Bruckner, Anton

On this CD:

1. Symphony No. 00, in F minor (Study Symphony), WAB 99
Composed by Anton Bruckner
Performed by Berlin Symphony Orchestra
Conducted by Vladimir Ashkenazy

2. Quintet, for strings in F major, WAB 112 Adagio
Composed by Anton Bruckner
Performed by Berlin Symphony Orchestra
Conducted by Vladimir Ashkenazy

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:

Happy Trails
The most soothing sounds
moving and lyrical
Wonderful Music !!
Just one listen changed my life

Zamfir: The Lonely Shepherd

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Romance of the Panflute
Pipe Dreams
Gold
Zamfir: Greatest Hits
Magic of the Panpipes

ASIN: B000001F9H
Release Date: 1990-10-25

Tracks:

The Lonely Shepherd
The Rose
Floral Dance
Theme From Summer Of '42
Bilitis
Adagio 8
Black Rose
Ete D'Amour
She
Laryssa
Theme From Limelight
Run To Me
Elsha
Don't Cry For Me Argentina

Customer Reviews:

Happy Trails.......2007-01-11

Item arrived in perfect condition and very quickly. Will trade again in the future. Thank you.

The most soothing sounds.......2006-02-20

I grew up listening to Zamfir's pan flute soothing music, then for the past 15 years, I've been away from it until I heard The Lonely Shepherd while watching Kill Bill. I was pleasantly surprised to find the CD at Amazon and bought it at once. Many of the other songs on this CD are good as well, but nothing beats The Lonely Shepherd.

moving and lyrical.......2005-10-08

I dont care for any of the other songs on the CD, but the "Lonely Shepherd" theme is very beautiful and sad. Zamfir was obviously deeply in love with the panpipes. Listen to his "Picnic at Hanging Rock" soundtrack and you'll know what I mean. I highly recommend this CD.

Wonderful Music !!.......2005-09-26

THis CD by Zamfir is out of this world. There is nothing better than "The Lonely Shepherd"... I haven't heard a better one than this. Just the type of soft instrumental one would like...very soothing.

Just one listen changed my life.......2005-01-19

I was once a punk rocker. I listened to the Sex Pistols, Ramones, Black Flag, and The Dead Kennedys. I have a string of gigs under my belt with various punk bands, a long list of one night stands with rocker chicks, and did enough drugs to make Keith Richards OD. All that changed the night I listened to Zamfir.

Alone in my apartment I played this CD while cleaning a puke staine off my carpet. I don't know whose it was, but I'd like to thank him because it led me to my new life. I have since thrown away my guitars, amps, and entire music collection. It is all garbage by comparison to this and in the trash is where it all belongs.

How can anyone listen to 'Summer of 42' and not fall to their knees by the sheer beauty of it? The Lonely Shepard title track brings tears to my eyes everytime I listen to it. It brings me to a magical place where no one gets arrested for shoplifting and everyone has peace in their hearts.

I cannot find a panflute at the music store, so I'm trying to make one out of PVC pipe and old bongs. I think I found the G, A, and D major chords, but can't quite find F. A silly straw with a slit in it can make a pretty decent B minor, but it stretches out after a couple of days.

All my friends have abandoned me and I haven't been with a woman in three months, but it is all worth it. I now happily skip through life with merriment in my heart. No more drugs for me, Zamfir is my natural high.

Average customer rating:

Karajan bows out
Karajan's finest Bruckner!
Very difficult to surpass
A "farrewell" recording but not conducted that way
A Double Requiem

Bruckner: Symphony No. 7

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
Bruckner: Symphonie No. 9
Bruckner: Symphony No. 4 / Karl Böhm
Bruckner: Symphony No. 9
Bruckner: Symphony No. 8

ASIN: B000001GKC
Release Date: 1996-07-23

Tracks:

Symphony No. 7 In E Major: Allegro moderato
Symphony No. 7 In E Major: Adagio. Sehr feierlich und sehr langsam
Symphony No. 7 In E Major: Scherzo. Sehr schnell
Symphony No. 7 In E Major: Finale. Bewegt, doch nicht schnell

Customer Reviews:

Karajan bows out .......2006-08-13

"His last recording" it says on the front of this issue. Karajan must have known that this would be the last time he would set down a Bruckner 7 and that the coda of his life's journey was upon him. So you might expect the performance to be a valedictory one, measured, pensive - final curtain stuff. But no, what he presents is the kind of youthful view which a much younger would man have; if I was told that the conductor was, say, Franz Welser-Most I could believe it. It's a reading which looks as much to the Schubert era as it does to the Late Romantic and it's a refreshing experience. The approach is similar in another of my favourite versions: Georg Tintner on Naxos (Tintner's is the later recording). In the end though on balance I prefer Karajan's earlier version on EMI (1972) because of the bigger, more panoramic view, and perhaps more in keeping with Bruckner's intentions for how this symphony should sound. If you are a serious Bruckner fan you shouldn't be without either of these Karajan versions: both exellent performances - interesting as two very different visions seen by the same man on two different occasions.

