Bruckner: Symphony No.6

On this CD:

1. Symphony No. 6 in A major (Philosophic) (Original version; Mahler version), WAB 106
Composed by Anton Bruckner
Performed by Hamburg North German Radio Symphony Orchestra
Conducted by Gunter Wand

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: Symphony No. 6; Weber: Overtures [Australia]

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A robust and sublime musical treasure!
Excellent reading by Horst Stein of Bruckner's 6th
The Holy Grail of Bruckner 6th's!

Bruckner: Symphony No. 6; Weber: Overtures [Australia]
Stein , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony No. 5 [Australia]
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ASIN: B0007MR298
Release Date: 2005-05-30

Tracks:

Symphony No. 6 In A Major - Maestoso
Symphony No. 6 In A Major - Adagio: Sehr Feirlich
Symphony No. 6 In A Major - Scherzo: Nicht Schnell - Trio: Langsam
Symphony No. 6 In A Major - Finale
Overture: Der Beherrscher Der Geister
Overture: Abu Hassan

Customer Reviews:

A robust and sublime musical treasure!.......2007-06-30

Bruckner's orchestral polyphony as well as its unmistakable and special harmonic language, seem to unite the 16th century with the 19th century. many people - as I do - love in his music that immense and portentous ability to convey by those sidereal spaces, where the superior vision, spiritual background and melodic inspiration simply has not parallel. Bruckner represents the last giant of the Symphonic genre. His caudal of musical ideas frequently tend to startle a good portion of musical newcomers, his solid structure and perfectly intermingled dramatic density, visual landscapes and powerful conviction. Fiery attacks and accurate sense of expression require and demand a director totally committed and involved with his majuscule intensity.

In this case, you have both elements ; a consecrated conductor and a fantastic Orchestra, formidably coupled in spirit.

This Symphony is not precisely the best known among his musical legacy. Nevertheless, it possesses that universal inspiration as well a profound sense of cosmic lyricism that transcends the used commonplaces in which the lexicon is able to surmount human categories to propose an encounter with another musical dimension.

Although Horst Stein is not regarded among the most sacred giant Brucknerian conductors, this version since its release in 1974 has achieved and maintained its own status.

I got this performance since the moment it was released on LP format, but the quality sound and memorable intrinsic virtues make of this one, by far of my three favorite versions ever recorded.

Don't hesitate for a second and decide to acquire it, because we are talking about a successful combination of factors that hardly may be encountered actually.

Excellent reading by Horst Stein of Bruckner's 6th.......2007-01-04

Horst Stein's musicianship becomes clearer and clearer to me as I hear more and more of his fine performances with the best as well as with less known orchestras. His reading of Bruckner matches his great interpretations of Max Reger. Too bad he gradually disappears from the catalogues.

The Holy Grail of Bruckner 6th's!.......2006-03-17

For 32 years, this achingly beautiful No.6, with Walter's Nos.4 and 9, has ranked among my most treasured Bruckner recordings. It's a dream come true to have it on CD at last. It sounds more glorious than ever in its digital remastering, and the dynamic range seems to have been widened a bit.

All other recordings emphasize the monolithic aspects of the first movement at the expense of the lyrical. Only Stein strikes the right balance. I have heard no other recording of this symphony which displays so much of warm human heart, yet at all times remains noble. I've owned and discarded a LOT of the other recordings, including Klemperer, Tintner I, Tintner II, Celebidache, Lopez-Cobos, Eschenbach, Davis, Haitink, Chailly, Blomstedt, Wand and Sawallisch. After Stein, Skrowaczewski is probably the best of the lot-I recommend his series highly as a whole. Nevertheless, Stein remains one of only two conductors I've heard who allow the first movement the rubato and subtle tempo changes it needs without insulting the listener's intelligence by making them obvious or mannered. (The other was Heribert Reichert, with an inferior orchestra.) Although Stein knows when to be grand, the slow movement radiates disarming tenderness. Throughout the symphony, tempi and pacing feel absolutely right, and every note carries conviction-you MUST hear this!

