist when you listen to them in their numeric order. As he showed in his set of Shostakovich symphonies recorded a decade after these, Haitink can be a reliable guide through any composer's music. He shows himself a very reliable guide here. What he also shows himself to be in this set is somewhat unimaginative and hidebound by his literalism.

For this reason, these performances, good as they are, will probably never be any Bruckner fans' No. 1 rated performance in any of the symphonies. Conductors that made names for themselves in this music usually did so because of the unique way they communicated the music -- Furtwangler was very idiosyncratic, unique and exciting; Karajan was highly charged and Germanic; Wand was very spiritual; Jochum dabbled with tempo and mysticism; Tintner used new performing scores; Solti was too virtuosic and forced the music to become something it wasn't.

How does Hatink fits into this universe of expert Bruckner interpreters? I don't think he does. I think he plays the music straight all the time. For that reason it always sounds honest and forthright and the wonderful ADD recordings allow you to hear every mellifluous sound from the august Concertgebouw. But there is a decided lack of individuality in these recordings. This was a trademark of Haitink's recordings with this orchestra during this period, when he made his name worldwide.

The 1960s were indeed a time for orchetral literalists to shine. Coming off the era of orchestral dabblers like Stokowski and Furtwangler, world opinion in the 1960s was divided into two camps of classical music performance -- literalism, headed by the likes of Reiner, Szell, Karajan and Haitink; and humanism, whose principal spokesperson was Bruno Walter who died in early 1962 and left behind a spate of wonderful-sounding records that have since been converted to CD in the digital era.

While there was still a lot of nostalgia for old times, it was clear literalism was leading the world stage in the 1960s and setting the standard for performance of classical music -- very much like period performance practice has swept into style today.

This is the ethos Haitink represents and that representation is never more evenly displayed than in this set of Bruckner symphonies. While they are uniformly well-played, sound uniformly wonderful, and are uniformly well-directed by the conductor, you can also say they are uniformly risk free and uniformly without the stamp of personality. Is that a bad thing? No, it simply puts this set at a disadvantage against the bigger names whose Bruckner sets are still in print.

I think of this set as being the ultimate backup to my favorite Bruckner recordings (see my Listmania list). In a baseball metaphor, I think of the Haitink recordings as the perfect backup to my starters, the perfect relief pitcher when my starter tires, and the perfect pinch hitter when I tire of hearing my favorite versions. I know Haitink will come in during this backup situation and deliver the goods for me. But I also know that, even given the wonderful truthful recocrdings and uniform approach, he'll never be good enough to be the starter, either.

One note: in my box, the disk labeled Symphony 4 actually contained someone's rap music. I know this wasn't Bruckner since he died almost a century before the invention of rap!

unbelieveable recordings of the complete Bruckner Symphonies.......2006-04-10

Upon buying this set, I was struck by the recording engineering of this cycle. I thought I was listening to digital recordings, and was FLOORED when i discovered that these symphonies were recorded from 1960-1972. The sound is so crystal clear and so evenly recorded across all sections of the orcherstra that I contend over and over it was as if you was listening to a modern Chailly, Harnoncourt, or Barenboim recording. Just on sound alone - i would put this above and beyond Jochums EMI cycle with the Dresden Staatskapelle.

The second item that struck me with this set was Haitink himself. I had no idea or dreamt that he could tackle a complete cycle of symphonies and produce holistically, a quality product. So many "boxed sets" or "cycles" are marred by good ones and bad ones. But these recordings are even over the 12 year span they were done. This is a true testament to a maestro and beautiful and disciplined Royal Concertgebouw Orchestra.

The third thing I think about is in interpretation. Tempos that vary as the music builds - you'll never hear a more uptempo closing to the 8th in your life. I was shocked by an almost attempt by Haitink interpretively to throw back to the days of older conductors - styles of Furtwangler, Van Beinum, Knapperstbusch, ect. It sounded like he was paying homage to conductors of old but with updated sound.

Lastly - the orchestral playing is very detailed, disciplined. Strings playing sweet, woodwinds sounding light, brass very strong (though a few wrong notes and muddy in recordings 7-9 in big climaxes - but nothing too severe), and the ability to actually hear timpani in every symphony - something quite important to move the music along during up tempo passages or to accent the power of the brass sections - often not brought out in older recordings.

