Anton Bruckner: Symphony No.9 In D Minor

On this CD:

1. Symphony No. 9 in D Minor (Unfinished) (Löwe version; Carragan version), WAB 109
Composed by Anton Bruckner
Performed by Hannover North German Radio 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 .

Average customer rating:

Superlative - 1000%
CANNOT BE EXPRESSED IN WORDS......THE GREATEST....!!!
BRUCKNER THE ANGEL
Giulini's shattering Bruckner 9
A MUST TO HAVE FOR EVERY BRUCKNERIAN

Bruckner: Symphonie No. 9

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Bruckner: Symphony No. 7
Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
Bruckner: Symphony No. 8
CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 4
Bruckner: Symphony No. 4

ASIN: B000001GAM
Release Date: 1989-05-02

Tracks:

Sym No.9 in d: 1. Feierlich, Misterioso
Sym No.9 in d: 2. Scherzo. Bewegt, Lebhaft-Trio.Schnell
Sym No.9 in d: 3. Adagio. Langsam, Feierlich

Album Details

It's a Shame that Conductor Carlo Maria Giulini Turned to Bruckner Relatively Late in Life If this Stunning Performance of the Ninth Symphony with the Vienna Philharmonic is Indicative of his Affinity for the Composer. This is a Remarkably Noble, Spiritually Alluring Performance with Giulini Favoring Often Extremely Broad Tempos and a Wide Dynamic Range. Rarely Has the Finale of the First Movement Been So Stark and Devastating Or the Scherzo Rendered with Such Mesmerizing Clarity of Vision. Although this is a Live Recording, Deutsche Grammophon's Astonishing Audiophile Sound Fully Compliments this Outstanding Symphonic Triumph. Just Brilliant!

Customer Reviews:

Superlative - 1000%.......2007-06-09

This is probably the pinnacle of Giulini's great career, and an achievement that can not be enough praised. An interpretation and performance of Bruckner's magnificent 9th symphony that is simply without peers. A deeply moving performance of an utterly beautiful, terrifying, lonely, and majestic piece of music that can't fail to shake you to your core--while taking you somewhere beyond.

CANNOT BE EXPRESSED IN WORDS......THE GREATEST....!!!.......2006-05-15

I am writing this review immediately after having listened to this immense work. I have realized much about this symphony after this hearing even though I have heard the symphony many times, and I will leave out many things that came to me while listening to this symphony but here goes. Bruckner's 9th is by far one of the most intense and personal symphonies ever written. It is his most advanced and modernistic work, however like all his other symphonies one can hear archaic and bygone sounds; for Bruckner and his music sometimes seem to be anachronistic. In his counterpoint the listener can hear pre-Romantic music and this is one of the reasons why I love his symphonies. The adagio of Mahler's 9th was clearly influenced by Bruckner's last adagio. Just compare the opening phrases and the last few bars of each adagio. Of all his symphonies Bruckner's 9th displays the man...the human being most clearly. It is a testament to the human condition, but particularly Bruckners'. The first movement contains much despair and anguish, and we must immediately recall that Bruckner was writing this symphony during the most troubling part of his life. His 8th had been rejected and his health was failing him- I encourage all who would listen to Bruckner's 9th to pick up some books and become familiar with his life. Death, doubt, despair permeate this work. The work embodies subjectivity. Then comes the scherzo. The originality of this movement is amazing and its content can be terrifying. I interpreted this movement as the "demons" or psychological plagues which Bruckner endured throughout his life and particularly during this time. The incessantly repetitive rhythms and notes portray this most vividly. Lastly we have the adagio and again comes the anguish, fear, and sadness. But then after the first few minutes we hear a most unexpected fortissimo major chord, which banishes all darkness-perhaps Bruckner's faith in God is displayed here. When I first heard this part I thought It might be the most beautiful thing I had ever heard. Finally we get the ever pressing feeling at the closing notes of the adagio that there is no resolution, only acceptance and perhaps some hope. Bear in mind Mahler's closing notes as they seem to indicate the same feeling.

Bruckner left a some parts of the finale and its coda unfinished, therefore the finale can never be exactly what Bruckner would have written, despite noble attempts at a reconstruction. However I believe what music we do have(in the finale) should be used in recordings and concerts. For Bruckner would most likely never have approved of performances with just three movements. That being said this is still my favorite Bruckner 9th performance, until I hear one with the reconstructed finale and with the first 3 movements played with equal or surpassing beauty and power. There is so much that can be said about this symphony in fact I'd love to write a book on it. Bruckner's 8th and 9th are in my opinion the most profound, intense, and beautiful symphonies ever written. I have left out any mention of the objective values of this symphony since I am merely a layman, however I am sure they are many. Truly this symphony is Bruckner's soul bared before us, and like all great art it affects us so greatly because we can relate to it- and furthermore It speaks directly of the human condition.