Of course, the sensitive playing of the Vienna Philharmonic has a lot to do with the success of this performance. Perhaps part of the secret is that Stein has the good sense to stay out of the way and just let this incomparable Bruckner orchestra play this composer as only it knows how. Do yourself a favor by ignoring the execrations of THE AMERICAN RECORD GUIDE, due, possibly, to their chumminess with William Carragan, a Nowak advocate? (Although the notes for the LP stated that this is the Nowak version, I suspect it is Haas.). But don't just take my word for it-HIGH FIDELITY, said of the LP release in 1975, this is "Bruckner conducting that is fit company for the best"-Amen!

The Most Uplifting Classics in the Universe

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The Most Uplifting Classics in the Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-08-17

Tracks:

Handel - Water Music, III.
Mozart - Eine Kleine Nachtmusik, I. Allegro
Mendelssohn - Violin Concerto, III. Allegro Molto Vivace
Beethoven - Symphony No. 5, IV. Allegro
Dvorak - "In Nature's Realm" Overture
Holst - The Planets, Jupiter, Bringer of Jollity
Mozart - Piano Sonata NO. 11, III. Alla Turca - Allegretto
Vivaldi - The Four Seasons, Spring, I. Allegro
Tchaikovsky - Symphony No. 4, II. Andantino in mode de Canzona
Dukas - Fanfare preceding "La Peri"
Mozart - Piano Sonata NO. 16, I. Allegro
Saint-Saens - Carnival of the Animals, XIII. The Swan

Tracks:

Bruckner - Symphony No. 4 "Romantic", First Movement
Mozart - Symphony No. 39, IV. Allegro
Handel - Water Music, XII. Alla Hornpipe
Strauss - Ein Heldenleben, 1. The Hero
Tchaikovsky - Symphony NO. 5 "Pathetique", II. Allegro con grazia
Dvorak - Symphony No. 8, I. Allegro con brio
Beethoven - Sextet, III. Rondo - Allegro
Bach - Orchestral Suite No. 1, III. Gavotte
Mozart - Flute Concerto in 2, I. Allegro aperto

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An Angry Angel
Plutonian Ode is Outstanding
Thanks Mr Funk
A piece which achieves new heights....
Not for the faint of heart.

Symphony No. 6, Plutonian Ode

Manufacturer: Orange Mountain Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B000BRF9T4
Release Date: 2005-11-07

Tracks:

Movement I
Movement II
Movement III

Product Description

SYMPHONY No. 6 was co-commissioned by Carnegie Hall and Brucknerhaus Linz celebrating Philip GlassÂ’ 65th birthday and the libretto is Allen GinsbergÂ’s Plutonian Ode. The three movements of the symphony follow the three parts of the poem, and follow, also, the passage of the poem Â– the first movement a passionate outcry against nuclear contamination and pollution, the second a turn towards healing, and the final movement an epiphany arrived at through personal transformation. Composed by Philip Glass, conducted by Dennis Russel Davies, soprano solo by Lauren Flanigan, performed by the Bruckner Orchestra, recitation by Allen Ginsberg, and produced by Munkacsi/Riesman.

Customer Reviews:

An Angry Angel.......2007-02-24

In "Symphony No. 6, Plutonian Ode," Glass takes as his libretto the late Bohemian poem of that name by Allen Ginsberg. This is Ginsberg's outrageous "howl" against thermonuclear weapons, which he personifies as the specter of "plutonium" and forcefully confronts in the poem. Right from Glass's dissonant opening measures that roll toward us like black storm clouds, we feel the dark power of the specter. With level eye, this poem sees the horror of mankind's own creation of a powerful weapon against itself and addresses this specter eye-to-eye with a malediction, a curse, an incantation for its extinction. This poem is both pagan and prayerful, and the music fully engages its angry, impassioned, and even hopeful moods. With loud, staccato rhythms played against a powerful soprano voice--I hear an angry angel--the poet's visceral malediction is brought home on the evil specter:

"I call your name with hollow vowels, I psalm your Fate close by, my breath near deathless ever at your side

to spell your destiny. I set this verse prophetic on your mausoleum walls to seal you up Eternally with Diamond Truth! O doomed Plutonium."