Something interesting that I would implore everyone to take note of... I now have 2 recordings of the 9th with Haitink - this early 1960 which is in the set and a 1981 digital recording with the same orchestra. Of the 14 other recordings I have of the 9th by Barenboim, Bernstien (1969 and 1990), Celibidache, Chailly, Giulini, Jochum, Karajan (1966 and 1975), Lopez-Cobos, Skrowaczewski, Tinter, Walter, and Wand - only the 2 Haitink recordings do not have the timpani player playing a role at the climax/finale of the 9th Symphony 1st movement, while instead playing a syncopated quarter/eight note rhythem (assuming thats the notation since I dont have access to a score). I find this fascinating and wondered why this was.

At any rate - happy listening!!!! This is a wonderful set - highly recommended above Jochum and dare I say an import Karajan which I have.

Average customer rating:

Bruckner as Organist

Bruckner: Organ Works

Manufacturer: Novalis
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Bruckner: Piano Works
R. Strauss: Complete Chamber Music (Box Set)
Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes
Requiem

ASIN: B000001MQ0
Release Date: 2001-02-27

Customer Reviews:

Bruckner as Organist.......2003-04-09

This disc offers Bruckner's compositions for the organ. They are all short and light pieces, that accually don't seem to be sounding like the Bruckner we know (grand & monumental). There are also transcriptions of some movements from his symphonies, which are nice to hear on Bruckner's own instrument. You know he played the organ his whole life and was a master of it, but it seems strange that he only composed just a few pieces for the king of instruments! Anyway this disc is very interesting in order to learn more from Bruckner, but it wouldn't be a first choice in order to get into Bruckner, I would say that this disc would be for the Bruckner collector, who already has a vast experience, knowledge and understanding of him first.
The sound is okay, a little faint sometimes, but clear quality.
This is the only disc of Bruckner's organ works, which is a rarity anyhow.

Average customer rating:

Bruckner Symphony No. 0

ProductGroup: Classical
Binding: Audio CD
ASIN: B000M9ESO8

Average customer rating:

Anton Bruckner; Symphony No. 0

Manufacturer: Camerata
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Symphony No. 0 In D Minor 'Die Nullte' WAB. 100: I. Allegro
Symphony No. 0 In D Minor 'Die Nullte' WAB. 100: II. Andante
Symphony No. 0 In D Minor 'Die Nullte' WAB. 100: III. Scherzo; Presto
Symphony No. 0 In D Minor 'Die Nullte' WAB. 100: IV. Finale; Moderato - Allegro vivace

Average customer rating:

At Work with Power Clasics

Power Classics! Volumes 1-10

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Tracks:

Carmen: Les Toreadors - POWER CLASSICS!
Slavonic Dance No.8 In G Minor, Op.46 - POWER CLASSICS!
L'Arlesienne: Farandole - POWER CLASSICS!
Symphony No.3: 3rd Movement, Ziemlich schnell - POWER CLASSICS!
Gotterdammerung: Siegfried's Death And Funeral Music - POWER CLASSICS!
Symphony No.3 In E Flat, Op.97: Rhenish: 1st Movement - POWER CLASSICS!
Piano Concerto No.1 In B Flat Minor, Op.23: 3rd Movement: Allegro con fuoco - POWER CLASSICS!
Symphony No.1: Titan: 2nd Movement - Kraftig bewegt - POWER CLASSICS!
The Prophet: Coronation March - POWER CLASSICS!
Hungarian Rhapsody No.1 - POWER CLASSICS!

Tracks:

Toccata In D Minor
Symphony No.5 In C Minor: 1st Movement: Allegro con brio
Swan Lake: Mazurka
Mastersingers Of Nuremburg: Overture
Coppelia: Czardas
Faust: Allegro vivo
Symphony No.4 In A Major: 1st Movement: Allegro vivace
Piano Concerto In A Minor, Op.16: 1st Movement: Allegro molto e marcato
The Damnation of Faust: Rakozy March
The Rhine Gold: Entry Of The Gods Into Walhalla

Tracks:

Ride Of The Valkyries
Hungarian Dance No.5 In G Minor
Sylvia: Cortege de Bacchus
The Nutcracker: Trepak - Russian Dance
Bartered Bride: Overture
William Tell: Soldiers' Dance
Symphony No.1: 3rd Movement: Scherzo
The Flying Dutchman: Overture
Espana
Totentanz

Tracks:

Lohengrin: Prelude To Act 3 - POWER CLASSICS!
A Midsummer Night's Dream: Wedding March - POWER CLASSICS!
Marche Slave, Op.31 - POWER CLASSICS!
Hungarian Rhapsody No.2 - POWER CLASSICS!
Swan Lake: Danze hongroise Czardas - POWER CLASSICS!
Flight Of The Bumble Bee - POWER CLASSICS!
Eugene Onegin: Polonaise - POWER CLASSICS!
Symphony No.9 In E Minor 'New World': Third Movement, Scherzo - POWER CLASSICS!
Tannhauser: Arrival Of The Guests At Wartburg - POWER CLASSICS!
Symphony No.5 In E Minor: Finale. Andante Maestoso - POWER CLASSICS!

