Anton Bruckner Symphony No.3 in D minor

On this CD:

1. Symphony No. 3 in D Minor (Wagner) (First Definitive Version; Schalk version; Final version), WAB 103
Composed by Anton Bruckner
Performed by Brussels BRTN Philharmonic Orchestra
Conducted by Alexander Rahbari

Tracks:

Sym No.1 in c: I. Allegro
Sym No.1 in c: II. Adagio
Sym No.1 in c: III. Scherzo: Schnell
Sym No.1 in c: IV. Finale: Bewegt, Feurig

Tracks:

Sym No.2 in c: I. Moderato
Sym No.2 in c: II. Andante
Sym No.2 in c: III. Scherzo: Massig Schnell
Sym No.2 in c: IV. Finale: Mehr Schnell

Tracks:

Sym No.3 in d: I. Mehr Langsam, Misterioso
Sym No.3 in d: II. Adagio (Bewegt) Quasi Andante
Sym No.3 in d: III. Ziemlich Bewegt
Sym No.3 in d: IV. Allegro

Tracks:

Sym No.4 in E flat 'Romantic': I. Bewegt, Nicht Zu Schnell
Sym No.4 in E flat 'Romantic': II. Andante Quasi Allegretto
Sym No.4 in E flat 'Romantic': III. Scherzo: Bewegt - Trio: Nicht Zu Schnell
Sym No.4 in E flat 'Romantic': IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.5 in B flat: I. Intro: Adagio - Allegro
Sym No.5 in B flat: II. Adagio - Sehr Langsam
Sym No.5 in B flat: III. Scherzo: Molto Vivace - Schnell
Sym No.5 in B flat: IV. Finale: Allegro Moderato

Tracks:

Sym No.6 in A: I. Maestoso
Sym No.6 in A: II. Adagio: Sehr Feierlich
Sym No.6 in A: III. Scherzo: Nicht Schnell - Trio: Langsam
Sym No.6 in A: IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.7 in E: I. Allegro Moderato
Sym No.7 in E: II. Adagio: Sehr Feierlich Und Sehr Langsam
Sym No.7 in E: III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
Sym No.7 in E: IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.8 in c: I. Allegro Moderato
Sym No.8 in c: II. Scherzo: Allegro Moderato
Sym No.8 in c: III. Adagio: Fierelich Langsam, Doch Nicht Schleppend
Sym No.8 in c: IV. Finale: Feierlich, Nicht Schnell

Tracks:

Sym No.9 in d: I. Feierlich, Misterioso
Sym No.9 in d: II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
Sym No.9 in d: III. Adagio - Langsam, Feierlich

Amazon.com

Here's a welcome box of all Bruckner's numbered symphonies led by a distinguished specialist renowned during his lifetime for his identification with the composer. Neatly laid out with each symphony on a disc of its own (no annoying midsymphony changeovers) and in top-quality late-1970s sound, this is an irresistible bargain for such superb performances. Jochum's Bruckner was spontaneous-sounding, with generally swift tempos tempered by flexible rhythms and slow movements that squeeze all the juice from this heartfelt music. The Dresden orchestra is a marvelous instrument for these works, with a beefy, warm sound and brass players that can whip up the excitement in the grand climaxes. Individual conductors, whether vintage greats like Furtwängler or more recent Brucknerians such as Wand on RCA and Tintner on Naxos, may equal or better Jochum in individual works, but taken as a complete traversal of these massive scores, Jochum's is second to none. --Dan Davis

Customer Reviews:

One of two Jochum sets of Bruckner.......2007-04-22

The other complete set of Eugen Jochum conducting Bruckner's symphonies, of course, is the series he recorded for DG in stereo between 1958 and 1967 with the Bavarian RSO or (in Symphonies 1, 4, and 7-9) the Berlin Philharmonic, following a number of recordings of individual symphonies he made in the pre-LP days. Although Jochum's basic conceptions remained consistent over the years, that earlier set finds Jochum more consistently alert and a shade more vibrant than in this valedictory go-round with the canonical Bruckner symphonies, taped in the late 1970s. By comparison, the overall impression here is of slightly lower voltage, although the flip side is that this cycle is also just that much more serene, and aptly so (Bruckner's music has been described as "blazing calm").

Even so, this boxed set has a lot to recommend it, whether or not in preference to the DG cycle. There is the burnished and responsive delivery of the great Dresden orchestra, perhaps the oldest in Europe. There is EMI's warm and atmospheric sound, which in this remastering is considerably better focused and more detailed than in the first CD incarnation of this cycle. This cycle's Seventh and Ninth Symphonies arguably make a deeper impression than their counterparts in the DG series--even if the DG cycle compensates with more successful readings of the Fourth and Eighth. Above all, there is Jochum's lifelong identification with Bruckner's music (but NOT, as another reviewer suggested, due to a personal relationship between the conductor and the composer, who had died six years before Jochum was born!). Personal preference will dictate whether you go for the DG or EMI cycle; either way, you will hear Bruckner via one of the last exponents of a more flexible, less "monumental" (and also less stolid) approach to this composer's music.

Bruckner by Jochum.......2005-10-03

These CDs contain performances of the nine Bruckner symphonies.
Of these 3,4,7,8,9 are remarkable, with 4, 8 and 9 being
masterpieces. The performances by Eugen Jocum and the Dresden
Staatskapelle orchsetra are well-designed, and played at tempi
that seem to represent the composer's intentions. The recording
quality is good, except for dynamics: the sound volume is
on the low side. One needs a high grade system for adequate
reproduction, especially given the wide dynamic range and
timbral subtlety characteristic of Bruckner.

The Best Complete Bruckner Symphonies.......2005-09-25

The reason that this is the best complete symphony recordings of Bruckner is that conductor Eugene Jochum had a close relationship with Bruckner himself and knew the music like the palm of his hand. despite any negative commentary or the fact the preferred editions are conducted by the eminent Herbert Von Karajan, this box set is by far the best. All the symphonie sound great, polished, romantic, idealized, spiritual, energetic, passionate and mysterious, especially the opening movement of the final 9th, which comes in both versions here. This is a true winner for a recording box set. Your other choice should be Karajan though. But Jochum masters the music with great affinity and brilliant technical musicianship. In this recording, particularly impressive are the 7-9th. The early symphonies are German-Romantic Wagner/Mahler style but entirely Bruckner's individualized style. It is music that is heavy, and not music for a beginner to hear. It is deep, highly emotional, music to meditate by. It's slow-moving, dream-like and powerful, horns and brasses sounding fatalistic at times, while the winds and strings evoking either intensity or quietness. Bruckner himself would love this set. He certainly approved of Jochum conducting.

A good, but not great, Bruckner cycle........2005-02-18

Ideally, I wanted to review the DG Jochum cycle, since I actually prefer that one, but it's NLA as of this posting, so I'll just make some comments about both cycles here.