Ginsberg paints the sweetness of life on earth, the "tranquil politic [populace]" under "blue sky transparent rising empty deep & spacious to a morning star" and juxtaposes this scene of innocence to the "Satanic [war] industries projected sudden with Five Hundred Billion Dollar Strength." Glass delivers these statements with characteristic luscious orchestral colors interspersed with jarring dissonance.

At the beginning of Movement III Glass gives the listener an instrumental reprieve that opens in the sweetest mood, using few instruments, simple repetitive melodies, and close harmonies in his signature minimalist style. But subtly tension grows in the music, and the listener feels the evil more strongly as the powerful specter roars back in the percussion with unexpected harshness. The text then invokes the blessings of all including "you Congress and American people,/ you present meditators, spiritual friends and teachers...."

"enrich this Plutonian Ode to explode its empty thunder through earthen thought-worlds

Magnetize this howl with heartless compassion, destroy this mountain of Plutonium with ordinary mind and body speech,

thus empower this mind-guard spirit..."

Glass delivers this spell with pounding chords and musical hammer blows. Then he gives the last word to the soprano, who softly closes the symphony for the shaken listener.

To me this is some of Glass's most exciting music. But I warn the faint-of-heart that "Plutonian Ode" will disturb his comfortable stasis and set his teeth on edge as it looks in the eye of this technological horror.

Plutonian Ode is Outstanding.......2006-05-20

I'm not surprised to see the love-it or hate-it polarity of these reviews. I come to Glass from opera and am thus not intimidated by the operatic quality of the work and the soprano voice. I also think it is important to compare the music with Ginsberg's text which is in itself fairly inaccessible without the footnotes Ginsberg provided in his publication. But the point is that Philip Glass has taken a kernel of meaning in the Ginsberg poem that has become more significant and compelling as time has passed, and then expanded it musically so that the meaning becomes infinitely more powerful, convincing, and moving. It is also unfair to insert the poem into western religious spheres as some reviewers (on Amazon and not) have done. Ginsberg was and Glass still is heavily involved in Tibetan Buddhism, the imagery of which becomes increasingly prominent as the poem develops. The soprano voice then makes particular sense as the vajra, translated as thunderbolt or diamond, that here cuts directly through to a certain truth.

Thanks Mr Funk.......2006-03-13

Thanks to Stephen Funk of Chicago (in case any readers think Mr Glass has turned funky). I probably have 90% of Philip Glass cd output. Of that 90%, about 80% gives me great listening pleasure. Sadly this cd does not fall into the listening pleasure category. Like Mr Funk, the soprano grates and irritates. To be honest I gave up after listening to the first two movements and switched to the bonus cd with Ginsberg reciting his poetry. Oh dear! Sorry, Mr Ginsberg, as you fly around with the angels I have to say that speaking verse was not your strength. So I was going to give the cd to my son to sell on ebay and make some pocket money. Then I read Mr Funk's review and, on his advice, gave the first 8 minutes of third movement a listen. Yes, good Glass music. But the rest is a big disappointment. There is much better Philip Glass music out there in the world for your listening pleasure. Well, you can't win 'em all I guess...

A piece which achieves new heights...........2006-03-09

I first heard Symphony No.6 'Plutonian Ode' at its world premiere at Carnegie Hall with the American Composers orchestra conducted by Dennis Russell Davies.
As with many premieres, works are often under-rehearsed and/or suffer from a lack of experience with the piece. This is a general indictment I have toward a lot of new music.
However, this may have been the case with the performance, which I, in tern, held against the piece. Last November, at the same time as Orange Mountain Music's release of this album, I had another chance to hear this symphony. I was less than excited, but I WAS excited about hearing the piece with which is was programmed: the world premiere of Glass' Symphony No.8 for orchestra-this time with the Bruckner Orchester Linz performing.
This time around, I recognized Symphony No.6 as nothing less than a masterpiece. Not only has the piece grown with the artists, Davies and Flanigan, but the orchestra (which had know the piece for years now), embraced the music with virtuosity and a european sophistication which lends itself very well to this most american of composers.
It was really like a new world. Flanigan's word's have meaning...the transformation of Ginsberg's character undergoes a very sincere voyage to personal transformation in the face of something ugly in the world.
There have been mixed reactions to the second disc featuring Ginsberg's narration of the original poem. At the very least it lends different perspectives to each recording.