Tracks:

Ruslan And Ludmilla - Overture
The Bartered Bride: Polka
Symphony NO.4 In E Minor: 3rd Movement: Allegro giocoso
Coriolan Overture, Op.62
Symphony No.4 In A Major: Italian: 4th Movement - Saltarello presto
Bocklin Suite: Bacchannal
The Valkyries: Magic Fire Music
Piano Concerto No.1 In E Flat Major: 3rd Movement: Allegro marziale animato - Presto
Symphony No.2: 3rd Movement: Scherzo. Allegro molto vivace
Symphony No.9: From The New World: Finale - Allegro con fuoco

Tracks:

The Sleeping Beauty: Introduction
Snegurochka: Dance Of The Tumblers
Piano Concerto No.2 In F Minor, Op.21, No.3: Allegro vivace
Symphony In G Major, No.4: Allegro ma non troppo
Chowanschtschina: Dance Of The Persian Slaves
Coppelia: Slavonic Folk Melody
Die Meistersinger von Nurnberg: Dance Of The Apprentices & Entrance Of The Masters
The Bartered Bride: Furiant
Symphony No.6: Tragic: II. Scherzo. Wuchtig
The Nutcracker: Waltz - Finale & Apothese

Tracks:

Mlada: Cortege
Piano Concerto No.1 In E Flat Major: I. Allegro maestoso
The Sleeping Beauty: Waltz
Soroshintsy Fair: Gopak
Symphony No.0 In D Minor: Ill. Scherzo. Presto
Organ Concerto Op.137: Ill. Finale. Con moto
Symphony No.7 In D Minor: Ill. Scherzo. Vivace
L'Arlesienne: Pastorale
Nocturnes: Fetes
Symphony No.1 In C Minor: IV. Allegro non troppo, ma con brio

Tracks:

Slavonic Dance No. 1 In C Major
Symphony No. 3 'Scottish': III. Vivace non troppo - Mendelssohn
Homage March
Swan Lake: Dance Espagnole - Tchaikovsky
Symphony No. 4 In E Minor, Op. 98: Ill. Allegro giocoso
Coppelia: Festive Dance And Waltz Of The Hours
A Night On Bald Mountain
A Life For The Tsar: Krakoviak
Slavonic Dance No. 3 In A Flat Major
Symphony No. 4: Finale: Allegro con fuoco

Tracks:

The Marriage Of Figaro: Overture
Symphony No.3 in D Minor: IV. Presto vivace
Sylvia: Prelude - Les Chaseresses
Prelude On 'B - A - C - H'
Symphony No.8 In C Minor: II. Scherzo. Allegro moderato (excerpt)
Sheherazade: I. Lento - Allegro non troppo
Euryanthe: Overture
Swan Lake: Waltz
Symphony No.2 In C Major: II. Scherzo. Allegro vivace
Piano Concerto No.2 In A Major: Allegro deciso - Marziale - Allegro animato

Tracks:

Piano Concerto No.1 In G Minor: I. Allegro non troppo - POWER CLASSICS!
Hungarian Dance No.1 In G Minor - POWER CLASSICS!
Carmen: Bohemian Dance - POWER CLASSICS!
Chowanschtschina: Intermezzo - POWER CLASSICS!
Symphony No.3 'Rhenish':: IV. Lebhaft - POWER CLASSICS!
Piano Concerto No.2 In B Major Op.83: II. Allegro Appassionato - POWER CLASSICS!
L'Arlesienne: Carillon - POWER CLASSICS!
Symphonie Fantastique: IV. Allegretto non troppo - POWER CLASSICS!
Eugen Onegin: Waltz - POWER CLASSICS!
Husitska: Overture, Op.67 - POWER CLASSICS!

Customer Reviews:

At Work with Power Clasics.......2000-01-20

Using the 10 CD set of Power Classics over the past five years while "working" daily on Nordic Trak has been a great help. The relatively short segments break up the workout and provide a welcome support for my efforts. The variety of selections available relieve boredom although, I must admit, when one selection finishes I can now mentally hum the next intro. I recommend this set highly for any strenuous workout program.