Eugen Jochum may have been the greatest advocate of Bruckner, of the 20th Century. However, I have lived with this cycle, and especially the DG one, for many years now, and I have come to view his Bruckner interpretations as somewhat overrated, even in comparison with his "old school Bruckner" colleagues. Perhaps my opinion is a little skewed by overexposure, but I have other recordings I turn to more frequently that have not started to "wear" on me as much as some of Jochums. For one example, I am not, by any means, a "Karajan freak" (I have also come to view his last VPO Eighth, over which most people seem to be "ga ga," a bit overrated, as well) but I find his full DG cycle from the 70's and early 80's, for one, to be more consistently satisfying, with the exception of the first, fourth, and sixth, in all of which Jochum is clearly better, imo. I must say I do get tired of the cliches' about Karajan's performances being too "cool, polished, and sterile," and Haitink's being too "light," etc. These preconceptions, often based on preconcieved opinions about the conductors themselves, precludes people from really having to seriously consider their recordings, just as the opposite preconception that Jochum is THE Brucknerian of the century tends to make his recorded preformances somehow beyond reproach.

Based on Jochum's reputation, I eagerly awaited the DG cycle, back at a time in the late 80's when I was first getting into Bruckner when there were relatively few Bruckner recordings in print. Even on first listening, there were certain things about his interpretations that didn't sound right to me. Admittedly, at that time, I knew virtually nothing of the "old school," with its more flexible tempi, dynamics, and more dramatic approach, to Bruckner. Since then, I have become very well acquainted with recordings of the "old school" Bruckner conductors such as Schuricht (his 1943 Ninth is one of my ten favorites), Furtwangler (his 1944 Ninth might BE my favorite), Hausegger, Kabasta, Abendroth, Matacic; Walter and Horenstein's mono recordings, etc. etc...and I still don't find many of Jochum's interpretations to compare all that favorably.

One thing you can say with some degree of confidence about Jochum is that most of his interpretations are amazingly consistent over a half century of recordings. Compare his recordings of the Fourth and Seventh from the late 1930's to those from his later DG and EMI cycles, and they are remarkably similar, both in terms of timings, tempos, and phrasing. Two examples of "Jochumisms" that have come to grate on me a bit over time are: 1) As much as I love most of his Fourth, esp. the finale, which I think he "nails" better than any other conductor, I feel that he turns the andante quasi allegretto into an adagio (in general, I can never understand why many conductors insist upon turning this flowing movement into a dirge); 2) The slow tempo he chooses for the lovely "enchanted forest" motif (as I call it) that flows out of the beautiful intro of the Seventh, which ultimately steers the whole first movement toward a slow and stodgy tempo. Jochum's Seventh almost sounds like it starts out with two adagios. His first movement isn't excessively slow in terms of it's total timing (and I've noticed that many listeners pay too much attention to timings anyway), but in terms of it's lack of flexibility and flow: there are readings of this movement a minute of two longer (like Chailly, for example, although I think his Seventh is a bit overrated) that still have a better sense of ebb and flow to them. Some examples of sevenths I prefer to Jochum's are Sinopoli's; Karajan 70's DG; Inbal's; Wand's 70's Cologne recording; Furtwangler's 1951 BPO (Rome); Abendroth's 1956 recording; and Haitink's 70's recording.

Jochum's Fifth was one of the biggest disappointments of my Bruckner collection, esp. after all of the things I had heard about it's legendary status. Although I think his inner movements are just fine (except the slow movement of his 1938 Fifth, which I found a little too slow), I think he is too slow--and even more importantly not flexible enough--in the all important outer movements. But the "Jochumism" that grates on me the most, in ALL of his recordings, is his excessive stretching out of the coda of the finale, made even less convincing by the lack of a strong underpinning of timpani. Karajan (whose DG Fifth was my first, and is still my favorite, followed by Horenstein, Welser-Most, and Gielen) augmented this thrilling coda--Bruckner's best, even better than the Eighth's, if it's done properly--with an extra set of timpani, and very effectively. If any of you are rolling your eyes (esp. you "Karajan-bashers") at Karajan's use of extra timpani, remember that Jocum augmented the brass section for the famous chorale of the Fifth's finale...this is part of what the vanishing art of interpretation is all about. On the subject of timpani, one of the characteristics of the Bruckner "old school" was the ideal that the Bruckner orchestra started from the ground (bass) up, and needed a strong underpinning of timpani (too often missing in recent recordings), esp. in climactic moments: Furtwangler's recordings provided the best example of this; most of Jochum's recordings are surprisingly lacking in powerful timpani, and this is particularly exposed in his somewhat melodramatic lengthening of the Fifth's final coda.

In general, I find Jochum's Eighth and Ninth to be a bit terse, except for his readings of the third movement of the Ninth, which was consistently one of his best movements, esp. his Dresden recording. If his readings of 1-7--except, again, his 1,4, and 6, which I find generally excellent--tended to lack flexibility on the slow side, the outer movements of his Eighth and the first movement of his Ninths tended to lack flexibility on the fast side. One very notable exception, however, is his 1949 Hamburg Eighth, which is my very favorite Jochum recording, and perhaps one of my ten favorite Eighths overall. He gets everything right here, with a good amount of flexibility...which makes it even more puzzling to me that the outer movements of his later recordings of the Eighth were so terse by comparison.

As far as the merits of the DG cycle versus the EMI, again, there is very little to choose as far as interpretations: they are remarkably similar. The only difference that really jumped out at me was that the first movement of the Dresden Ninth was not only a little too terse, but strangely "herky jerky" in terms of some awkward tempo relations, which create more distraction than tension. Although I feel that the adagio of the Dresden Ninth is Jochum's most searching account of this movement, I still like the Ninth from the DG set a bit better.

In terms of recorded sound, again I'd have to give the nod to the DG cycle. The older DG recordings sound more natural to me, whereas the late analog EMI recordings are a bit too brightly lit, almost sounding like early digital in places. The seemingly endless permutations of packaging, repackaging, and recoupling of both of these cycles, and the individual recordings from them, has become a bit absurd, but at least it has made it very easy to pick up most of these recordings in used CD bins.