Karajan's finest Bruckner!.......2006-06-07

The end of Herbert K's life brought a strange amount of discord. His health was very bad after falling off of a podium which broke his hip and there was an estrangement which set in between the Berlin Phil which sadly darkened the last years after all he did for this orchestra. That being said, the relationship which spawned again with the Vienna Philharmonic was a source of great music making...so that being said one can imagine how fine things were in Vienna in the late 80s with such conductors as Karajan, Giulini, and Abaddo making so many fine recordings in the Sofiensaal...to cap it off Bernstein was doing great Mahler in Vienna at that time as well!!

so...here we come to the last recording of Karajan's career. It is truly an awesome piece of music making with the Adagio as the high point...all of the wonder of this fine music is here plus the opulent phrasing which only the Vienna Phil can bestow on this music....as for price this recording at any price is worth having. Not since the like of Klemperer, Jochum and Knappersbusuch has such great Bruckner playing been heard...although I like Barenboim for different reasons his Bruckner is defintely not anywhere in this league...

so for true collectors of fine performances and Conducting this Karajan is a real must!

Very difficult to surpass.......2006-05-26

Besides this recording, I also own Chailly, Celibidache (Munich), Jochum (Dresden) and Solti (CSO, nla). The spirituality is much more intense than all the others. The acoustics of the Grosser Saal of Musikverein is superb (i.e. just resonant enough, not too reverberating). The response from Wiener Philharmoniker is precise (you can hear pp,p,mf,f,ff), their playing natural and idiomatic. The whole recording has been remastered with the so-called 'Original Bit Processing' and is very satisfying. In short, it brings out the greatness of Bruckner's arguably best composition to its fullest extent. Anyone who can afford this should acquire this.

A "farrewell" recording but not conducted that way.......2005-11-01

Reviewers here treat this Bruckner Seventh, which was released posthumously after Karajan's death in 1989, as if it foreshadows his passing. But this isn't a slow or reflectivly melancholic reading--in fact, the first movement is quicker (if only marginally) than any of Karajan's two previous recordings for EMI and DG, both with the Berlin Phil. By comparison the Vienna Phil. sounds sweeter, never bombastic, incapable of a brash phrase. The recordidng sounds so alive and present one could swear this was a live performance, but apparently it wasn't. In any case, the orchestra is more animated and fresh-sounding than on Karajan's previous readings.

Karajan always favored whispering pianissimos and thunderous, though controlled, fortissimos. Here the contrasts are much reduced; the music tends to stay in an average range until a climactic swell is called for. This evenness of tone gives the music a flowing quality, which is enhanced by Karajan's refusal to use start-and-stop phrasing so common with other conductors of Bruckner. The shaping is lyrical throughout; the slow movement is especially free and spontaneous, not at all funereal even if the composer was aware of Wagner's recent death. This memorial to his greatest hero is sublime rather than grieving.

With so many special qualities, it's hard not to declare that this is Karajan's greatest Bruckner Seventh recording. In terms of freshness and a singing line, only the live Giulini performance from London (on the BBC label) comes close to it in my experience. Highly, highly recommended.

A Double Requiem.......2005-02-26

On the subject of Bruckner's 7th Symphony, composed after Bruckner perceived the impending death of his hero Richard Wagner and indeed appropriating the very Wagner tubas into the score in the Adagio which was apparently directly inspired by Bruckner's encounter with Wagner, it would be a disservice to the recorded versions of this work not to include this CD which proved to be Herbert von Karajan's valedictory recording.

Though the actual performance with the Vienna Philharmonic is not fully uplifting or illuminating, it does suggest the obeisance many of the great conductors of the romantic repertoire had for Bruckner. There is a communication with the spirit of Bruckner that haunts this recording, and to make the complete circle of dealing with Brucker's mighty 7th, this recording deserves a careful hearing. Grady Harp, February 2005

The Best of the Vienna Boys' Choir (Box Set)

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This is awesome!
Awesome CD!!
I absolutely LOVE this!
Vienna Boys do it again
Wow

The Best of the Vienna Boys' Choir (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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Christmas With the Vienna Boys Choir
Christmas with the Vienna Boys Choir
Angelic Voices: The Best of the Vienna Boys' Choir
The Christmas Album: Vienna Boys Choir
Luminosa

ASIN: B00000IGUW
Release Date: 2000-12-06

Tracks:

Mass in C major K. 317 'Coronatoin' Mass: I. Kyrie
Mass in C major K. 317 'Coronatoin' Mass: II. Gloria
Mass in C major K. 317 'Coronatoin' Mass: Ave verum corpus KV 618 - K. 618
Requiem KV 626 (Auszuge) - K. 626: Dies irae
Requiem KV 626 (Auszuge) - K. 626: Lacrimosa
Requiem KV 626 (Auszuge) - K. 626: Agnus Dei
Requiem KV 626 (Auszuge) - K. 626: Lux aeterna
Ave Maria
The Creation: Terzett: 'In holder Anmut stehn'
The Creation: Terzett mit Chor: 'Der Herr ist gross in seiner Macht'
Locus iste
Ave Maria
Abendsegen
Pueri concinite
Messiah: No. 03 Chorus: ' And the glory of the Lord shall be revealed'
Messiah: No. 06 Chorus: 'And he shall purify'
Messiah: No. 42 Chorus: 'Hallelujah'
Messiah: No. 51 Chorus: 'Worthy is the Lamb that was slain' - 'Amen'

Tracks:

The Blue Danube
Annen - Polka Op. 117
Walzer - Tales from the Vienna Woods, Waltz
Tritsch - Tratsch Polka
Village Swallows from Austria
Pizzicat - Polka
Morning papers, waltz
Radetzky - Marsch
Thousand and one night, waltz
Heidenroslein
The Magic Flute: Trio
Innsbruck, I must leave thee
Aba Heidschi Bumbeidschi
Edelweiss
Do - Re - Mi

Customer Reviews:

This is awesome!.......2002-12-13

I love this bos set, especially the second one Edelweiss is simply great, it's filled with passion and truly shows the beauty of music.But if you had already bought Ave Maria and Edelweiss please don't buy this one, they are the same, this CD is just perfect!