A real masterpiece. A true example of how Glass continues to amaze!

Not for the faint of heart........2006-02-21

First of all let me say I'm not the world's greatest connesseur of modern music. I bought this after listening to the music samples. Good news: I was not dissapointed. Bad news: your neighbors will be if you're going to listen to it on a beautiful and calm sunday morning. It's loud! Sung and played vigourasly, very powerful, very good.

Average customer rating:

A Bruckner Sixthof stature -- it's been a long time

Bruckner: Symphony No. 6

Manufacturer: Profil - G Haenssler
ProductGroup: Music
Binding: Audio CD

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ASIN: B000LC4Y1S
Release Date: 2007-03-27

Customer Reviews:

A Bruckner Sixthof stature -- it's been a long time.......2007-07-21

Few recordings ahve remained a top choice as long and consistently as Klemperer's Bruckner Sixth on EMI, which has stood the test of time since the mid-60s. Yet for many conductors this work remains a problem symphony, and usually only the slow movement is cited as being undoubtedly great. For whatever reason, even a great Brucknerian like Karajan couldn't quite get the measure of the Sixth, and other prominent meastros like Giulini and Tennstedt never added a recording of the Sixth to their other illustrious Bruckner performances.

Which is prelude to saying that this live Haitink reading from Dresden is really first rate. I was impressed at how much Haitink has grown compaed to his well-proportioned but rather dutiful Bruckner with the concertgebouw from early in his career. He retains a talent for shaping the melodic line, finding the right pace in disjointed movements, and balancing the grand choirs of strings and brass so essential to Bruckner. But in this reading at least there is added fire and inenr lfie. by comparison with Harnoncourt, Haitink remains middle of the road, but Harnoncourt is another great Brucknerian who hasn't gotten around to the Sixth yet.

The recording is good enough to mistake for a studio version, and the Staatskapelle Dresden, who have a cordial relationship with Haitink, play gloriously. He doesnt ask them to stretch to their expressive limits the way Karajan did in Bruckner, but even so, this is the best version of the Sixth to come around in years. It puts versions that I've heard from Barenboim and Colin Davis in the shade. Some may even prefer it to the classic Karajan for being more polished and less stalwart.

Orchestral Excerpts for Bass Trombone, Tenore Tuba, Bass Trumpet

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Good, but not the best methods for bass trombonists
Mulcahy Rocks, Reynolds is Hilarious!
Very Helpful
A perfecrt resource...almost!

Orchestral Excerpts for Bass Trombone, Tenore Tuba, Bass Trumpet

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

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Orchestral Excerpts for Tuba
Orchestral Excerpts for Trombone
Charles Vernon, Bass Trombone
Orchestral Excerpts For Trumpet
Orchestral Excerpts For Horn

ASIN: B0000038JV
Release Date: 1995-07-18

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.

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Jochum Set a Welcome Addition to My Collection
First few are great, but...
A Classic
A Hierarchy of Bruckner Symphony Cycles
The very finest set Ever!!!

Symphonies 1-9
Bruckner , and Jochum
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006YXOX
Release Date: 2003-04-08

Customer Reviews:

Jochum Set a Welcome Addition to My Collection.......2007-05-17

I was happy to acquire the Bruckner/Jochum cycle many years after having owned Bruckner's 7th & 8th on a 3-cassette(!) DG set during my college days. This was where I first heard these two symphonies and grew to love them. So there is some nostalgia here for me. Hearing these once again felt a little like a home-coming. Thanks to Amazon, I was able to acquire this set on an amazing deal.