Outstanding set!.......2004-08-07

To win conducting Bruckner demands from a director several issues . You must have a first order orchestra ; second your rapport with the orchestra ; third Bruckner symphonies are a real challenge they are real difficult works because you have to maintain the sound all along the work ; fourth: the different mood changes and the running time of every symphony demands a serious analysis and commitment with the inspired and rapture melodic lines inmersed ; fifth : to underline and emphasize the sforzandos , the dramatic accents are almost an epic achievement ; sixth : since the undeniable influenc of Wagner in Bruckner you have to keep the balance and obviously to have studied Wagner in every work and consider the fact if Wagner would have lived twenty years more Would it sound in the brucknerian mood? and if all the previous factors were not enough , you have to consider the giant directors in Bruckner : Wilhelm Furtwangler , Hans Knappersbutch , Jasha Horenstein ,Carl Suricht , Horst Stein and obviously Eugene Jochum and the most remarkable Bruckner conductor in the actual times : Daniel Barenboim .
Jochum was a noble man and he had another important point to his favour : the orchestra : placed in the East Germany kept his sound due the isolation in the thirties forties and fifties . I underline this because the character and presence of similar orchestras as the Gewandhaus of Leipzig let obtain a pure sound ; and not a traditional vision .
This set is relevant in your collection because the standard level of every work is very high and often inspired . So it is easier for you to make a musical journey all the way.
I really recommend to you .

Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes

Average customer rating:

poco refinado
Poor Tuning in the Mass in E minor
not to be missed
Magnificent

Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra
Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
Symphonies 1-9
Bruckner Motets
Anne Sofie von Otter - Grieg Songs

ASIN: B000001GQ6
Release Date: 1996-01-23

Tracks:

Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: I. Kyrie (Alla breve)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Meno mosso - Tempo I - Etwas langsamer)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: III. Credo (Moderato - Langsam - Allegro - Tempo des 1. Satzes)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Maestoso - Allegro moderato)
Mass no. 1 in D minor for solists, chorus and orchestra: V. Benedictus (Moderato - Allegro moderato)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante quasi Allegro - Allegro moderato)
Mass no. 2 in E minor for 8-part choir and wind orchestra: I. Kyrie (Feierlich)
Mass no. 2 in E minor for 8-part choir and wind orchestra: II. Gloria (Allegro - Andante - Tempo I)
Mass no. 2 in E minor for 8-part choir and wind orchestra: III. Credo (Allegro moderato - Adagio - Allegro - Tempo I)

Tracks:

Mass no. 2 in E minor for 8-part choir and wind orchestra: IV. Sanctus (Ruhig; mehr langsam)
Mass no. 2 in E minor for 8-part choir and wind orchestra: V. Benedictus (Moderato)
Mass no. 2 in E minor for 8-part choir and wind orchestra: VI. Agnus Dei (Andante)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: I. Kyrie (Moderato)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Andante, mehr Adagio - Tempo I - Ziemlich langsam)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo (Allegro - Moderato misterioso - Langsam - Largo)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo [Forts - Cont.] (Allegro - Tempo I - Moderato - Allegro - Etwas langsamer als anfangs - Allegro
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Moderato - Allegro)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: V. Benedictus (Allegro moderato - Allegro)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante - Moderato)

Customer Reviews:

poco refinado.......2005-09-27

Una versión poco refinada de las misas de Bruckner. El coro no se entiende bien, es un poco sucio y con un vibrato que ensucia más la grabación. Además, toma tempos muuuuuy lentos en algunos pasajes, lo que termina por aburrir.

Poor Tuning in the Mass in E minor.......2004-01-12

I think that Jochum's interpretation is excellent in this recording but I take issue with the performance of the chorus in the E minor Mass. The sopranos often reach for the high notes and come out under the pitch...regularly. Anything above a C# is a bit of an adventure for them. The chorus, as a whole loses pitch in unaccompanied sections. It is difficult to listen to this disc. I wish I had purchased the recording on the Hyperion label.

not to be missed.......2001-01-31

I tend to echo the sentiments of the prior reviewer. The Masses are some of Bruckner's greatest compositions and deserve the same level of respect as do his symphonies. When I was listening to the Mass No. 3 in E minor I could have sworn there was a rolling orchestral crescendo that was also used at least in part in the great adagio of his Symphony No. 7 (also in E). The texts of the Roman Catholic liturgy are delivered entirely in Latin and the choral and soloist contributions are impeccable in phrasing, diction and beauty of tone. The Benedictus passages have some extremely beautiful parts for the voice and the string sections, and nothwithstanding the lack of a violin solo can be mentioned in the same breath as that of the Beethoven Missa Solemnis. The Et Resurrexit sections of the Credos have thundering power and majesty. In some respects the Masses are a bit more closely argued in terms of musical structure and cohere better than the earlier symphonies. Eugen Jochum conducts with selfless dedication, letting this powerful music speak for itself. The playing of the Bavarian Radio Symphony Orchestra is superb, and the highly individual sound of the Mass No. 2, written solely for brass and wind instruments, almost (as the documentation implies) feels like Palestrina brought into the Romantic era. The remastering from the original issues, from 1962 to 1971, is very successful and there is a wonderful bloom on the choral sound. The spacious acoustics of the Herkules-Saal, which was also one of the venues for Jochum's first survey of Bruckner's symphonies with the same orchestra (and the Berlin Philharmonic), are heard to very good effect. Full translations of the Liturgy are printed in German, English and French.

This issue is a classic and its release as part of Deutsche Grammophon's Originals series cannot be too strongly welcomed.

Magnificent.......2000-03-23

Being long under the impression that Bruckner's major achievement lay in his symphonies, the motets and the Te Deum, this CD-set came as quite a revelation to me.

Being a very devout Catholic, Bruckner left us with sublimely beautiful music in these Masses. Although al three masses were composed in his forties, the music strongly bears his signature: elements of mystery, striking thematic material, and deep spiritual devotion.

Jochum has a powerful vision, the singing of the choir is ethereal, and the recording after all these years retains a vivid presence.

The music has a strong emotional effect on me; listening to it is a spiritual experience.

Tracks:

Symphony No. 1 in C minor: Allegro
Symphony No. 1 in C minor: Adagio
Symphony No. 1 in C minor: Scherzo: Schnell
Symphony No. 1 in C minor: Finale: Bewegt, Feurig
Adagio To Symphony No. 3 In D Minor

Customer Reviews:

Symphony No. 1 - Bruckner.......2007-05-17

I am glad to have this great symphony in my CD collection of classic music. I've enjoyed a lot hearing it when I have enougth time. The quality of this recording is as hight as the music itself. I strongly recommend evryone to buy this CD.

Spirited, committed Bruckner from a late-blooming conductor.......2006-05-26

The Viennese-born Georg Tinter fled Nazi persecution of the Jews and wound up spending his musical life in New Zealnd, Australia, and Nova Scotia, far from the limelight. He rose to eminence as a Bruckner conductor largely thanks to Naxos, the label that used him for their Bruckner cycle with the Royal Scottish National Orch., a fine ensemble that itself was essentially unknown to Americans. Having completed the recordings in 1998, the 87-year-old Tintner committed suicide by jumping off his apartment balcony rather than face an agonizing end with terminal cancer.