Awesome CD!!.......2002-06-07

Wow...That was my first word when I listend to this CD.

I like classical numbers more than like traditional songs of
other countries, so the 1st one was wonderful
(Of course as well as the second one.)

When you want to relax, you may choose the 1st one, but
if you want to be excited, choose 2nd one!!

You will feel as if you were out of this world.

I absolutely LOVE this!.......2002-02-20

When I received this album, I found that it was much, much more than I had expected. The angelic, pure, innocent yet DEFINED voices of these boys add the spark to your day. (at least to mine!)

The first CD is absolutely beautiful choral music which is really relaxing. I DO prefer boys' singing to adults, because it just sounds so much better.
When I bought the CD, I wasn't expecting much out of the second CD because I bought it for the first CD's sake, but the second CD turned out to be my real favorite.
Not that I don't adore the first one, but the second one is SO IRRESISTABLY CUTE!! whenever I listen to it, I keep on smiling and going "awww. isn't this cute!"
It is REALLY sweet and fun to listen to. I just LOVE this CDs and want to give 10 stars out of 5, but obviously there are limitations, so..

Well, if you like choral music, you won't regret getting this one.

Vienna Boys do it again.......2001-08-18

Their performance is just superb. If you like classical music. I find this elevating my spirits.

Wow.......2000-09-06

What can really be said about this two CD set except "Wow." The tone quality and emotion contained in the music is incredible, and I don't think there's another boys' choir out there who can match it. The rendition of Schubert's "Ave Maria" alone is worth buying the CD. Amazing. Between the two CD's there is a great variety of music as well, ranging from the soft, sad "Locus Iste," to Johann Strauss' polkas. There is a piece for every mood. These CDs are more than worth the money and rank among the favorites in my collection.

Average customer rating:

Among the best
Among the best recent Bruckner Fourths: 4.5stars

Bruckner: Symphony No. 4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Brahms: Ein Deutsches Requiem
Schumann: Symphonies Nos. 2 & 4 (The Mahler Arrangements)
Mahler - Symphony No. 2
Richard Strauss: Four Last Songs
Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva

ASIN: B000NPCMJE
Release Date: 2007-05-08

Tracks:

Bewegt, nicht zu schnell
Andante quasi allegretto
Scherzo- trio
Finale

Amazon.com

Bruckner's Fourth Symphony underwent a complicated revision history. This recording uses the Nowak from 1886. Bruckner himself nicknamed this symphony "The Romantic." Its 1881 premiere marked his first Viennese triumph; it remains his most popular symphony, despite its occasional repetitiousness and moments when grandeur becomes grandiosity. As always, the spirit of Wagner hovers over the harmonies and the orchestration. The solemn processionals and chorales reveal the devout Catholic, while the sonorities and the frequent rests and pauses recall the organist resetting his stops. The Symphony abounds with long, arching melodies - somber and prayerful, soaring and ecstatic - and innumerable climaxes, often aborted but gathering for the final triumph. The incomparable Berlin Philharmonic revels in the glorious orchestral sound, from each individual solo to the massed tuttis. The performance is immensely exciting, expressive, and evocative. The only flaw is the excessive dynamic contrast; keep a finger on the volume-control. --Edith Eisler

Album Description

Following up their release of Brahm's Ein Deutsches Requiem, Sir Simon Rattle and the Berliner Philharmoniker continue to celebrate the orchestra's 125th year with an exploration of the 19th-century Germanic greats. On this recording they take on Bruckner's mighty Fourth Symphony, an uplifting spiritual journey across a huge musical landscape which commands the listener's attention and promises to remain in memory long after the final chords have died away.

Speaking of the individuality and overwhelming power of Bruckner's music, Rattle had this to say: "It's as though one's caught up in a gigantic wave...which simply will not stop until the last note and in fact when the last note is sounded, very often the audience simply doesn't applaud because there's a feeling to it still going out into space..."

Tracklisting:

Anton Bruckner (1824-1896)
Symphony No.4 in E-Flat Major "Romantic"
1. Bewegt, nicht zu schnell
2. Andante quasi allegretto
3. Scherzo- trio
4. Finale

Customer Reviews:

Among the best.......2007-07-03

This new recording of Bruckner 4 is among the best Bruckner 4th's I have heard.
I would set this recording along side Bohm or the Karajan(s) recordings. The tempos are often broad but Rattle has the vison and energy to keep the natural flow of the music. Rattle does not disrupte the music's natural flow as let say Celibidache often does.
The playing of the Berlin Philharmonic is nigh perfect and the intontion and ensemble continue to amaze. The recording is very good with a good wide range that does not confine the sound of this great orchestra.

Strongly recommended.