Now for a review of the album. When I first heard this version of the Ninth I immediately felt that it was the superlative reading. However I have not heard many other recordings. Guilini and his orchestra play absolutely magnificently. Again words do not describe the performance. I recommend this recording to anyone who wishes to experience Bruckner and great art. So stop reading and go listen, for music like this can truly only be heard and felt! 5 Stars in the sky do not equal the grandeur, breadth and power of Bruckner's 9th symphony.

BRUCKNER THE ANGEL.......2006-01-31

ONE MUST BEAR IN MIND THAT ANTON BRUCKNER WAS AN OLD FASHIONED, DEVOUT ROMAN CATHOLIC, WHO NEVER REALLY SEARCHED FOR GOD, UNLIKE MAHLER, FOR INSTANCE. ANTON WAS HEAVEN INTOXICATED. DESPITE THE SOARING DRAMA AND MAJESTY OF HIS SYMPHONIES, BRUCKNER WAS NEVER AWARE OF HIMSELF--HE COULD NO SOONER STRIKE A POSE, THAN RESEMBLE THE BIBLICAL PUBLICAN CONTORTING HIS FACE, FOR ALL TO SEE, WHILE FASTING. PERHAPS GOD SENT AN ANGEL TO EARTH IN 1824, AND EVEN THOUGH THE CRITIC HANSLICK WOULD NOT HAVE AGREED, THIS WINGED MESSANGER COMPOSED NOT SO MUCH FOR HIS CONTEMPORARIES, BUT FOR THE AGES. I THINK GIULINI, NOW WITH BRUCKNER AND THE
"OTHER" ANGELS, UNDERSTOOD. ONE OF THE FINEST OF ALL RECORDINGS OF ANY BRUCKNER SYMPHONY. GOD BLESS YOU ANTON AND CARLO.

Giulini's shattering Bruckner 9.......2005-10-04

I bought this disc during a trip in Innsbruck. First I was reluctant because of the high price. But the instinctive attraction toward Giulini's art had woned at last. I discover probably one of the greatest interpretation of the mighty Bruckner's symphony no.9 . In my opinion the only true rival of this version is the mystical Celibidache with Munich Philharhomic - 1995 on EMI. Listen to the huge crescendo built from second theme just before the serene finale of the Adagio. It is a moment of awesome true terror. Giulini reaches here a tension that's unrivalled on disc. It's truly shattering.This happens only when music is regarded as "wahrheit" and not just a simple sonorous pleasure.
Five stars and my highest recommendations.

A MUST TO HAVE FOR EVERY BRUCKNERIAN.......2005-08-31

I don't remember a bad,poor or ordinary performance from Giulini's catalogue.This performance is also truly great:Powerful,glorious and spectacular..Tragic crescandos,exciting coda of first movement and firm in structure.This is a live recording(1988-DDD) but better than many studio recordings.There are only two great interpretations among digital accounts and both are live performings:Giulini 1988 and Celibidache 1995 with MP(on different-way)... As a great Bruckner fan I bought or listened all important performings (from B.Walter, Schuricht and Van Beinum to Solti, Wand-BP-live, Haitink, C.Davis, Tate etc.) and according to me there are ''a few'' great Brucknerian conductor on the ''great performing'' of the Ninth: Kabasta (1942-MP,live,historical recording,for collectors), Jochum(1964-BP and 1978-SD), Celibidache(1995-MP,live), Wand(1978-Koln), Karajan(1966-BP) and 'undoubtly' Giulini(1976-CSO, this 1988-WP-live and 1996-SWR Stuttgart-live)...Do not miss.

Average customer rating:

Wand does it again
Gunter Wand's Bruckner is the one to own.

Bruckner: Symphony No. 9

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony No. 8
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Bruckner: Symphonie No. 9
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ASIN: B0002VYE0E
Release Date: 2004-10-12

Customer Reviews:

Wand does it again.......2005-04-15

Wand is one of the most well-known Brucknerian conductors and, by any standard, deserves this title. This rendition of the ninth doesn't disappoint at all. His rendition of the first movement is excellent, not shrinking away from the dissonances, causing the orchestra to perform too loud, or introducing strident tones into the ensemble, like Jochum can be guilty of. Although the first movement isn't as moving as Tintner's performance with the Royal National Scottish Orchestra, it is still excellent, as previously mentioned. The second movement, like the first, is excellent but probably not the greatest recording out there.

This brings us to the finale... Wand's rendition is superior, one more moving, more powerful than any other recording I have ever heard. This is the gem of this cd. Amazingly, Wand interprets every single part of this movement masterfully, the initial blissful beauty, the introduction of the underlying discontent, the sublimity of the monumental climax, and the dimenuendo to nothingness are amazing. This recording is well worth the money, and is a lot cheaper than most other of Wand's recordings. My advice to you, save up and buy this cd a.s.a.p. Yes, my friend, that means now. Go forth! Collect your earnings, don't buy that new dishwasher or that chemestry set, you don't need it. You need this.

Gunter Wand's Bruckner is the one to own........2005-01-14

I was initially wowed by Wand's amazing handling of Bruckner's great 8th Symphony and I have, since then, bought all the Gunter Wand/Berlin Philharmonic recordings. They are all equally impressive.

