Bruckner: Symphony No. 4 in E flat "Romantic"

On this CD:

1. Symphony No. 4 in E flat (Romantic) (Original; Vienna; Karlsruhe; New York; Schalk & Löwe versions), WAB 104 1. Bewegt, nicht zu schnell
Composed by Anton Bruckner
Performed by Halle Orchestra
Conducted by Zdenek Macal

2. Symphony No. 4 in E flat (Romantic) (Original; Vienna; Karlsruhe; New York; Schalk & Löwe versions), WAB 104 2. Andante quasi allegretto
Composed by Anton Bruckner
Performed by Halle Orchestra
Conducted by Zdenek Macal

3. Symphony No. 4 in E flat (Romantic) (Original; Vienna; Karlsruhe; New York; Schalk & Löwe versions), WAB 104 3. Scherzo (Bewegt) & Trio (Nicht zu schnell)
Composed by Anton Bruckner
Performed by Halle Orchestra
Conducted by Zdenek Macal

4. Symphony No. 4 in E flat (Romantic) (Original; Vienna; Karlsruhe; New York; Schalk & Löwe versions), WAB 104 4. Finale (Bewegt, doch nicht zu schnell)
Composed by Anton Bruckner
Performed by Halle Orchestra
Conducted by Zdenek Macal

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bruckner: Symphony No. 4 in E Flat Major 'Romantic'; Herbert von Karajan; Berlin Philharmonic

Average customer rating:

A good performance that has a tendency to drag just a little.
Karajan vs Karajan - Two superb recordings
Which Karajan Bruckner Fourth to choose?
Exceptional.
Low budget in more ways than one.

Bruckner: Symphony No. 4 in E Flat Major 'Romantic'; Herbert von Karajan; Berlin Philharmonic
Anton Bruckner , Herbert von Karajan , and Berlin Philharmonic
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Bruckner: Symphony No. 9
Bruckner: Symphony No. 7
Bruckner: Symphony No. 7
CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 4
Bruckner: Symphony No. 4 / Karl Böhm

ASIN: B000239B8M
Release Date: 2004-07-13

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:

Orchestra Excerpts for Viola

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

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ASIN: B0000038L5
Release Date: 1998-01-27

Tracks:

Intro
Don Quixote
Hary Janos
Concert Variations
Daphnis et Chloe, Ste No. 2
Midsummer Nights Dream
Peter Grimes
Tchaikovsky: Sym No. 6
Sym No. 5
Roman Carnival Ov
Don Juan
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Average customer rating:

Jacobs was overrated
The Great Arnold Jacobs Captured on C.D.
arnold jacobs
inspiring technician musician artist
Arnold Jacobs - Icon of education and performance

Portrait of an Artist: Arnold Jacobs

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ASIN: B00004UDEY
Release Date: 2000-08-15

Tracks:

Buxtehude: Fanfare - Adolph Herseth/Vincent Cichowicz/William Scarlett/Charles Geyer/Dale Clevenger/Jay Friedman...
We Are Enormously Complex
Hn Con No.1 in E flat: 1st Movt: Allegro
Hn Con No.1 in E flat: 2nd Movt: Andante
Hn Con No.1 in E flat: 3rd Movt: Allegro
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Playing For The Audience
Programming The Brain
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Carnival Of Venice
Con: 1st Movt
Etude No.24
'Czardas' With The Metronome
This Is An Art Form
We Play By Song And Wind
Canzon Per Sonare No.2 - Adolph Herseth/Vincent Cichowicz/Dale Clevenger/Jay Friedman/Arnold Jacobs
Lohengrin: King Heinrich's Call (Exc) - Jay Friedman/Arnold Jacobs
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Become A Singer In Your Brain
There Must Be A Source Of Vibration
Breath As A Motor Force
Sonatine: 1st Movt: Allegro Vivo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Sonatine: 2nd Movt: Andante Ma Non Troppo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Sonatine: 3rd Movt: Allegro Vivo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Sonatine: 4th Movt: Largo; Allegro - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Keeping Music As An Art Form
Breathe To Expand
F Tuba Demonstration With Berlioz
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Customer Reviews:

Jacobs was overrated.......2005-09-28

Arnold Jacobs was a brilliant man who could have succeeded in practically any profession. He was also a fine musical pedagogue, judging from his verbal insights on this CD with respect to the human body as a musical instrument. Yet, I am amazed that he rose to the rank of tubist in a world-class orchestra such as the Chicago Symphony. Frankly, I found his tone quality uninspiring, although he had fine techinque. I have heard at least half a dozen tubists whose tone is far more pleasing musically. Among the bassmen/women of the world, Jacobs has become a semi-divine entity. I believe that he has been somewhat overrated as a result. I felt that his verbal commentaries were highly educational; I was disappointed by his playing overall.