Among the best recent Bruckner Fourths: 4.5stars.......2007-05-14

There is no shortage of fine Bruckner 4s but this is another one. And it was recorded live, which I can't recall being true of many others, perhaps Wand's BPO CD for RCA. The performance has a slight Schubertian tinge but is weighty and powerful with plenty of impetus.

The BPO playing is outstanding as is the recording - with the slight caveat that the in opening pages of the first movement occasionally the brass attacks lack crispness and the recording doesn't seem quite as transparent sonically as the rest of the performance - was this perhaps recorded on a different night to the rest of the CD? But these are minor quibbles.

In fact the only reason I might not give this 5 stars is the presence in the catalogue of a more individual reading - namely that by Celibidache on EMI. Here Celi's interpretation and penchant for slightly slower speeds make absolute sense, and one ends up almost with a recreation rather than an interpretation. That would be my first choice.

Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan

Average customer rating:

Karajan is Dandy, But Boulez Is Better
bruckner plain and simple
Something Missing Here.....
If it's Karajan it must be good.
Study it

Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

Bruckner: Symphony No. 7
Bruckner: Symphonie No. 9
Gustav Mahler: Symphonie No. 9
Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes
Bruckner: Symphony No. 5 - Staatskapelle Dresden / Giuseppe Sinopoli

ASIN: B000001GAX
Release Date: 1989-09-13

Tracks:

SYMPHONIE NO.8: Allegro moderato - Bruckner
SYMPHONIE NO.8: Scherzo. Allegro moderato - Trio. Langsam - Bruckner

Tracks:

SYMPHONIE NO.8: Adagio, Feierlich langsam, doch nicht schleppend - A. Bruckner
SYMPHONIE NO.8: Finale, Feierlich, nicht schnell - A. Bruckner

Amazon.com essential recording

Herbert von Karajan identified with the Eighth perhaps more intensely than with any other score in the repertory; it is significant that in February 1989, in what proved to be his last performances outside of Austria, he brought it to New York with the VPO and made it the centerpiece of a three-concert engagement. The air of finality was heavy at those concerts, and Karajan, determined to go out as a conqueror, did just that. This 1988 recording comes very close to recapturing the experience of that live performance. Karajan's careful pacing gives the Eighth time to unfurl, allowing the mystery and tenderness of Bruckner's vision to radiate from some place deep within the paroxysmal intensity of the symphony's argument. The cumulative effect is shattering. Throughout, the Viennese play beyond their limits, as if their lives depended on it. The recorded sound is vivid and of very wide dynamic range. --Ted Libbey

Customer Reviews:

Karajan is Dandy, But Boulez Is Better.......2007-03-27

A divisive performance and recording among those who love the Bruckner Eighth (moi!) -- expansive, cerebral, polished, and the last adjective is either "transcendent" for some or "indulgent" for others. I'll admit, it took me awhile to bend to its whims, but I'm getting there, slowly -- very slowly -- but surely.

The strings are the star here, with the ethereal harp glissandi of the third movement adagio spotlit as in no other recording. In fact, there's a lot of spotlighting going on in what is an obviously designed recording scheme. The lustrous violins seem to be heavily weighted to the right-channel with the harp isolated far to the left. The burnished brass blaze forth with fire. I tend to like the tympani a bit more prominent in the final movement, but it's merely a quibble here.

Pierre Boulez - with the same orchestra, the same Haas edition, and on the same label - "convinced" me on first listen; this is one I would recommend to a novice as opposed to Karajan. Plus, Boulez is on a single disc.

bruckner plain and simple.......2007-03-25

in my view this is a truly great performance of bruckner 8. for me the vienna philharmonic are - with the right conductor - unbeatable in this repertoire. no single performance can reveal all the facets of such a masterwork - furtwaengler, jochum, schuricht, kempe, boehm, wand, giulini, celibidache, haitink and sinopoli - to name but a few, all of whom have much to offer. but i have never heard such a totally convincing realisation of the opening movement, be that in concert or in a recording, the tempo seemingly emerging from within rather than being imposed from outside, and that pulse - almost a single breath, is maintained throughout the remaining movements. sad that some seem more interested in judging karajan the man in their reviews rather than the musician.

Something Missing Here............2006-08-11

This is a very expensive recording, a full-priced 2CD package for a piece that runs just past the limit of one CD. Try to find it in a used CD store for half the price or buy it from one of the amazon marketplace sellers. Better yet, if you live in a decent city, check your local library to see if they have a copy and hear this famous Karajan record before you choose to buy it.

I've heard this record several times and I'm never satisfied. That may be because I'm not a hardcore Bruckner fan by any stretch of the imagination. All those old Bruckner cliches that his symphonies are huge, long-winded boring spectacles and that Bruckner couldn't write a symphonic allegro, well the cliches are generally true but in the hands of the right conductor, this music can take on a life of it's own and transport you to heaven. Furtwangler could do that, his devotee Barenboim is still trying to do that. Celibidache and Guilini could do the transporting, so could Karajan, but on this recording I'm just not feeling it, as beautiful as it is and as massive as the orchestral outbursts in the codas are, there is something hollow that keeps things grounded here on Earth.