His account of Sym. #1 displays how talented Tintner was. Early Bruckner symphonies already have the shape, intensity, and ambition of late Bruckner, but the melodies are less inspired, the orchestration hasn't found a cosmic dimension yet, and the counterpoint is feeble. Bruckner kenw where he was heading, and we can hear that, even though Sym. #1 wouldn't seem that satisfying if he had stopped here. Tintner doesn't do anything revolutionary to it--he just has a tuoch for Bruckner, keeping the rhythms alive, thrusting the climaxes forward a bit brashly at times, but always avoiding reverence and rhetoric. He makes this music feel genuine if not yet fufilling.

As an added bonus we get an alternate version of the Adagio to Sym. #3. In the thicket of Bruckner scholarship, which we amateurs enter at our peril, this 1876 revision is ocnsidered inferior for such things as the attempted Wagnerian string accompaniment to the main them on its final return, but weak or strong, Tintner gives the movement a reading as committed and enjoyable as the main work.

A visionary conductor reconsiders Bruckner.......2002-06-29

Although the First is not the most popular of Bruckner's symphonies, it is nevertheless absorbing, not to mention tantalizing in its premonitions of the symphonies which would come later. The beginning of a new symphonic cycle can be an exciting event, and Bruckner's First, begun so late in the composer's life, is quite sophisticated - at least, in this highly evocative version by Georg Tintner and the excellent Royal Scottish National Orchestra.

This recording, the first of the original version from 1866, is very special, and Tintner's illumination will be startling for those who know the symphony. Some of the harmonic changes are almost radical, given the time period. The last movement is strange enough that it will have you rethinking the composer's work completely - no small feat. There were moments when I almost felt as if I were listening to early Schoenberg.

But small differences in the language are evident in the three prior movements as well. Without going into exhaustive harmonic detail, listening to this recording caused me to muse on how Bruckner's path might have changed, and music history altered, if this "first draft" had received overwhelming acclaim. It might have led to even more original thoughts in the subsequent symphonies. After hearing this recording, the revised versions seem, well, more conservative.

The Royal Scottish National Orchestra sounds magnificent, and I'm not even going to qualify that comment, as some have, by comparing them with other "more Brucknerian" orchestras. What has been accomplished here is huge, and the RSNO's beautiful, heartfelt playing must be considered in any assessment of success. They get the job done, and more so. The Naxos recording is gorgeous - one of their best - with glowing, realistic sound and the huge climaxes making a great impact.

But it is Tintner, who sadly died just as his Bruckner cycle was complete, who will be really missed. It is intriguing to imagine the heights he might have reached, had he lived to explore (and record) the symphonies further. And his liner notes - scholarly and persuasive - show us that he was a fine writer as well.

So I cannot recommend this disc highly enough, particularly for Bruckner fans - but anyone new to the composer will find it just as satisfying. All the Brucknerian hallmarks are here: the long phrases rising to ecstatic climaxes, the subtle chord progressions embarking on journeys to other keys, the glorious writing for massed choirs of instruments, especially the brass section. I only wish Georg Tintner were still alive so I could congratulate him on what he accomplished: a major addition to our understanding of this composer.

My favorite 1!.......2002-03-06

This is perfect to me, it's sweet and roaring, all when it counts. Tintner has the best timing with the early Bruckner symphonies. I would say that the recordings could have been a little softer in sound but then that would have been to perfect, I suppose. Just get it!

Very Very Good Bruckner 1.......2000-11-19

This is the 2nd CD of Tintner's Bruckner I have bought and I heartily recommend both of them (also the 9th).

One feels the presence of a master Brucknerian sharing his love of the music with the orchestra and with us. The notes enclosed were prepared by Tintner himself thus endowing the performance with an even more personal touch of the conductor.

Tintner presents in this rendering (of the original version) an expansive performance (opposite of Jochum) but just right, stressing the more heroic nature of the work. I particularly liked the 1st movement. I felt a bit disappointed with the 4th movement especially the climax after the 2nd (lyrical) theme. Maybe this is true to the original version but the almost total absence of the strings in this climax is disappointing.

The recording is excellent and the performance is very good. If I'm not mistaken the 2nd violins are positioned on the right (European style) and this is very enjoyable.

Tracks:

Bass Trbn: Sarabande in c - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Till Eulenspeigel, Zarathustra, Ein Heldenleben - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Miraculous Mandarin/Sym No.9/Vn Con - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Hungarian March, Rome And Juliet - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.1 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.7/Sym in d - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: The Creation/Hary Janos - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Syms No.5, 6, 7, 9 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Pictures/Romeo And Juliet/Pines Of Rome/Gazza Ladra - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.3 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.5 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Lohengrin, Ride Of Valkyries - Jeffrey Reynolds/Los Angeles Phil
Bass Tpt: Intro - Michael Mulcahy/Chicago Sym
Bass Tpt: Das Rheingold - Michael Mulcahy/Chicago Sym
Bass Tpt: Die Walkure - Michael Mulcahy/Chicago Sym
Bass Tpt: Siegfried - Michael Mulcahy/Chicago Sym
Bass Tpt: Die Gotterdammerung - Michael Mulcahy/Chicago Sym
Tenor Tuba: Bydlo - Michael Mulcahy/Chicago Sym
Tenor Tuba: Sym No.7 - Michael Mulcahy/Chicago Sym
Tenor Tuba: Don Quixote - Michael Mulcahy/Chicago Sym
Tenor Tuba: Ein Heldenleben - Michael Mulcahy/Chicago Sym
Tenor Tuba: The Planets - Michael Mulcahy/Chicago Sym

Customer Reviews:

Good, but not the best methods for bass trombonists.......2007-07-05

After listening to the excerpts, I recognized Jeffrey Reynolds' perspective. He is an experienced player, but some of his advice is not as practical as it seems. For the Franck excerpt, common orchestral practice is to play the f-sharp as written: it is an applicable range study and should be kept intact. The Schumann excerpt is not played as written also, and should be taken literally in the context that it was written. Mr. Reynolds' approach to Wagner is interesting, especially to Die Walkure. It's not for everyone, but it may be beneficial to some. The Kodaly is well presented, as well as the Mahler, Berg, and Strauss excerpts. All things considered, it is a decent aide for study, but should not be seen as a "this is how it must be done" collection of excerpts.

Mulcahy Rocks, Reynolds is Hilarious!.......2006-10-26

Okay, for anyone seriously interested in what NOT to do in an audition, make sure to listen to Reynolds on this disc. There's a reason this CD is infamous, and he's the reason. Even his advice is pretty awful. Take part of the D Major down an octave because the commitee won't notice? Hah! That kills me every time.

Mulcahy rocks on this, though. Just listen to the VAlhalla theme and tell me he's not a monster.

Then, go back and listen to Reynolds play Ein Heldenleben with 'oblique intonation' and 'questionable sound' and roll on the floor for a while.