The Great Arnold Jacobs Captured on C.D........2005-04-02

This is a prolific set of audio that captures the historical sound of Arnold Jacobs' playing and teaching. I bought this C.D. because I wanted to explore the limits and capabilities of a tuba player so that I could see if playing music on the tuba was for me. This C.D. banished any doubt that I had about the ability of a tuba player to achieve at the utmost musical level. I have never meet Mr. Jacobs in real life, but this C.D. made me feel as if I was in a master class or recital hall listening to him myself. I would recommend this C.D. to anyone who loves music. As Arnold Jacbos said " It's not about the tuba, it's about music".

arnold jacobs.......2001-05-16

This cd tries to capture arnold jacobs: a prolific teacher, player and above all a great man. while listening, you'll discover the ideals, the methods and ideas that made arnold jacobs the best tuba player that there'll probably ever be. The more complex issues and artistry of brass playing are explained in simple words and sayings. a great deal of jacobs' lectures is also given, and you can also see the importance of understanding the functioning of other body units that help us trough our playing (the brain). a great disc, highly recommended, not only for tuba players, but for all brass players.

inspiring technician musician artist.......2000-09-01

Cannot agree more,this is a wonderful exposition of Jacobs the teacher,for he had developed working concepts any wind player could adopt.His studio in the Fine Arts Building in Chicago was like a mecca for all wind players coming to Jacobs to resolve some deep-rooted performing problem. As he says( my paraphrasing) " they get tied up in knots,worrying about all the motions of the lip. . .you can't think about all those motions for they are thousands of motions from the brain to engage in performing a brass instrument "

As a brass player myself,(trombone & tuba) I have always sensed we have little repertoire to play of any interest,but Jacobs in a lecture here reveals this problem and one way to solve it, is to consciously search for things to play,like an aria from Puccini,or a particular non-tuba passage,to duplicate it,a piano or violin solo. What this approach implies is then for the brass player to develop skills as a consummate musician/ virtuoso,for you are forever challenged then to expand your repertoire endlessly,as much as the instrument or your technique will allow. I now find myself playing Chopin Preludes(Eb-minor,B-minor melodies only) on the trombone,and contrabass orchestral excerpts or trumpet etudes on the tuba,and Jacobs encourages tuba players to learn to read treble clef to be able to read any melody.

There are wonderful examples here from all genres in music from solo etudes in his studio to Berlioz and Wagner excerpts, solo and within the context of the orchestra. It all reveals the seemless consistent sound Jacobs was able to summon from his York tuba. Every attach was uniform,every tone even and pure,at least that is what he heard in his ear. That's another Jacobs credo,you have to have the sound in your head,what do you want your listener to hear. You command that.

The Bozza Sonatine(brass quintet) is also a wonderful performance of great brass music,great use of colours and entrances,breaking down the quintet into smaller duets and trios.This all with Chicago Symphony players makes it all the more interesting,a vintage performance from 1966.I recall those days where solo brass was considered an oddity,and unaccompanied solos even more so.

Jacob's sound should remain in your mind's hearing to duplicate it. Eugene Pokorny (Jacob's Chicago Symphony successor) also provides insightful interesting notes here.

Arnold Jacobs - Icon of education and performance.......2000-08-23

Amazing! For the students who studied directly with Arnold Jacobs, "Protrait of an Artist" will take you back to his studio, sitting right next to him. This excellent collection of lectures (lessons) and demonstrations are a fantastic embodiment of Arnold Jacobs' concepts and teachings. It is certainly a must for any music performer or educator. From the samples of CSO performances at the end of this CD to the practice tapes, the music on this CD is truely inspirational.