The great adagio is a case in point, it simply does not move me like it should. Just hearing a little bit of Celibidache's infamous version moves me, I don't know why Karajan, my favorite conductor does not. I am prepared to concede that in certain works, Karajan just can't get to that domain which invariably is occupied by the likes of Wilhelm Furtwangler. Karajan's many recordings of Beethoven's Ninth for instance pale in comparison to Furtwangler. I also am not fully pleased by the famous Karajan Mahler Ninth, which is too emotionally cool for my liking.

It seems like when a musical work asks for complete involvement and unrestrained passion, Karajan takes an objective approach, which can work wonders in many pieces of music but not in a spiritually enigmatic opus like Bruckner's Eighth Symphony.

This is still one of the best recordings of this work from an objective standpoint but make sure you hear it before you buy it, because I've heard it several times and still have no temptation to buy it. On the other hand, Karajan recorded a great Bruckner Seventh on EMI, get that one right away! See my review.

If it's Karajan it must be good........2006-05-07

I am going to be brief. I have stayed away from this work because I find Karajan to be superficial and self indulgent in much of his work, sort of like the early Bernstein and Mehta. Lenny got over it, and so did Mehta as attested by a recent concert I attended with the Los Angeles Phil. Magnificent. I cannot get into this performance, and I must have 20 or so, finding the Carl Schuricht most satisfying--along with Knappertsbusch. I cannot describe a specific fault. It is just not right.

Study it.......2006-03-25

This is a very challenging recording of Bruckner's 8th symphony, and one which I listened to at least ten times before digesting to a satisfactory degree.

In the first movement Karajan conjures up a spectrum of emotions. For example, the beginning of the piece is practically inaudible and full of mystique. By the time we reach the phrase from 2:50--3:10, we are engulfed in splendor and royalty. The orchestral playing is exquisitely dark, flowing, and balanced throughout. But probably the most impacting feature of this movement is that by the time it ends, Karajan has convinced us that the world really is coming to an end. Listen to the motive from 14:52--15:46. The sheer force of the music is almost debilitating. It is an amazing effect.

Karajan pulls off the Scherzo with flowing, dark, heroic, and all-around gorgeous sounds. The tempo seems just about right. This movement is of course not the most musically intriguing, and Karajan does the best he can with what Bruckner has given him.

The third movement is what makes this recording extraordinary. It begins with great depth of beauty and serenity, but that is only the most basic requirement of any great recording of this piece. What makes this recording exceptional is how Karajan dramatically and completely evokes the musical conflicts between strife, despondency, serenity, and optimism, which occur throughout the movement. Listen to the point at 9:22 into this movement. What Karajan achieves is a sound so full of spiritual transcendence that when I heard it I knew neither what it meant nor how to respond. All at once I was overcome by fear, joy, wonder, and amazement. What I heard was a sound that I was certain humans were not intended to experience-a sound which should have been barred from production on Earth. I felt as though I was seeing the face of God. This maelstrom of emotions is then followed by the wrenching strife of 10:41--11:00, and then the utter glory of 12:32--14:05. The great climax of this movement, heard from 20:05--20:32, is nothing less than an Earth-shattering, cathartic eruption. As the movement ends, it drifts away and is extinguished with such serenity that as I listened I felt as if I was drifting through Elysium. Bravo Karajan. Bravo Bruckner.

The fourth movement bears my only criticism of this recording-in the opening line, the brasses are not quite balanced, and it sounds as though it has to do with the mixing when the recording was produced. I've never heard such jagged imbalance in any of Karajan's other recordings. Other than that, the remaining portions of the movement are great. The ending is so voluminous, heroic and triumphant that the sheer force of the sound almost threw me from my chair.

As a final note, this recording has another interestingly unique feature: it creates an effect of "sparkle". It mostly occurs at moments when the strings play in the high register. A few places where it is particularly affecting are: 1st movement: 2:50--3:10; 3rd movement: 1:17--1:33, 13:44--14:00, and 21:20--21:44. Listen to and enjoy these-they are very special moments in music.

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:

Great performance and recording
Very good traditional Bruckner, but not a revelation
A majuscule achievement!
This is the greatest Bruckner 8th to date!
sounds like hyperbole...

Bruckner: Symphony No. 8
Anton Bruckner , Gunter Wand , and Berliner Philharmoniker
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Bruckner: Symphony No. 4
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Bruckner: Symphony No. 9
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Bruckner: Symphony No. 9

ASIN: B00005Q66Y
Release Date: 2001-08-27

Tracks:

I. Allegro Moderato
II. Scherzo (Allegro Moderato) & Trio (Langsam)

Tracks:

III. Adagio (Feierlich Langsam, Doch Nicht Schleppend)
IV. Finale (Feierlich, Nicht Schnell)

Customer Reviews:

Great performance and recording.......2007-06-29

This is simply as good as it gets. Outclasses the fine Karajan of 20 years ago easily, and the BPO play as only they can. The one reviewer here who decries Wand and this recording is on a different planet, especially even mentioning the clueless Boulez in the same breath as this. Enough said!

Very good traditional Bruckner, but not a revelation.......2005-12-13

I have enough vindictive blood flowing in me to hound Gunter Wand all oer Amazon to decry his dull, unimaginative ways. But I won't because at a certain point I put the brakes on buying any more of his CDs. Without exception I've found as close to nil in his work as any conductor I've ever encountered who magically summoned up a reputation. That Wand belongs in the ranks of competent German provincial conductors seems fair to say; to attribute greatness to him--as British critics began to do when he was a cheap alternative to major talent for RCA in the Eighties--is greatly misleading.