I am not going to debate the other reviewers' opinions on the merits or shortcomings of this set versus others. I have the Solti/CSO set, the Inbal set with the original versions of several symphonies, as well as some of Barenboim's, Boulez's, Chailly's, and Karajan's, not to mention Klemperer's recording of the 6th, which continues to be re-issued. While some of the pure digital recordings may have sonics that surpass this set, the performances and the warmth of that late 50's/early 60's sound will surely prove enjoyable. (I am writing this not having heard all nine symphonies yet.)

The compact packaging of envelope-clad 9 CDs in a simple cardboard box (with a booklet) avoids the risk of hearing your CDs bouncing and scraping in the jewel box set upon shipment, so there is less anxiety about receiving a scratched CD and wondering whether it will play.

One of the features of this set that I appreciated was the booklet. It features Jochum's own essay on performing the symphonies, which I found insightful. Too seldom do the conductors these days take the time to document their intent and approach for us listeners. This essay reinforced for me that this really was a body of work, not just a collection of nine recorded symphonies. There is another essay, examining the symphonies from a musical historical perspective.

For listeners looking to take the plunge on a Bruckner set, but without a lot of cash, this set is a good value. For serious Bruckner fans, this is the first full cycle recorded, and has never been out of the DG catalog; that certainly says something about it. Bruckner was not so much in vogue in the late 50's/early 60's, or so I have read, so these recordings may have had a hand in the revival that has put more Bruckner performances in concert halls today.

First few are great, but..........2006-09-09

Bruckner is my favorite composer. I have multiple recordings of all of his symphonies, three of his 3rd, 4th, and 7th, and four of his 5th and 8th. If you are looking for one set of Bruckner's symphonies that will give you an idea of what each symphony has to offer, I would recommend Karajan's cycle (which I have), not this one. The strengths of this (Jochum's) set are the first three symphonies, which are played with amazing energy which I have yet to hear bested by any other recording - Karajan's certainly comes more than close enough to give you the full idea, though. The real weaknesses of this set are the poor recording quality (it was recorded in the 50s and 60s after all, so one cannot expect much in this department) and the later symphonies. Jochum's style with Bruckner is characterized by bombastic playing in the scherzos and such, and just yada-yadaing through the slower parts to get back to the bombastic stuff. This works spectacularly well in the earlier symphonies, but not so well in the later symphonies, as the highlights of the later symphonies are the slower parts, which Karajan does extremely well (many people, in fact, complain that Karajan's too focused on these aspects of classical music). As for the recording quality, if you are just ripping the music to mp3 files on your computer or mp3 player and playing it on the standard soundcard/headphones, the recording quality will probably be good enough (that's the way I listened to it when I first got it, and I was satisfied with the recording quality), but if you will be playing it on anything at all better than average, there is a good chance that these recordings will show their age. FWIW, as far as recordings of individual symphonies, these are the ones that, to me, are almost certainly about as good as it can get:

3- Tintner (this one sounds startlingly different from any other interpretation of this symphony, because it's Bruckner's first version, which was vastly different from the highly edited version most play)
5- Harnoncourt & the Vienna Philharmonic Orchestra
7- Karajan & the Vienna Philharmonic Orchestra
8- Karajan & the Vienna Philharmonic Orchestra
9- Harnoncourt & the Vienna Philharmonic Orchestra

A Classic.......2006-09-07

Bruckner's music has been a taste that I have been able to acquire only slowly over many decades. After initial enthusiasm for the 3rd, von Karajan's final 7th really opened my eyes for Anton's qualities. When the 8th, 5th and 4th joined the list, I thought it was high time for the complete set and an offer by an Amazon affiliate, who offered this box new for less than $30 delivered at home, sealed the deal.

While it may not be the ultimate word in Bruckner, this set is a clear first choice in a survey of Bruckner's numbered symphonies. The recordings may be dated and not up to today's highest standards, but they are highly acceptable. In all, a set for the ages.