Very Helpful.......2006-05-27

This CD was very helpful for me, a student bass trombonist. The CD enables you to not only hear the exerpt, but also listen to what the performer says about it and how it should be played. Mr. Reynolds, as well as Mr. Mulcahy played the exerpts beautifully.

A perfecrt resource...almost!.......2000-08-02

The Orchestra Pro series are a very useful tool to student musicians trying to get a grasp on how the major symphonic excerpts should be played. More useful, however is the spoken commentary, which resembles a one on one lesson with the performer. The bass trumpet and tenor tuba excerpts are played beautifully by Mulcahy. The bass trombone playing or Reynolds often leaves the listener wondering if he could not have done a slightly better job on some of the excerpts. All in all this CD is a great resource for those trying to get their foot in the door of the orchestral music scene.

Anton Bruckner: Symphony No. 3 in D minor (1873 Original Version, ed. Nowak) - Georg Tintner

Average customer rating:

A MOST MAGNIFICENT BRUCKNER 3RD!
OUTSTANDING!!!!! a very persuasive recording.
Stunning music and performance
a revelation
a fly in the ointment

Anton Bruckner: Symphony No. 3 in D minor (1873 Original Version, ed. Nowak) - Georg Tintner
Anton Bruckner , Georg Tintner , and Royal Scottish National Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Bruckner: Symphony 2
Anton Bruckner: Symphony No. 1 in C minor (Unrevised Linz Version, 1866, prepared by William Carragan from the critical report of Robert Haas) / Adagio (1876) to Symphony No. 3 in D minor - Georg Tintner
Anton Bruckner: Symphony No. 7 in E major (ed. Haas) - Georg Tintner
Bruckner: Symphony No. 8 (1887 version, ed. Nowak) / Symphony No. 0 "Die Nullte"
Anton Bruckner: Symphony No. 4 in E flat major "Romantic" (1878/80 Version, ed. Haas) - Georg Tintner

ASIN: B00003Q40K
Release Date: 2000-02-22

Tracks:

Symphony No.3 in D Minor: Gemassigt, misterioso
Symphony No.3 in D Minor: Adagio: Feirelich
Symphony No.3 in D Minor: Scherzo: Ziemlich schnell
Symphony No.3 in D Minor: Finale: Allegro

Customer Reviews:

A MOST MAGNIFICENT BRUCKNER 3RD!.......2006-05-08

A few days ago I attended a concert by the Florida Orchestra,with Stefan Sanderling conducting,which featured Bruckner's 3rd. Having never heard a Bruckner symphony in live concert I was quite excited before the performance. Slowly I became sorely disappointed. The edition Sanderling conducted was the third version (1888/89), and the version I was very familiar with was the original version (1873)played by Tintner- the one I am now reviewing. I cannot understand how any conductor would engage in such an injustice to themself, the audience, and Bruckner fans as to play the later and very truncated version. Bruckner scholars will readily admit this symphony fails structurally in more ways than one, however as they will state and the listener must realize is that Bruckner was opening new doors in symphonic writing and he himself was unsure of how to go about it. This does not mean he was an unable composer, it simply means he was entering a new world, one which he would soon perfect. As for the later versions I have done some Bruckner research and it is quite evident that Bruckner was influenced heavily by Viennese critics and his contemporaries. After the first performance the symphony was rejected and Bruckner began excising and re-orchestrating the symphony, often with his friends actively involved; friends who had no clue what Bruckner was really up to and merely wanted to help write what they wanted to hear. In his will Bruckner gives his original manuscripts to the Vienna library which contain his true intentions, and of which he frequently and significantly remarked 'for later times'.

Fortunately we have his original score and Tintner states, "To my mind this work as originally conceived suffered by its progressive mutilations more and more, and we should take the time to play and listen to this amazing original." Thank God Tintner did. The maestro does a wonderful job pulling this massive 77 minute work together. The moral of the story is this: if you want to hear the first symphony in which Bruckner is discovering/inventing a new symphonic world get this one. It is a compeling and interesting work.

OUTSTANDING!!!!! a very persuasive recording........2005-12-10

Once again,i'm struck by Tintner's magic way with Bruckner.There's a natural sweep to the peformance which lets the music unfold in a compelling manner.I've previously resisted this Symphony finding it too unwieldy but i now realise this was the result of impatient tempos and butchered editions.Even the much heralded Knappertbush 1954 recording seems less than persuasive after listening to Tintner.If you're not in awe about 16 minutes into the slow movement (when Bruckner alludes to Tannhauser)then we're on a different wavelength!

Stunning music and performance.......2005-03-15

Bruckner's fame as a symphonic composer is well deserved. He had a wonderful grasp of orchestration and emulated Wagner quite well. He also had much of the passion of a Beethoven. Bruckner's Third is, in my view, the composer's attempt to bring the influence of Wagner and Beethoven together.

I had heard the Third several years ago and was also captivated by the trumpet call early in the work. However, now a little older, I have come to appreciate the entire work better. And this appreciation is directly a result of Tintner's interpretation of this complex work and the incredible play of the Royal Scottish National Orchestra.

The first movement is a slow development with wonderful musical experiments. Some reviewers have noted that it is somewhat patchy; the transitions are not as transparent. This is somewhat true, but it must be noted that there are significant musical contrasts in this single movement. Indeed, in scale and musical content, the first movement can be considered a symphony of its own. In my opinion, patchiness is unavoidable.

The last movement is also a wonderful surprise. After a stormy beginning, the music settles into sweet flavors of symphonic poems, intertwined and freeflowing. The contrast is stark but very appealing.

The other movements serve their purpose of providing contrasts within the symphonic context. However, Bruckner does not skimp musically on them; there are wonderful musical ideas at work.

Now to the performance. Tintner's tempos are slow, emphasizing development. In my opinion, this is not to the detriment of the work. Indeed, Tintner's approach to the work is to couple the large-scale structure to the minutae of the melodic content; this requires a solid framework of tempos without being stolid. The success of this interpretation is that such tempos work to reveal the lyrical detail that Bruckner had intended to present.

The Royal Scottish National Orchestra is just wonderful. Its brass is powerful and the strings are dynamic. Despite the slow tempos, there is a sense of innate energy that is revealed through every nuance of the orchestra. The quality of the recording is also superb.