This very late Bruckner Eighth is a case in point. Wand demanded oodles of rehearsal time with the Berlin Phil. (God knows why, since they have always been a superb Bruckner orchestra), but what emerged is a straightforward, fairly broad, routine performance with excellent sonics and fine execution. Of real depth or musical interest Wand has none.

Enough. I know these words will ignite sparks from Wand's camp followers; I only hope to warn off those who might be tempted to follow Wand's shallow footprints into the domain of Mozart, Beethoven, Schubert, Brahms, and more Bruckner. As for the Eighth, I heartily recommend this performance to anyone who already owns Karajan's four recordings, Giulini's, Klemperer's, Boulez's, a couple by Jochum, perhaps those by Szell, Welser-Most, Sinopoli, Haitink, chailly, and even Barenboim. At that point there's plenty of room for Wand.

A majuscule achievement!.......2005-11-21

Bruckner 's Eighth Symphony is a landmark work. Listening with careful attention, has become gradually the most pyramidal of his Symphonies, relegating to secondary levels, lofty architectural pieces such as the Fifth, the Seventh and the Farewell Ninth.

The third movement is by far, the core of the Symphony, but its colossal proportions its radiating potency, its delirious high scale proportions do not demerit at all its intrinsic virtues .

This is a very important version in the annals of the story. But I must confess I prefer by far, the Novak version.

This is the greatest Bruckner 8th to date!.......2004-08-10

I have always admired Gunter Wand. From his Beethoven Cycle to his awe inspiring interpretation of the last two Schubert symphonies, Wand is a master conductor. But this live recording of Anton Bruckner's great 8th symphony is quite possibly his greatest achievement. Never has this symphony sounded so perfect, so architecturally sound, so convincingly played. For those that admire the overrated Karajan/Wiener Philharmoniker, they need to listen to this amazing recording. It is Wand's genius that drives this great work - he is so deeply steeped in the german master.

From the beginning of the opening allegro, the upcoming excitement is palpable. The opening theme, rhythmically identical to the opening theme of Beethoven's ninth, unfolds mystically. Climaxes build with chilling precision. This is the only outer movement of a Bruckner symphony to begin and end quietly, but the effect is striking when the strings dip into nothingness, fragmenting the movement's main theme. The Scherzo is amazingly conducted and performed. The playing by both the winds as well as the timpani make this reading of the Scherzo so fascinating. Wand's tempo is swift but uncompromising. The sublime trio is equally powerful. However, it is in the Adagio that Gunter Wand and the Philharmonic truly shine. The string section of the Philharmonic has never sounded so pure, so rich, so beautiful - even under Karajan they never reached this level of perfection. Wand's reading of the adagio is inspired; his juxtaposition of the two themes is masterful. The finale is equally masterful. More powerfully executed than any other recording I have heard, the finale is the perfect apotheosis of structure, form, and musical vision. Wand is unfailing in his dedication to detail - every note is in its proper place, building for the listener the architecture that is Bruckner's symphonic world. With the awe-inspiring coda, Bruckner concludes this masterwork by combining all four main themes of the symphony, thus, in a way, integrating the symphony in a way not heard of since Beethoven's Ninth.

I honestly cannot say more than get this CD as quickly as you can. You won't be disappointed. It's quite possibly the best CD in my collection.

sounds like hyperbole..........2004-07-05

(but isn't)

the best recording of any Bruckner Symphony for 2 Decades!

This recording speaks so very directly to the listener, grabs one, brings Bruckner (beware of the clichee:) to life. Bruckner like on this disk cannot but enchant even the most reluctant listeners.

read no more: if you like Bruckner or think you might like bruckner, go get this record!

off on a tangent:

I decided some years ago, that I was to like Bruckner. Thus I started and continued to acquire his symphonies, his masses etc. - but all along, I had never been sure if there was ever an emotional connection between me and the old catholic.

My rationalization was that Bruckner was music for those who regretted that Wagner had never written a symphony. That didn't suffice to fall in love with Bruckner (aside, early dvorak is a much better substitute) ... but i continued.

The I came across the live recordings of Guenther Wand on RCA with the Berlin Philharmonic. His 4th and 9th spoke to me quite a bit, but perhaps only enough to turn some of my attention to this last german master of conductors.

Then i got Bruckner's 8th Symphony with Hans Knappertsbusch and later with Riccardo Chailly and the Concertgebouw. Nothing happened to me. In fact, in both cases I forgot that I had already bought a Bruckner 8th! (Quite frankly, I am not sure what accounts for the drastic difference to the Wand, because the Chailly is not noticeably flawed in any way... though somewhat sterile)

A few weeks later, as mentioned: having forgotten that i had gotten the Chailly recording, i got the 8th with Wand - and finally, it clicked.

the nitty-gritty:

given the impact this recording (one of some 1200 classical cd's i have) has made on me, it deserves a bit extra mentioning.

BBC3's (forgot his name) had the following to say:

"He's [Guenther Wand] found a way of making Bruckner's Eighth Symphony communicate more directly, more emotionally. It's not enough here to sit back and be impressed with the structure and the sheer grandeur of the design - Wand demands a human, emotional response, recognition that it's not a heart of stone that keeps this music alive, and if anything the spiritual gains are greater."