Jochum's approach to Bruckner can be described as synthetic. He chooses a fluid approach to the tempos, he avoids harsh clashes of conflicting themes and advocates the composer through some of the weaker sections. Throughout these nine symphonies, the result of this approach varies from excellent to the every best. To me numbers 1,2,5,6 and 9 belong in the latter category, while 3,4,7 and 8 belong to the former.

There is little that I can add to the comments of other reviewers on Jochum at his best. Especially 5 and the lesser known 6 -I have no idea why this work is no more popular- get unsurpassed performances. When it comes to the others, slightly preferable versions may be available, both because of performance and choice of edition.

In the 3rd Jochum goes a little too far in smoothening the sharp edges. This was in line with the common perception at the time that the recording was made that the "Wagner" Symphony was ambitious, but ultimately flawed. To me Haitink's second recording with the VPO is to be preferred. In the "Romantic" fourth, things are a bit too mellow for my taste. Since this must be Bruckner's most recorded Symphony, many alternatives come to mind. In the 7th Jochum falls a little short of the landmark set by von Karajan in his final recording. The latter was helped by a superior recording and a VPO that set a new high mark for "string sound". In the 8th Jochum's choice of Nowak is a clear no, no. Interesting alternatives are the "cool" Boulez, who slowly builds up the work towards an earth shattering finale. There are strong recordings by Haitink and von Karajan. Moreover, there is the fellow Nowak by Guilini that is both infinitely long, out of any kind of proportion, yet at times breathtakingly beautiful.

Despite these minor criticisms I can give this set an easy full endorsement. While Bruckner may be a taste that takes some time to acquire, this medieval mystical Wagner worshipper deserves inclusion on any short list of great symphony composers.

A Hierarchy of Bruckner Symphony Cycles.......2006-07-16

I own the following Brucker cycles and will rank them according to my personal preference, best first:

1. Eugen Jochum, DG - This cycle is overall the best. Sound is better than claimed by professional critics.

2. Eugen Jochum, EMI/Brilliant Classics - A very close second.
Sound quality is oddly dry compared to other EMI recordings from the same time period...brass sounds great though.

3. Skrowaczewski, Oehms - Superb sound with swift tempi.

4. Tintner, Naxos - Sometimes too slow but a few great performances here. Uses unique editions of the score. Great sound.

There are other extremely fine perfomances by Bohm (3,4,8) and Klemperer (4,6) which deserve note but unfortunately they did not record complete cycles.

On this DG box set Jochum is in top form and like his EMI version leads the orchestra with a raw, old world style sound which has since been lost in many a professional orchestra. It is quite wonderful to hear. Soon this set might demand collector's market prices if it goes OOP so get it while ye may!!!

The very finest set Ever!!!.......2006-06-07

The DG set is crowned with the finest 9th ever put to disc...the recording is also very good through all the symphonies in spite of different recording venues.

Sadly, Jochum has been neglected by history...

We have come to a certain point where the entire Bruckner style is going to be lost with a blasty unorganic orchestral style so epitomized by the Tintner reading on Naxos..

As to interpretations the entire cycle is played very well..the early symphonies are all played and strongly thought out... without ever sounding hard or dull...the Jochum 3rd clearly outshines Tintner in matters of exression....ensemble in the brass is very good with super work from the timpanist in both ensembles...woodwinds are very fine and at times wonderfully caught by the DG engineers...

I am a very big proponent of the Jochum/Walter camp in these works...some rubato in certain moments is welcome...

George Tintner is so deadpan as to invoke sleep...but of course he did not have the Vienna or Berlin Philharmonic for his recordings...

So there you have a great conductor doing Bruckner superbly... get this over the Naxos set!!!

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Orchestral Excerpts for Trombone

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

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General | Classical | Styles | Music

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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

Bruckner: Symphony No. 6 - Günter Wand / NDR Sinfonieorchester (Live Recording)

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Bruckner: Symphony No. 6 - Günter Wand / NDR Sinfonieorchester (Live Recording)
Anton Bruckner , Günter Wand , and North German Radio Symphony Orchestra
Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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