For the price, this is an excellent value. Granted that Bruckner's Third is not fare for everyone. But it is a phenomenal work and should make a wonderful addition to any classical music library.

a revelation.......2004-04-22

Like many of the other commentators reviewing this recording, I found it disconcerting and incredibly slow at first. I first heard this symphony almost 40 years ago, in the Szell recording of the last, must horribly cut version. Like most people, that's the version I got used to. So it is naturally "weird" to hear the piece with utterly different passages, and with principal melodies lengthened not just by slower tempi but by virtue of them actually being written out over more measures of music. This is the biggest change Bruckner made in this symphony: shortening the measures of the melodies, including the all-important opening theme. After about five listenings, however, one gets used to this. Once that happens, it changes everything. Now I can't listen to the later versions without thinking they sound ridiculously rushed and even shallow. There is no comparison. The only "fly in the ointment," and it's fairly minor, is that Bruckner somewhat improved the climactic endings of the first and last movements (in my humble opinion) for his later 1877 version. If only there were some kind of Haas hybrid using the later codas . . . but there isn't. In default of that, this version is the best. And Tintner's recording is by far the best of this version. A MUST BUY for any new or old Brucknerian.

a fly in the ointment.......2003-08-05

I hate to say that I'm the fly in the ointment in reviewing Tintner's CD of Bruckner's Third, but unfortunately I am. Having heard several versions of this work over the years, not the original 1873 version chosen by Tintner, I find his interpretation just too slow for my tastes. I like much better the more standard, concert version of the symphony. Sitting through 77 plus minutes for this opus is a bit too long. That's just my opinion.

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 3

Average customer rating:

What beautiful music !

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 3

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Symphony No. 3 In D Minor: I. Mehr langsam, Misterioso
Symphony No. 3 In D Minor: II. Adagio, bewegt, quasi Andante
Symphony No. 3 In D Minor: III. Ziemlich schnell
Symphony No. 3 In D Minor: IV. Allegro
Symphony No. 3 In D Minor: Applause

Customer Reviews:

What beautiful music !.......2002-06-08

Right, so Celibidache takes his music at a more spacious and broader tempo than most, but I think it works very well. The music has never sounded so serious and all the while concious of
that intangible quality Celibidache always spoke about and bashed to death in the CD booklets. I also have the Jochum Dresde Staatskapelle which is also recommended just to use as counterpoint against Celibidache's Munich performances. The Munich Orchestra has this great sound Celibidache draws upon, its almost indescribable. There is something so wonderful about the foundational bass sound that is so dark and dense- yet its never sludge!... I heard this symphony live with Yoav Talmi conducting the MontrealSymphonyOrchestra, and I was not convinced at all. But listening to Celibidache changed my mind about this piece.

Average customer rating:

Orchestral Excerpts for Trombone

Manufacturer: Summit(Classical)
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Sauer: Orchestral Excerpts for Trombone Vol. 2
Orchestral Excerpts for Bass Trombone, Tenore Tuba, Bass Trumpet
Orchestral Excerpts For Trumpet
Orchestral Excerpts For Horn
Orchestral Excerpts for Tuba

ASIN: B0000038JF
Release Date: 1994-05-31

Tracks:

Requiem
Hungarian March/Sym Fantastique
Con
Sym No.9
Prld Act III, Lohengrin/Ride Of The Valkyries/Tannhauser Ov
Bolero
Sym No.3
Sym No.3
Sym No.1 & 2
Sym No.5
William Tell/La Gazza Ladra
Sym No.3
Sym No.6
Firebird Ste/Petrouchka
Russian Easter/Scheherazade
Till Eulenspiegel/Ein Heldenleben/Sprach Zarathustra
Sym No.4 & 7
Mathis Der Maler/Symphonic Metamorphosis

Average customer rating:

A Blazing Bruckner Performance!

Bruckner: 3rd Symphony

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Bruckner: SYMPHONY 2

ASIN: B000000S93
Release Date: 1996-10-29

Tracks:

Symphony No. 3 In D Minor, Version 1877: Gemassigt, mehr bewegt, misterioso
Symphony No. 3 In D Minor, Version 1877: Adagio. Bewegt, quasi Andante
Symphony No. 3 In D Minor, Version 1877: Scherzo. Ziemlich schnell
Symphony No. 3 In D Minor, Version 1877: Finale. Allegro

Customer Reviews:

A Blazing Bruckner Performance!.......2001-07-24

Bombastic, brilliant, and compelling are the first words that come to mind when I think of this symphony. Any true Brucknerian fan would recognize this master's true signature, and recognize a well-defined cornerstone in Anton's symphonic development and style. This symphony denotes a turning point, or an astute moment of musical enlightenment in where Bruckner knows his symphonic direction. There are many reasons why I believe this is so, but probably the most obvious is his excellent command and management of a theme. In the first movement, the symphony begins with a very recognizable and singable theme that hooks you immediately. This theme is then revisited at different times throughout the symphony in variations. This is nearly the identical approach Anton would use in his later 4th and 5th symphonies, both of which I consider his masterpieces.

Those who know Bruckner's story are very familiar of the composer's modest beginnings, and how he first came to music as an organist. This symphony depicts quite obviously the composer's unique approach to orchestration in where he attempts to recreate the sound of a GIANT symphonic organ with the orchestra. The finale, or last movement, features an interesting passage in where Bruckner commands the strings to play an interesting string of concussive notes, which in turn are followed by brass instruments roughly 1/2 count later, creating the sound of a giant organ echoing in some massive hall. The phenomenon is incredibly unique, undoubtedly brilliant, and is executed with near perfection by this orchestra and conductor.

Daniel Barenboim and the Berlin Philharmonic completed the entire 9-symphony cycle, and this recording is one of my favorites within this cycle. The fidelity of the recording is quite good, with exceptional gain in the brass. Don't be afraid to turn it up! But beware, this symphony gets mighty loud in spots, and may annoy your less appreciative neighbors.

Barenboim's interpretation of this symphony, as in many other's of this cycle, I believe illustrates his understanding of how Bruckner should be performed. The orchestra and its director capture all of the noted Bruckner sonic icons such as: romance, suspense, vigor, gigantisms, simplicity in complex form, and many others..

Barenboim selects Bruckner's first, original, unrevised version of this symphony, and is identical to the version that Anton himself dedicated to Wagner who was by far his favorite composer.

If you already like Bruckner, or haven't heard any of it yet, but really like Beethoven, or others of this genre, this is a must have. The CD itself (like most of the Teldec recordings of Bruckner) comes with good liner notes, and informative historical background of the symphony from the time it was composed.

Definitely FIVE stars.

Customer Reviews:

Celibidache's most 'normal' Bruckner is full of inspiration.......2006-09-02

If you are used to thinking of Celibidache as an enigmatic, glacially slow conductor, this box of Bruckner performances from DG will be an eye-opener. It dates from the Seventies, before the maestro's more eccentric inclinations set in completely--his tempos are anywhere from 2 to almost 10 min. faster in various movements. (In some places, such as the finael of Sym. #7, the tempo may actually be faster than the norm.) The Stockholm and Stuttgart orchestras aren't as proficient as his own Munich ensemble, but they sound fine, as does DG's good FM radio sound.