I suppose this is precisely what I mean by: grabs you by the lapels. I put this CD in my player, going off to diddle around - alone, the music would not let me. It was not going to be relegated to the background. It didn't let you drift off. It demanded my attention but it made it easy for me, as well. By the time the first disc (it is sold as a single disc, but the piece fits only on two) is over, I could not get the second one into my CD-player quick enough.

This recording has since (I have become somewhat of an Evangelist about it) recruited three acquaintances of mine to Bruckner in the first place!.

Wand uses the original edition of the scorerather than than the novak edition which had been used more frequently and which is slightly shorter. (Thus more often fitting on one CD - though the format does not matter in this case as it doesn't affect the price)
Not being a musicologist, I can't say if it is at least in part the different version that makes this recording so outstanding... I will have to suppose that it is the combination of the musical and honest approach of Guenther Wand that lets it all come together like this.

Almost 90 years old when he recorded this symphony for the third time (it is his best account of it, despite two superlative earlier goes at it), Wand died soon thereafter. This recording was - and not for sentimental reasons - the Editor's Choice of the Month in Gramophone Magazine.

Because this work - and this recording thereof - deserves more and lavish attention, I shall be re-visiting this review. Perhaps I will add (in a second review, so as not to make this one unduly long) elaborate on the piece (the music) itself... until then, trust me: if Mahler, R. Strauss, Wagner scare you not... if bombastic late romantic music might be your liking, this is a jewel of which there are not many around.

Tracks:

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

Customer Reviews:

A good performance that has a tendency to drag just a little........2007-07-08

This same 4th by Karajan and the BPO is posted at Rhapsody under the Karajan Collection and sells for over 40% (5 Dollars!) more here at Amazon. Ah, the whiz kids in EMI marketing. Each has the exact same elapsed track times, so beware and be aware before you buy. If you are a collector, your guess is better than mine as to which jewel case packaging will be the more collectable. I would guess having all the "Karajan Collection" CDs or a great number of them and offering them all at once will fetch a pretty penny at Ebay in 5 to 15 years.

If you like your Bruckner 4th performed as a somewhat meandering, sentimental journey that drags just a bit, look no further. This is true especially in the first and fourth movements. They are two to three minutes longer than my favorite fourths. I prefer that these two movements be a somewhat exciting romp instead of a slow moving, dirge like, sentimental journey. My other problem with this 4th are the many low volume parts where the sound seems to disappear. I find myself fiddling with the volume knob and getting the back and forth tennis match treatment--too loud, too soft, too loud, too soft, etc. etc. etc.

The playing, especially the strings, is very polished, almost creamy feeling--much different than Inbal's. The playing is good, but does not top many of my favorite fourths and the sound recording is OK (see above about the low volume parts). If you have a program like Audio Cleaning Labs you could load this wave file into it and use the leveler feature set at classical soft. This feature will bump up the lows just a bit and not mess with the high volume sections.

I enjoyed listening to this fourth, but my favorite Karajan Bruckner Symphony is the 8th. I love the late 1980s version.

Karajan vs Karajan - Two superb recordings.......2006-11-17

I own both the EMI and DG recordings of Karajan's Bruckner 4 with the Berlin Phil and to me they are both superb. Karajan's interpretation is flawless and he manages to conjure up such a rich variety of textures and colours that they can surely not be surpassed. The Berlin Phil of the 70's and early 80's was at its height under Karajan and the quality of its sound (especially evident in the richness of the strings) as well as the virtually perfect beginnings and endings of each passage in these two recordings can surely not be surpassed. Karajan really gives meaning to the 'romatic' in this symphony's name. I would say these are the definitive recordings of this work.

Which Karajan Bruckner Fourth to choose?.......2006-01-01

Karajan made two classic recordings of the Bruckner Fourth, one in 1970 for EMI--he had briefly jumped ship from DG over a cntract dispute--then again in 1975 when he returned to his home company. Both recordings are with the Berlin Phil., and both aspire to be the greatest Fourths in the catalog. Which one should you choose?

EMI 1970: Karajan is noticeably slower here, adding two min. to each movement compared with his later reading, except for the thrillingly fast Scherzo, which is the same on both. The broader pace allows for more expressive shaping, and the orchestra responds magnificently--just the opening string tremolos and hushed horn solo will have you holding your breath. Karajan was a sophisticate, the mirror opposite of the naive Bruckner, yet somehow he could clothe himself in simplicity and directness in this music. The Berlin strings are very sweet and tender when need be. The brass is enormous without being bombastic. As for sonics, the EMI version was recorded in the BPO's best location, the Jesus Christe Kirche, and the sound is clear and wide-ranging. At times the horns are a bit too recessed for maximum impact, but the climaxes come across without mircophone distortion.

DG 1975: This recording is out of print except in Karajan's complete Bruckner set. As a performance it is faster than the earlier one, which Karajan uses to achieve more immediate excitement. In all other respects the two readings are identical--Karajan tended to make up his mind once an interpretation was set. The deciding factor will probably be the sound. Recorded in the problematic Berlin Philharmonie, the orchestra sounds pinched and restricted compared to the EMI account, and there is a muffled haze in climaxes. In the loudest passages there is also a "crunch" that is not pleasant. These flaws aren't crippling, but they can't be overlooked, either.