Wand's handling of the ninth is no less inspired. His tempos are firm, yet expressively flexible. The opening movement begins eerily, almost mundanely, but soon erupts in a forceful passion. Wand's amazing ability to build and subsequently release tension is artfully showcased in this work. Climaxes sound unearthly; pianos, like whispers. The frightening and tonally complex Scherzo is equally exciting. Foreshadowing the tonality of Schoenburg and the rhythms of Stravinsky, the Scherzo's demonic qualities are brought out under Wand's hand. However, the real highlight of the disc is the monumental Adagio. Its beauty is unmatched in the repertoire, building powerfully, but fading, like a dream, into nothingness. It is, in a way, a fitting way for Bruckner to leave this earth. Wand's interpretation is equally fitting for this movement. He allows the music to unfold naturally and majestically while still maintaining his precise control. Never has the Philharmonic sounded so alive - even under Karajan, the strings have never sounded so rich, so pure, so beautiful. This is the only recording of the ninth that truly is a fitting testament to Bruckner.

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]

Average customer rating:

Harnoncourt's Bruckner, a viable alternative to Karajan?
Depends what you consider good
Terrific performance!
Unconvincing performance; interesting commentary
Harnoncourt roars, but Wildner rages

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Great Orchestral Highlights from The Ring of the Nibelungs / Szell, Cleveland Orchestra (SACD)

ASIN: B0000AF1IG
Release Date: 2003-10-21

Tracks:

Warum Hat Man Eigentlich 100 Jahre Lang Gedacht, E - Nikolaus Harnoncourt
Finale. T. 1-278 - Wiener Philharmoniker
Gegen Ende Eine Extreme Dissonanz In Den Trompeten - Nikolaus Harnoncourt
Nach Dem Ende Der Durchfuhrung Folgt Eine Wilde Fu - Nikolaus Harnoncourt
Finale. T. 279-342 - Wiener Philharmoniker
Quasi En Schreckensbild Des Todes - Nikolaus Harnoncourt
Finale. T. 343-478 - Wiener Philharmoniker
Danach Fehlen 16 Takte; Dazu Ist Nichts Zu Erklare - Nikolaus Harnoncourt
Finale. T. 479-510 - Lucke/Fehlender Partiturbog - Wiener Philharmoniker
Why Did We Think For Over Hundred Years That Nothing... - Nikolaus Harnoncourt
WAB 109: Finale. MM. 1-278 - Wiener Philharmoniker
Extreme Dissonances In The Trumpets Towards The End - Nikolaus Harnoncourt
At The End Of The Development A Wild Fugue Begins - Nikolaus Harnoncourt
Finale. MM. 279-342 - Wiener Philharmoniker
A Sudden Vision Of Death - Nikolaus Harnoncourt
Finale. MM. 343-478 - Wiener Philharmoniker
Then There Are Sixteen Bars Missing. We Will Just... - Nikolaus Harnoncourt
Finale. MM. 479-510 - Gap/Missing Score Bifolio - Wiener Philharmoniker

Tracks:

I. Satz. Feierlich; Misterioso - Wiener Philharmoniker
Scherzo. Bewegt; Lebhaft - Trio. Schnell - Scherzo - Wiener Philharmoniker
Adagio. Langsam; Feierlich - Wiener Philharmoniker

Customer Reviews:

Harnoncourt's Bruckner, a viable alternative to Karajan?.......2006-03-19

Even Karajan's detractors, except for the most severe, generally concede that he was supreme in Bruckner. His various performances of the Ninth Sym. with the Berlin Phil. are commanding in their huge scope, yet Karajan was also capable of delicate phrasing and had an intuitive grasp of how to organize these gigantic, sprawling movements. No one has quite reached that magistreial level since. To his credit, Harnoncourt doesn't try to. This is, for him, a straightforward performance that relies on some qualities Karajan's Bruckner doesn't possess.

First of all, Harnoncourt has his own instincts about phrasing and organizing the music. Contrary to a reviewer below, he doesn't exploit extreme rubato or sudden tempo changes. There are some quirky moments where the tempo speeds up unexpectedly, but overall, Harnoncourt's timing of 58 min. is dead center among various recordings (as much as I admire Giulini, his 68 min. traversal drags). Harnoncourt favors brash outbursts from the brass, particularly in the Scherzo, my least favorite movement here. But his main intent is to keep Bruckner simple, to impose himself far less than Karajan did with his ultra-control. This Bruckner Ninth is a bit plain at times, but it always breathes.

As to the recorded sound, I have only heard the regular two-channel CD, which is quite clear; the Vienna Pphil. is placed a bit far back on a wide soundstage. I would have liked to hear the solo winds up closer, but that's a quibble. This Bruckner Ninth satisfied me as much as the great accounts by Walter, Klemperer, Giulini, and Boulez. I sitll feel more thrills from Karajan's analog reading from the Sixties, yet Harnoncourt provides a viable alternative in itnerpretation.