Measuring Celi by the metronome isn't fair. The real question is what he offers musically, and there's no doubt that he is closely attuned to Bruckner. Long passages of sound are carved like marble; the atomosphere is full of mystery and poetry; sonorities are built on a massive scale and then alternate with intervals of lovely serenity. This is music made alive on the page. Compared to Karajan, another great Brucknerian, Celibidache is more organic and relaxed. One can quibble with things here and there, but then an entire stretch of music, such as the opening of Sym. #3, will emerge as a magnificent whole.

I'm not sure I can erect an altar to Celibidache's entire career, but these Bruckner recordings seem great to me.

Celibidache: Great Bruckner conductor, or cult figure?.......2005-02-19

The first time I ever heard the name Celibidache was back in the late '80's when he was on tour with the Munich Philharmonic. The word among my Bruckner fan friends was that he was on the road with a Bruckner Fourth like no other. Hmmmm...how different could it be? I didn't get to go to the performance while he was in town, but word was that it was one of those things you either loved or hated.

The next time I encountered him was while sitting around one night with some Bruckner (and Furtwangler) fans watching "music videos"...but not exactly the MTV or VH1 kind. I saw two videos of Celibidache. The first clip was of a dashing young matinee-idol looking Celibidache, with a wild swath of hair hanging down on his forehead, conducting the BPO in a fiery reading of Beethoven's Egmont Overture. In the second video, shot about two generations after the first, a kindly, grandfatherly looking, Celibidache, in a cozy sweater, conducted a superbly controlled Munich Philharmonic from a stool, in an impossibly expansive and majestic reading of the first movement of the Bruckner Eighth (this was from the Sony release of the entire Eighth). The latter performance was so slow, when compared with any other recording you've ever heard, that it had no business sounding so good, but somehow it did.

The Celibidache phenomenon, and his superbly drilled Munich Philharmonic, must've created a bit of a stir, for, on the heels of Sony's video releases of Celibidache's performances of Bruckner's Symphonies #6-8, EMI embarked on a project of releasing recordings of Bruckner's Symphonies #3-9, as well as recordings of works by other composers. These recordings were released in 1999, three years after the conductor's death. At that time I was what you could call a "Bruckner Ninth completist," and I already owned one of his recordings of the Bruckner Ninth: one of those "quirky Italian" labels that speicalizes in poorly packaged--and often premium-priced--pressings of "historical recordings" had released a few Celibidache live recordings of Bruckner symphonies from the '70's and '80's (it's pretty common knowledge that the enigmatic conductor, like Furtwangler whom he had succeeded as director of the BPO in 1945, hated making studio recordings).

This two-disc set turned out to be a good indicator of the enigma that was Celibidache. The second disc was a recording of the Ninth Symphony with the MPO from 1981. It was a very good performance, and I felt fortunate to have it in my collection, because it was also a good quality live recording; and it was with Munich (most of his live recordings from that period were with the RSO Stuttgart, a good orchestra but not as good as the MPO). The Ninth was a bit on the slow side, and there were moments when I was a bit too aware of the conductor caressing a phrase, but overall it was a worthy addition to the collection.

The accompanying recording of the Fourth with the RSO Stuttgart from 1973 was another story. Everything was fine through the first three (and three-quarters) movements. It was a spacious account of the fourth, but no slower than, say, Bohm's 1973 VPO recording. But, then, toward the end of the finale something happened: a very self-conscious slowing down of the coda--which is plenty majestic enough w/o an unnatural slowing down. This slowing progressed until the beat was subdivided, the violins sounded like they were literally "sawing away" on their ostinatos, and the orchestra almost ground to a screeching halt before the final chord mercifully stopped sounding. At that point, I almost made a frisbee out of the disc, but I decided it still made a good conversation piece (or at least a coaster). It was the most bizarre thing I had ever heard in a recording of "classical" music. In retrospect, the interesting thing is that such extremely protracted tempos are more often associated with the performances of his last fifteen years, but this recording was made 23 years before his death: it somewhat staggers the Brucknerian imagination to think that 20 years later he made a recording of the Fourth with Munich in which the Finale was actually more than five minutes longer, actually breaking the half-hour mark, presumably for the first and last time in the annals of this work.

[I've been trying to write shorter reviews, but apparently that's not going to happen here.]

When the EMI recordings came out, I was much too curious about the Eighth and Ninth to allow the bizarre timings to scare me away: when I first picked up the Eighth, I thought that the timings of the last two movements--35:04 and 32:08, respectively--must've been misprints...the finale was actually more than 12 minutes--or 60%--longer than Jochum's terse 1964 BPO recording! But I still found things to admire in these recordings, none the least of which was the superbly controlled and patient playing of the orchestra, all of whom I thought must've been practically "Zen masters" (and endurance athletes), to play a Bruckner Eighth that was longer than many recordings of the six-movement Mahler Third!

[Really, my intent is NOT to write a review that is the verbal equivalent of a late Celibidache Bruckner recording!]

So, when DG came out with their Celibidache recordings of Bruckner's Symphonies #3-5&7-9, at first released in two absurdly expensive boxed sets--and the people who purchased those have every right to be perturbed at DG eventually releasing them in a much more reasonably-priced single box--I looked at the set with a certain suspicious curiousity. Could these be anything more than shabby old radio recordings, released to "coat-tail" the EMI and Sony releases, and the conductor's death?

Well, the answer is a defininte, yes, they are much more than that. Any set of Celibidache Bruckner recordings is bound to be a bit of a "mixed bag," and, as the other reviewer pointed out, this set is...but there is much more to admire and enjoy here than I expected. I smiled at the other reviewer's apt comment about the "Karaoke Third;" and while the Fourth is not as annoying as the Third, in this respect, their is still more "Sing along with Serge" than I can take, esp. in the finale. It is one of my pet peeves when conductors hum and stomp their way through a performance (you can probably imagine that I don't much care for Glenn Gould's recordings): one of the Bruckner Ninths that I dumped from my "completist days" was by a conductor named Vladimir Delman, who didn't shut up for more than five seconds during the entire recording (and it wasn't even a very good Ninth even w/o the vocal accompaniment)!
In the case of this Celibidache Fourth, it's too bad about the vocalizing, because the tempo of the finale's coda is much more tolerable than the '73 Stuttgart one I described above.

But, fear not, for the Fifth, Seventh, Eighth, and Ninth, are all very good, and the recording quality exceeded my expectations, including strong, clear horns, so important in Bruckner; and a full, warm, bass resonance. Also, Celibidache is definitely a conductor who understands the importance of good strong timpani in Bruckner, and the timpani are very well recorded throughout this set, nearly as thunderous as Karajan's, in the finale of the Fifth (HvK used an extra set of timpani in the Fifth). Yes, the tempos are on the slow side, but during this period--which I'm now thinking was a vintage period for Celibidache's Bruckner--they had not become too extreme yet. He manages to pull off the most spacious Fifth Symphony slow movement I've ever heard, with surprising success (even if this almost climax-less movement begins to get a bit monotonous, by the end; but then again, brisker readings of this movement can get a bit tedious, too).