Sometimes I feel it's worthwhile to own all of Karajan's various Bruckner interpretations--that's certainly true for Sym. 7, 8, and 9--but his EMI Fourth is so artistically complete that one should own it first and foremost. I can hardly imagine a more satisfying account.

(As to the digital transfers, I would bet that all three versions listed here at Amazon represent the same remastering done for the Karajan Edition, which is the one I own.)

Exceptional........2005-03-19

I listen to plenty of Bruckner performed by plenty of conductors and orchestras. I always try to maintain an open mind when encountering new (to me) performances. Frankly, this is one of the most radiant and magnificently played Bruckner Fourths I've ever encountered--one of those interpretations that almost leaves one convinced this is exactly the way the composer intended the music to sound.

Karajan seems to be one of those high-profile conductors about whom aficionados enjoy having strong opinions. Nothing attracts derision like success and during his lifetime he was an amazingly successful conductor.

For the classical newcomer my somewhat impartial assessment may be helpful: Herbert von Karajan was a genius and certainly a perfectionist. He tended to get spectacular sound and performances from his orchestras. Now some find his stuff just a bit too "perfect" and consequently emotionally distant--hence "bandmaster." Sometimes I think this assessment by some folks is influenced by personal feelings about the conductor's wartime associations with the Nazi party. Sometimes people just act oddly when confronted by perfection. Personally, I've liked most of the von Karajan recordings I've heard, a number are favorites or first choices, but I also love the work of many other conductors and for different reasons. When you start sampling different interpretations you realize there're many acceptable and enjoyable ways to play the same music.

Case in point. Karajan's Mahler is gorgeous and majestic while simultaneously not exactly rustic and folksy. His approach brings out an astonishing aspect to the music, how well-written it is. It may not be the best Mahler for some but it's still a great listening experience for others--myself included. There's nothing out there quite like it. I have other interpretations when I want the folksy side played up better.

Low budget in more ways than one........2005-01-23

A waste of time. Bruckner does not respond well to band-masters. End.

Average customer rating:

100 Best Sacred Works

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

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

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

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

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

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

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

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

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music
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ASIN: B000NOKAAS
Release Date: 2007-04-03

Tracks:

Sub Tuum Praesidum - Monks & Choir Of Downside Abbey
Miserere Mei, Deus - Gerald Finley
Veni Sancte Spiritus - Hilliard Ensemble
O Nata Lux - Choir Of King's College
Verbum Caro Factum Est - CLERKES OF OXENFORD
Buccinate In Neomenia Tuba - Barry Rose
O Magnum Mysterium - Choir Of King's College, Cambridge
Ave Verum Corpus - Choir Of King's College, Cambridge
Tu Es Petrus - Choir Of King's College, Cambridge
Kyrie - Hilliard Ensemble
Gloria - Choir Of St. John's College, Cambridge
Credo - Choir Of King's College, Cambridge
Sanctus - Hilliard Ensemble
Agnus Dei - Hilliard Ensemble
Absalon, Fili Mi - Hilliard Ensemble
Hosanna To The Son Of David - Choir Of King's College, Cambridge
Spem In Alium - Paul Nicholson

Tracks:

Gloria In Excelis Deo - Deborah Norman
Laudamus Te - Deborah Norman
Magnificat Anima Mea - Choir Of King's College, Cambridge
For Unto Us A Child Is Born - Ambrosian Singers
Bereite Dich, Zion - Janet Baker
Zadok the Priest (Coronation Anthem) - Choir Of King's College, Cambridge
Cum Sancto Spiritu - Chor Des Bayerischen Rundfunks
Et Incarnatus Est - Chor Des Bayerischen Rundfunks
Chorale Prelude BWV622 - Peter Hurford
Zion Hort Die Wachter Singen - South German Madrigal Choir
Erbarme Dich, Mein Gott - Stephanie Blythe
Jesu, Joy Of Man's Desiring - Choir Of King's College, Cambridge
Thou Knowest, Lord (Funeral Music For Queen Mary) - Choir Of King's College, Cambridge
Hear My Prayer, O Lord - Choir Of King's College, Cambridge
O Sacred Head, Sore Wounded (Passion Chorale) - Choir Of King's College, Cambridge
Crucifuxus A 8 - Choir Of King's College, Cambridge
I Know That My Redeemer Liveth - Ambrosian Singers
Hallelujah Chorus - Ambrosian Singers

Tracks:

Introit: Requiem Aeternam - Felicity Lott
Kyrie - Felicity Lott
Lacrimosa Dies Illa - Felicity Lott
Laudate Dominum - Barbara Hendricks
Regina Coeli - Kolner Kammerchor
Laudams Te - Kiri Te Kanawa
Benedictus - Julia Hamari
Alleuluia - Lucia Popp
Ave Verum Corpus K618 - Swedish Radio Chorus
With Verdure Clad - Arleen Auger
The Heavens Are Telling - Arleen Auger
Kyrie - Carolyn Watkinson
Gloria In Excelsis Deo - Carolyn Watkinson
Kyrie - Janet Baker
Die Ehre Gottes Aus Der Natur (Nie Himmel Ruhmen) Op.48 No.4 Orch. Mottl - New Philharmonia Chorus
Gloria - Waltraud Meier