In theory it was an exciting notion to provide a free bonus CD containing Harnoncourt's defense of Bruckner's surviving sketches for a fourth movement, never completed. Could it really be that his ocntemporaries were wrong and that Bruckner left us pages of great music begging to be revived? Harnoncourt's talk is highly persuasive, but when the Vienna Phil. actually plays what survives of the finale, it proves as sorely disappointing as its reputation would lead one to believe.

Depends what you consider good.......2004-06-14

Harnoncourt has done some great things for music in his career, but I would not consider this one of them. He achieves an "authentic" performing style from the Vienna Philharmonic with a thin string sound and little or no vibrato. So anyone expecting that sweet Vienna sound will be disappointed. But his conducting does not meet that goal of authenticity, because he varies tempos too much. It draws attention to itself and weakens the cohesiveness of the work as a whole.
There are other versions, many of which are mentioned by the other reviewers below (Giulini, Karajan, et al.), which communicate this great work more simply and effectively. They are also unique and full of interesting details (some attention to detail is good). In light of them, Harnoncourt's view is radically different. Experience has taught me that subtle differences in interpretation give pleasure with repeated listening. Radical differences are OK in a live performance (which this is), but do not stand the test of time. So I do not recommend this as a first recording to have of Bruckner's 9th.

Terrific performance!.......2004-02-25

The symphony recording is damn good, and the extras are very interesting (to hear Harnoncourt speaking German and English, to hear the sketches of the last movement). In my mind, this ranks among the very best -- with Celibidache on EMI, Giulini on DG, Bernstein on DG, and don't forget the second movement of the Jochum on EMI.

Unconvincing performance; interesting commentary.......2004-01-15

First off, I do not like the performance. Harnoncourt's tempi are erratic, particularly in the adagio (where he speeds up the second theme-group to the point he cheapens it).

Secondly, I found his commentary on the 4th movement "chunks" informative. They could easily have been printed in liner notes; instead, we have each of the chunks played twice, followed first by commentary German, then in English.

Thirdly, I see no reason why he should not have recorded the full movement as completed by someone -- by William Carragan (Chandos: Yoav Talmi, Oslo Philharmonic); by Nicola Samale & Giuseppe Mazzuca (Teldec: Inbal, Frankfurt Radio Symphony Orch [with the 5th Symphony]); or by Samale, Mazzuca, and John A Phillips (Camerata: Eichhorn, Linz Bruckner Orch). My first choice is the Carragan: though the Oslo band takes third place among those in these recordings, it is good enough and I find Carragan's completion the most convincing.*

(In January 1984 I went to New York and Carnegie Hall to hear the American Symphony Orchestra perform the premier of the 9th with Carragan's finale. The performance was reviewed the next day in the Times. I immediately wrote Joel Flegel, editor of Fanfare, asking if he knew whether a recording was planned. Joel was dubious and dismissive: "If that college professor really....")

As Carragan noted in his program notes for the ASO "premier," the finale includes the greatest of Bruckner's chorales. That magnificent theme cannot be understood or appreciated by hearing it only in Harnoncourt's chunks. It needs to be heard in context -- and that context can only be provided in a "performing version."

In my opinion, Harnoncourt does a disservice to Bruckner and to listeners by not offering a completed finale. There is certainly room for one in this two-disk set.

* But Carragan will either produce a new version or be superseded as pages not available to him have since been found -- and as still more come to light.

Harnoncourt roars, but Wildner rages.......2004-01-05

As the other reviewers note, this release is essential for anyone interested in this work, for the workshop and documentation of the currently surviving material from the final movement of the symphony. Another important aspect of the release is the use of a new "critical edition" of the initial three movements of Bruckner's 9th, which contains a number of very evident modifications, particularly in orchestration. All the same, it is a concert recording, and, at least in the usual CD format, balances aren't always optimal, trumpets and trombones often too forward, at the expense of the Vienna Phil's strings and (especially) glorious horn section, and timpani are somewhat reticent, especially in the first movement. Harnoncourt also tends to push a bit hard, lacking the natural plasticity in tempo that marks the greatest performances of the first three movements of this work. The impression is one of roaring power, building and receding throughout. Of the 4th movement sketches, Harnoncourt plays exactly what survives, except he omits the 50-odd bars of three coda fragments that have turned up.

Just a few months ago, a recording of the 9th including a reconstruction/completion of the 4th movement, based on the same body of fragments and sketches (including the coda) and prepared by the same editors, was released on Naxos(8.555933-34). The orchestra is the New Philharmonia of Westphalia (Germany) and the conductor is Johannes Wildner. Now, finally, we can hear this work in a form tantalizingly close to the way Bruckner intended. Furthermore, unlike Harnoncourt's Vienna Phil performance, Wildner and his astonishiingly capable Westphalians present what I can only describe as a ferocious performance, with horns and timpani cutting through the fabric of the orchestra at key points, and effectively flexible tempos. It's a performance unlike any I've heard since Furtwangler's furious and terrifying recording made in Berlin during the darkest days of World War II. If you've gotten the Harnoncourt (or even if you haven't), you have to get the Wildner, too.

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.