This was the first Celibidache Bruckner Seventh I've ever heard, and it was a very pleasant surprise, with a beautiful, but not excessively slow, adagio; and a nice, flowing, first movement. It was a pleasant surprise to hear him use a nice flowing tempo for the lovely "enchanted forest" theme (as I call it) that flows out of the majestic intro, and launches the movement proper.

The Eighth was also very satisfying, and certainly no slower than Gunter Wand's final--and excellent--recording of the work; or Karajan's 1957 recording, for that matter.

I still prefer Celibidache's aforementioned 1981 MPO recording of the Ninth, which is noticeably more expanisve in the outer movements than the recording included in the DG set; but both performances are evidence that Celibidache was very much in touch with the rarefied spiritual world of this (my favorite) symphony.

If you are a Bruckner fanatic (or a "Brucknerd," as I have sometimes called us), esp. one who likes Celibidache, who has been putting off buying this set, you need hesitate no more. Was Celibidache one of the Great Bruckner Conductors, or just an enigmatic pheonom with a cult following? I feel that this set reveals him as a great Bruckner conductor, even if like many of us, he went on to get a bit "eccentric" in his later years.

Karaoke with Celi.......2005-01-21

This set is a mixed bag. It contains Celibidache's live Bruckner recordings with SWR Stuttgart Radio Symphony Orchestra (symphonies 3,5,7, 8 and 9) and Swedish Radio Symphony Orchestra (the 4th). As is well known, Celi hated studio recordings.

Celi was a great Bruckner conductor, no doubt about that, although he earned this reputation late in his career. But it is indeed painful to hear his karaoke behavior: Celi yells often loudly while conducting, frequently just before a climax, sometimes even with more lungpower than the brass, it seems. Worse than having a coughing audience, I think! This is especially the case in the third symphony, but his characteristic shouts are audible elsewhere too. But don't get me wrong: the interpretations are very fine. And the third, fourth and seventh are among the best available.

Thus these recordings are welcome additions to the Bruckner catalogue. Comparing this bargain DG collector's edition set with the very expensive EMI set, where Celi is conducting Munich Philharmonic, the speeds are swifter. This is especially the case with the eight symphony, which Celi takes extremely slow in Munich. Here are the differences for each movement:

EMI: 20'56 ; 16'05 ; 35'04 ; 32'08

DG : 16'16 ; 13'52 ; 27'08 ; 26'04

I think the earlier DG account in the present set is preferable. The Munich take is too slow, even if the attention to detail is remarkable. Similar judgements are applicable for the rest of the set as well, though the time differences are less dramatic. For example, the account of the fourth is ten minutes faster here. Comparing with Jochum, however, all Celi's speeds are very slow throughout the whole set.

SWR Stuttgart Radio Symphony Orchestra and Swedish Radio Symphony Orchestra are not famous for their Bruckner playing. In this respect, they do not outshine, say, Bavarian Radio Symphony Orchestra, Staatskapelle Dresden, and Concertgebouw. But minor orchestras can surprise with a good conductor, as they do here.

Sound is good but not in upper demonstration class.

Average customer rating:

Go for the DG cycle if you want to hear a better Seventh
A sampling of Jochum's loggy, uninspired Bruckner

Bruckner: Symphonies 3 & 7

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Symphony No. 3 In D Minor: I. Mehr langsam, misterioso
Symphony No. 3 In D Minor: II. Adagio (Bewegt) quasi andante
Symphony No. 3 In D Minor: III. Ziemlich bewegt
Symphony No. 3 In D Minor: IV: Allegro

Tracks:

Symphony No. 7 In E: I. Allegro moderato
Symphony No. 7 In E: II. Adagio (Sehr feierlich und sehr langsam)
Symphony No. 7 In E: III. Scherzo (Sehr schnell) - Trio (Etwas langsamer)
Symphony No. 7 In E: IV. Finale (Bewegt, doch nicht zu schnell)

Amazon.com essential recording

These two performances are taken from Eugen Jochum's second complete Bruckner cycle, which is slowly reappearing two symphonies at a time in budget- priced repackaging. The performances are almost uniformly wonderful (only the Eighth was disappointing this second time around, mostly for sonic reasons), and these are two of the best. The Seventh Symphony, in particular, has a luminous quality to the long string melodies and a glowing sound to the brass that gives the music that special, spiritual aspect unique to Bruckner. The famous Adagio second movement has never sounded more solemn or serene, with a stunning midmovement climax. A great bargain. --David Hurwitz

Customer Reviews:

Go for the DG cycle if you want to hear a better Seventh.......2007-05-01

I kind of agree with "Santa Fe Listener" when he described this as crude. Compared to the DG cycle of the symphonies by Jochum, this EMI twofer does sound rougher and cruder, especially, in the Seventh Symphony. Buy the DG box set, and I'm sure you'll love the much smoother and spiritual Seventh on it. Sometimes the brass does come through as crude and pungent but sometimes it can be to good effect. In the DG cycle he is conducting the great Berlin Philharmonic, but this time around it's the lesser Dresden State Orchestra, so just go out and buy the DG boxed set and you'll be quite happy with that purchase.

A sampling of Jochum's loggy, uninspired Bruckner.......2006-05-25

To my ears, these Bruckner readings of Sym. #3 and #7 fall far short of the accolade "wonderful" as bestowed by the Amazon reviewer. Jochum's Third starts off mysteriously enough, until a blast of crude brass entries breaks the mood. There's a lot more brash, crude playing to come. Throughout the first and last movement Bruckner's energizing ostinato rhythms sound leaden instead of invigorating.

The Seventh is a far greater work, and therefore Jochum's pedestrian reading, mostly slow and slack in every movement but particularly lugubrious in the Andante, has farther to fall. The Dresden Staatskapelle plays with no particular distinction, and EMI's sound is average for Seventies analog. In sum, the only reason to acquire this bargain two-fer is to find out if Jochum is your cup of tea, and then you can proceed to other installments or even invest in the whole set (which is quite cheap on the used market).

Music Review:

Music Review

music review

Music Review

Seven Colours [CD-single]

Tropical Moonlight/Cuban Moonlight

Violin Concerto 3 in G Major Kv216

A Man with a Horn

You Gotta Go There to Come Back [Import]

Una Vez Mas

Yolanda Adams at Her Very Best

Weather Changer Girl

Vvaa Tora! Tora! Compilation 2001 [Import]

Villa-Lobos: Bachiana Brasileiras Nos. 2, 4 & 8

Virgin Ubiquity: Unreleased Recordings 1976-1981

Un Clasico [Import]

Why'd Ya Let Her [CD-single]

Flutes in Baroque music - Vaclav Uhlir

Louis & Luis: Louis Armstrong and Luis Russell 1929-1941