Average customer rating:

More of the usual Naxos quality
A revelation
AS CLOSE AS IT GETS
Wildner and his orchestra tackle the Bruckner 9th
Wildner's ferocious Bruckner

Bruckner: Symphony No. 9

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]
Melartin: The Six SYMPHONIES
Ture Rangström: Complete Symphonies (Box Set)
Kurt Atterberg: The Symphonies (Box Set)
Ernst Toch: Complete Symphonies - Rundfunk-Sinfonieorchester Berlin / Alun Francis

ASIN: B0000BX5KD
Release Date: 2003-09-30

Tracks:

Feierlich: Misterioso
Scherzo: Bewegt; Lebhaft/Trio: Schnell. Scherzo Da Capo
Adagio: Langsam; Feierlich

Tracks:

Finale (Misterioso; Nicht Schnell)

Customer Reviews:

More of the usual Naxos quality.......2007-04-28

I have recently watched the Boulez Wagner ring cycle thanks to Netflix and have listened to some of the orchestral suites taken from Wagner's music dramas. I was really struck by how much Bruckner's 9th sounds like Wagner's music, especially the first and third movements. The idea of completing the 4th movement based upon some preliminary sketches by Bruckner is intriguing. Too bad Ravel (who orchestrated Pictures at an Exhibition) or Mahler (who re-orchestrated Schuman's symphonies) did not have a go at this project. Even so, the 4th movement does sound Bruckneresque.

I recently watched Bruckner's 8th on DVD with Zubin Mehta at the helm and enjoyed a somewhat above average performance. I also have recently listened to a great Bruckner 5th (Jochum), 4th & 8th (Karajan EMI versions). This 9th in quality is very good and approaches the lofty heights scaled by Jochum & Karajan, much closer to those performances than Mehti's. The horn section really kicks butt! The performance also has considerable drive, continuity, and dramatic build up including the improvised 4th movement. Well done!

This symphonic performance is just another example of the high quality, low cost products put out on the Naxos label. The performances may not necessarily be all time greats, but they are just about always well played and conducted and smartly recorded. I enjoyed listening to this performance.

A revelation.......2006-11-08

One can only thank Naxos for making this recording available to such a large audience.

The first three movements are decently done, I haven't listened to them enough to say more. Obviously, the Finale is the most interesting part of this 2CD set. And I must say, it is a real treat.

First of all, the CD comes with a very decent booklet in which one of the reconstructors explains their approach, the degree of authenticity of the movement's parts, and the parts they developed themselves. All in all, approximately 40 of the 660 bars were completely written by the reconstructors - the rest was either finished or drafted in various stages of completion.

Second, the movement itself sounds simply great. Most of the time, to my (unscientific but Bruckner-loving) ears, it sounds completely believable (and most of the time, it is actually Bruckner's own work). Moreover, the layering of all movements' themes over eachother in the work's majestic coda is just great, even if it was not written by Bruckner. In addition, the sense of closure achieved by the final 37-bar 'Hallelujah' is exactly what was always missing for me when listening to the Ninth. Granted, the Adagio is sublime, but the symphony just cannot end this way!

For me, there is only one notable 'glitch'; in the "second part", after the return of the epilogue theme, the first movement's main theme reappears, and even though this is a nice idea, it does not sound as if Bruckner would have done it this way. Interestingly, two of the reconstructors have worked on a new revision (in 2006) which actually omits this reappearance.

Summarizing, this CD is a must-have for anyone interested in Bruckner and familiar with the three-movement uncompleted Ninth. Add to this the facts that the CD actually has a incredibly friendly price AND offers a fine rendition of the first three movements, and I really see no reason why not to buy it.

AS CLOSE AS IT GETS.......2006-06-22

For 100 years after Bruckner's death, it was assumed that the "sketches" of the 9th's fourth movement were the disjointed, disturbing scribblings of a desperate, arteriosclerotic mind. This misunderstanding was the result of Bruckner's feeble, end-stage demeanor & appearance, as well as a musicological "perfect storm":

1) There was a long-standing "traditional" disinclination to grant this movement the attention it needed, borne of intellectual laziness as well as misguided "Beethovenian" romanticism as to the symphonic number "NINE." Never mind that the "9th" is actually Bruckner's 11th symphony- counting the early F minor & D minor symphonies ("00" & "0"). These may not be "canonical," but nevertheless they were preserved by Bruckner, in spite of his notorious self-doubts and revisionism.

2) In Bruckner's Belvedere cottage, immediately after his death, there was much, shameless scavenging of this movement's sketches and manuscripts. It took the better part of a century to bring enough of them together for cohesive analysis and reconstruction. Prior to this, any attempts at taking the true measure of the 4th movement were doomed to failure.

Benjamin Gunnar Cohrs writes that the 1934 Orel "study volume" for this movement "omitted several sources, scattered as they were to the four winds." Later attempts at "completing" the 4th movement, minus comprehensive sources, foundered on the omission of "significant original passages....(and) a high proportion of 'free Brucknerian' writing...One arranger, for example, filled a demonstrably 16-measure-gap in the score with no less than 100 measures of his own composition!"

No wonder, then, that even the most erudite Brucknerians mis-read the 4th movement, finding it "unmotivated" and "momentumless." (Robert Simpson, after a painstaking attempt at open-mindedness, takes a dismissive line.) They were all looking at a puzzle with pieces missing and/or joined wrongly. It couldn't be otherwise, because the "leg-work" and inter-textual research simply hadn't been done, yet.

3) In a desperate moment, Bruckner himself suggested, if he could not realize the 4th movement, that his Te Deum be used in its place. (A variant of the "falling," "do-sol-sol-do" motiv, from the Te Deum, weaves in and out of this movement.) Of course, only the most casual musical "tourist" would overlook the paramount structural principle in any Bruckner symphony: TONAL PLANNING. That is: start in, say, the key of D; trek across the tonal spectrum or "world"- or, at least, "scale the mountain peak" ; and eventually "re-acquire" D, on a higher level. In all 11 Bruckner symphonies, THERE WAS NO EXCEPTION TO THIS...EVER. To carry out this "Te Deum" suggestion, you would have to

a) Tack a self-contained, C-major work onto the end of a vast structure which begins in D and cries out for a D ending. (Supposedly this would be done with a "clever" transition. )
b) Transpose the earlier movements DOWN a whole step, making them tonally "flush" with the Te Deum.
c) Transpose the Te Deum UP a whole step into D- which would be "moiduh" on the sopranos of the chorus- who, as it is, must end on a sustained, high C. Asking them to go up to a D, as a section, was (and is) unthinkable.

No, Bruckner made this desperate suggestion, assuming that he might not essentially realize the 4th movement. But if he HAD?....The facts indicate that, by the time of his death on October 11, 1896, he DID realize this movement. To the last measure, it was blocked out in ORCHESTRAL score (not only in piano sketches). True, the last 37 measures of the coda (i.e., the very end of the symphony) are conjectural. But even here, we have at least two clues which enabled a convincing reconstruction for a "performance edition." In those 37 measures there is a sustained D "pedal." And Bruckner told his doctor that he planned this passage as a kind of brief, orchestral "Te Deum" (or blaze of Thanksgiving). This is what we hear, with some "filling in," partly based on the "falling" Te Deum motiv; the ending of Bruckner's 1892 cantata "Helgoland" (his last "completed" work); as well as 9th's first-movement fanfare theme (which re-appears in this fourth movement, just prior to the coda). Given how close Bruckner was to completing the 4th movement, it would be pedantry, of the worst sort, to deprive listeners of a rounded-out, performable version. (In that case, while you're at it, ignore Mozart's Requiem, too.)

The "New Westphalia" play like gods, and seem to have an innate empathy with the contemplative core of Bruckner's spirit.
The first movement is truly cataclysmic and riveting. The Scherzo is successful, but some Brucknerians may object to Wildner's maintenance of a broadly common tempo between the Scherzo and Trio. (Jochum & Haitink took the Trio markedly faster, for contrast.) The Adagio is also deep and satisfying- although, some Brucknerians may find it has less "gravitas" than with Furtwangler, Karajan, Jochum or Haitink. This is partly true, since, with the 4th movement "realized," the Adagio no longer carries the burden of "ending" the symphony- and the entire output of Bruckner.

The recorded sound, while having great impact, isn't perfect. (A previous reviewer was right to mention the occasional loss of detail in the upper strings). Still, it comes off as idiomatic and "natural," and in terms of overall performance, I'd go with this "completed" 9th, any day.

Bernard Haitink last recorded a three-movement 9th in 1965, with the Concertgebouw...Could he be pursuaded to record a four-movement 9th- also with the Concertgebouw? Until then,
for a "realized" vision of Bruckner's ideal 9th, this is as close as it gets.

Wildner and his orchestra tackle the Bruckner 9th.......2005-10-09

To the best of my knowledge, there are four CDs available that present material from the unfinished finale of the Bruckner 9th Symphony: William Carragan's reconstruction of the finale with Yoav Talmi conducting the Oslo Philharmanic Orchestra (I bought my copy from the Musical Heritage Society), N. Harnoncourt playing the fragments with his commentary with the Berlin Philharmonic (followed by the fragments in sequence alone), Kurt Eichhorn conducting the Bruckner Orchestra of Linz in the 1992 Samale-Phillips-Mazzuca-Cohrs version of the last movement, and this recording, the New Philharmonia Orchestra of Westphalia conducted by Johannes Wildner (Naxos) and with the 1996 revision of the last movement by the same musicologists. Wildner's ensemble, formed by the merger of two provincial German orchestras, threw itself into this masterpiece with abandon, and any member of the audience probably was satisfied with the live performance. But on CDs the NPOW is up against some very august company, and this CD suffers by comparison. The recording is not miked very well, and there is congestion in the loudest passages. The brass and the drums tend to drown out the strings, and the trombones tend to be slightly out of tune in their lower notes. Some of Wildner's tempo changes are bizarre; when the French horns die away just before the last movement's first monumental fanfare, they speed up, which I have not encountered in any other recording of this work. The strings struggle valiantly, but there are high passages where it is evident that only a few of the desks are attempting to play the upper registers; some of the off-beat interplay between the first and second violins toward the end of the movement is lost entirely. The distortion of the climaxes makes the conclusion of the symphony sound bombastic rather than noble. Ironically the first three movements of the symphony appear to be quite good, although I have not paid them the attention I did to the last movement. In spite of its slow tempi, the Camerata recording coupling Eichhorn and the Linz Bruckner Orchestra (which is miked well -- you can even hear the conductor stamping on the podium!) provides a much more convincing rendition of what Bruckner intended as his crowning achievement. Still, especially if you can't find any other recording of the "completed" Bruckner 9th, the Wildner/NPOW CD will satisfy your curiosity of what Bruckner may have intended.

Wildner's ferocious Bruckner.......2005-04-09

Having read the negative review on this page, I put this recording on again. (I've already written about it at some length in comparing it to Harnoncourt's recent recording--see that listing). Lookit, people, everybody is entitled to their opinion. Nonetheless, there are a few performances out there that really get my heart rate up, and this is one of them. Bruckner's music should have real impact, and it's all here. Wildner's tempos are NOT slow; his timings are 23-11-25=59 min for movements 1-3 (for slow, try Giulini on DG from 1989--which is a superb accomplishment in its own peculiar way, if you can handle 28-11-30=69 min). Compare, for example, Harnoncourt's 24-11-24=59, Walter's 24-12-23=59, Horenstein's 25-11-24=60 (BBC), and Furtwangler's legendary and unique performance at 24-9-26=59. By the way, that 9-minute Scherzo on the Furtwangler is about as terror-inducing a performance of anything as has ever been recorded. No, what Wildner does is shape the music, allowing it to breathe quite naturally. The recording is technically effective, dynamic shadings are quite apparent, secondary lines come out because the orchestra is together and very good, and the recording (and the recording space) very clear but not dry. And you also get the substantial bonus of an effective performing version of the 4th movement. Your call, but for 12 bucks I don't think you can go wrong.

Average customer rating:

Tutti
WONDERFUL SAMPLER CD!
Tutti - Orchestral Sampler

Tutti!, Orchestral Sampler

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

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Exotic Dances from the Opera

ASIN: B0000015AK
Release Date: 1998-02-24

Tracks:

Dance Of The Tumblers
Intermezzo e Humoreske
Rocky Point Holiday
The Firebird - Berceuse And Finale
The Firebird - Berceuse And Finale
Piano Concerto No. 21 - Andante
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Customer Reviews:

Tutti.......2000-05-06

Although a compilation of various pieces, this CD has the drama and sonic impact which will test the limits of your system. The orchestral presentations are first class. The sound stage presentations with the left to right width and the front to back depth give the listener an outstanding three dimensional impression of the actual orchestra instrument placement in the recording hall as well as the hall's ambient sound.

I have from time to time heard the expression 'sound windows' when discussing Speakers in an audio system. This CD will give you an excellent opportunity to check the clarity and precision of your system....in particular the bottom end capabilities of both the ampifier and the speakers.

I stronly recommend using this CD as a true Reference CD Rrecording when evaluating enhancements or upgrades to your system. Bring this CD to your dealer and listen carefully.

Get to know what your system is capable of and what it is not capable of delivering before and after listening tests for your new component.

Good Luck

WONDERFUL SAMPLER CD!.......2000-02-26

It does the trick. It literally samples the entire recent Reference Recordings catalogue, with varied excerpts from all kinds of music, a rare and exciting compilation wel worth the price. I reccommend it highly.

Tutti - Orchestral Sampler.......2000-02-02

This sampler is not your typical classical sampler. As seen from the track listing, it contains a diverse, but incongrous, selection of orchestral pieces, mixing Mozart, Vivaldi and Rimsky-Korsakov with more contemporary composers such as Bruckner, Arnold, and Paray. Although the list of selections is tempting and attractive to those who want to expand their musical knowledge, the combination just doesn't work. The jump from Mozart to Paray to Arnold to Vivaldi is unsettling to the ear, although it may be suited to a music education class. If, however, you seek less traditional (less soothing), less harmonic (more tempestuous), orchestral music, this may be the collection for you. The conducting and performances are very good. It certainly will never be background music for dinner!

Average customer rating:

Gunter Wand's Bruckner is the one to own.
A Symphony Unfinished Only in the Composer's Mind
Awesome Live Recording

Bruckner: Symphony No. 9

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphonie No. 9

ASIN: B00002DF4E
Release Date: 1999-08-12

Tracks:

Feierlich, Misterioso
Scherzo. Bewegt, Lebhaft - Trio. Schnell
Adagio. Langsam, Feierlich

Customer Reviews:

Gunter Wand's Bruckner is the one to own........2004-11-15

A Symphony Unfinished Only in the Composer's Mind.......2003-05-18

Anton Bruckner's Symphony No. 9 is discussed more often than performed. Should the final two movements for which we have the composer's sketches be 'realised' and included in performance or is the final work of this Romantic giant complete as it stands? One listening to the majestic, spiritually uplifting symphony and the answer seems obvious: the symphony IS complete. Bruckner was one of the more misunderstood composers in history and much of that was due to the fact that he was an apparently simple organist, devoted to God, with a penchant for wooing young, poor maids, and a man so sensitive to criticism that he spent much of his life re-writing his symphonies in reaponse to 'suggestions' from his colleagues and critics, an attribute that labelled him an idiot savant composer well into the 20th Century. His symphonies are indelibly stamped with his personal language - episodic, frequent climaxes of such power that the sudden reversion to quiet pizzicato strains at the peak of his musical mountains can be jarring; his love and use of German landler that serve to ground his monuments to heaven with patches of the countryside of earth; his quotations from Wagner, etc.

But well over a hundred years since his death his extraordinary gifts as a symphonist are held in awe and most orchestras have made his works a staple in their repertoire. All but the mighty 9th. Fortunately this magnum opus is gaining more frequent playings by important orchestras and conductors: Pierre Boulez just gave us his examination and majestic performance with the LA Philharmonic, revealing once again how this contemporary composer can reveal hidden secrets in the massively romantic symphonies. The recording here is by the Berlin Philharmonic conducted by Gunther Wand and is a joy in every way. The pacing of the symphony is astute, the joyful 2nd movement with all of its references to Bruckner's earlier symphonies is played with a magnificent range of sonics, and the intensely spiritual 3rd movement with all of the uses of the Dresden Amen melodies builds in awe-inspiring intensity like a heart bursting with longing and acceptance of life on earth ending. The symphony ends in a gentle exhale of stunned quiet, the release of the spirit from the corporeal body. This is a live performance thankfully free of any aural evidence of an audience, but imbued with the physical tension that only live recordings can completely embrace. The Berlin Philharmonic is up to its highest standards of playing and Wand lets the symphony breathe. Highly recommended.

Awesome Live Recording.......2002-01-18

This is one of the most moving and monumental works in the symphonic repertoire. Even though it is not finished (there is no fourth movement by Bruckner) it still clocks on at about an hour. That aside, Bruckner was a very religious man who worked on the Ninth Symphony right up into his death. This symphony is very evocative of the composer's mortality and at several points I almost sense Bruckner's ascension to heaven or other images liken to it. This album is beautifully played. Gunter Wand who came to Bruckner late in life, gives what I think is almost a perfect interpretation. The Berlin Philharmonics playing is marvelous. This is great Album and a highly recommended place to start with Bruckner (this and his fourth symphony).

Anton Bruckner: Symphony No. 9 - Wiener Philharmoniker / Claudio Abbado

Average customer rating:

Cushiony Bruckner without many events
Such a pity...
Bruckner is hardly Abbado's composer

Anton Bruckner: Symphony No. 9 - Wiener Philharmoniker / Claudio Abbado

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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Similar Items:

Anton Bruckner: Symphonie No. 4 "Romantische" - Wiener Philharmoniker / Claudio Abbado

ASIN: B00005CDA0
Release Date: 2001-06-12

Tracks:

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

Customer Reviews:

Cushiony Bruckner without many events.......2005-11-28

Abbado is capable of much more dramatic and emotionally felt Bruckner than this live 1996 performance would indicate. I heard him with the Berlin Phil. several years ago in the Bruckner Ninth and don't remember anything this bland. Tempos are regular, phrases aren't allowed to bloom, climaxes come and go without making a cumulative effect. The Vienna Phil. plays beautifully, even though they are kept sadly in bounds. I suppose Abbado just hears this piece in his head without many events.

Such a pity..........2005-08-12

As a great fan of Bruckner, and particularly of his 9th symphony, I try to listen to every recording I come across. Having checked this out from the library, I can say that I am VERY glad I didn't actually pay anything for it.

The orchestra is sonically magnificent. Unfortunately, they are rarely together. The coordination is simply not there.

Abbado, who has at times done such a beautiful job with Bruckner, is painfully metronomical here, making this most emotional and beautiful symphony sound as though it is meant to represent a machine. His interpretation is stiff and stilted. He does not begin to approach the revelatory interpretation given to this fine work by Tintner (despite his use of a lesser orchestra), nor even the mediocrity of the recording by Haitink with the Concertbegouw.

This recording is immensely frustrating, becase throughout the piece, the great potential is palpable: the orchestra comes SO close to true beauty, but never manages to become transcendent.

I would almost kill for a recording of Tintner in front of this great orchestra, but, sadly, this recording falls far, far short of that.

Bruckner is hardly Abbado's composer.......2004-01-13

This recording was actually recorded ages ago before DG released it. One wonders why they bothered at all! Abbado approaches the piece with a highly neurotic touch, yet without reaching the dramatic heights of the likes of Hans Knappertsbusch, Furtwaengler and Jochum. Instead, it sounds incoherent and muddly. Go for Knappertsbusch if you want convincing drama. Go for Guenter Wand's wonderful BPO recording or Giulini's VPO recording for an interpretation from the other pole.