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FABULOUS SELECTION OF CLASSICAL MUSIC

Classics for Relaxation and Meditation

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

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Etudes | Forms & Genres | Classical | Styles | Music

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Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

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

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

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Meditation: Classical Relaxation (Box Set)
Most Relaxing Classical Piano Music in the Universe
Bach for Relaxation
Rachmaninoff for Relaxation
Chopin For Relaxation

ASIN: B000000LOH
Release Date: 1995-04-16

Tracks:

BWV 992: Jeusus Is Always My Gladness
Concerto In B Flat Major: Adagio
Organ Concerto In G Major: Largo
Moonlight Sonata In C Sharp Minor Op. 27-2: Quasi Una Fantasia (Adagio Sostenuto)
Mass In E Minor: Kyre Eleyson
Piano Concerto No. 26 In D Minor K537: Larghetto
Symphony No. 8 In Minor D 759: Andante Con Moto
Fantasy Op. 73: Tender And With Expression
The Moldau: Sympohic Poem
Valse Triste: Op. 44, 1 From 'Kuolema'
Oboe Concerto In C Major K314: Adagio - Mozart
Piano Concerto No. 21 In C Major K467 'Elvira Madigan': Andante

Tracks:

Souvenir De Florence In D Minor Op. 70: Adagio Cantibile - Tchaikovsky
Raindrop Prelude In D Flat Major Op. 28 - 15
Symphony No. 4 In A Major Op. 90 'Italian': Andante con molto
Love Dream No. 3 In A Flat Major Op. 62
Lullaby - Berceuse Op. 105
Berceuse: Lullaby Op. 57 - Chopin
Wind Quartet In E Flat Major Op. 88-2: Andante grazioso
Cello Concerto In G Major: Romance
Concerto For Flute, Harp And Orchestra In C Major K299: Andantino - Mozart
Sonata In C Minor Op. 13 'Pathetique': Adagio cantabile - Beethoven
Divertimento No. 1 In B Flat Major 'Chorale St. Antoni': Andante - Haydn _

Tracks:

Stabat Mater Op.58: Virgo Virginium Praeclara - Dvorak
Divertimento No. 1 In B Flat Major: Chorale - Haydn _
Consolation In E Major - Liszt
Symphony No. 5 In D Major, Op.107 'Reformation': Finale
Execution Transcendante: Evening Harmony - Liszt
Overture In D Major: Air BWV 1068 - Bach
Orfeo ed Euridice: Dance Of The Blessed Spirits - Gluck
Piano Concerto No. 1 in C major Op. 15: Largo - Beethoven
String Quartet No. 62 In C Major, Op.76, 3 'Emperor': Adagiop cantabile - Haydn _

Customer Reviews:

FABULOUS SELECTION OF CLASSICAL MUSIC.......2001-05-16

Whether or not you are a fan of classical music, the truth is that everyone enjoys a few hours of peace and relaxation. This CD provides a wide selection of music from famous composers like Mozart to lesser known classical composers, which makes it the perfect CD to play on your stereo during those rare moments of peace. Play it while reading a favorite novel, or just simply sit down and meditate with the help of this classical CD. Beethoven's widely popular "Moonlight Sonata" for the piano and Chopin's extraordinary "Raindrop" are just two examples of musical pieces that will not only calm but enrich your life. With a total of three discs included at a phenomenal value, this is one CD that you cannot afford to pass up.

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 4

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An stunning, profound, truly spiritual 4th.
Can Bruckner be Zen?
If Bruckner could only hear this.
Bruckner and Celibidache 2nd to none!
Best modern recording of this piece

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symhony No. 8
Bruckner: Symphonie No. 9
CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 7 / Te Deum
CELIBIDACHE / Münchner Philharmoniker - Brahms: Symphonies Nos. 2, 3 & 4
Anton Bruckner: Symphonie No. 4 "Romantische" - Wiener Philharmoniker / Claudio Abbado

ASIN: B00000IG30
Release Date: 2005-07-12

Tracks:

Symphony No. 4 In E-Flat Major, 'Romantic': I. Bewegt, nicht zu schnell
Symphony No. 4 In E-Flat Major, 'Romantic': II. Andante quasi Allegretto
Symphony No. 4 In E-Flat Major, 'Romantic': III. Scherzo. Bewegt - Trio. Nicht zu schnell. Keinesfalls schleppend
Symphony No. 4 In E-Flat Major, 'Romantic': IV. Finale. Bewegt, doch nicht zu schnell

Customer Reviews:

An stunning, profound, truly spiritual 4th........2007-01-24

I had heard about Celibidache's notoriety for slowing down major works so I was not too sure what to expect. I listened to his recording of the Bruckner 8 in the same series but felt it did go on too long. However I really do feel his approach works tremendously well here. He takes this most immediately appealing of Bruckner's symphonies and makes it into something very spiritual and extra special. It is ironic that a conductor who lived and conducted through the art of Zen should become a champion of a symphonist who was a devout Catholic!

Celibidache can infuriate or he can make you feel extremely exalted. he is at his best in the Bruckner symphonies 4, 6 and 9. I am not too excited by Bruckner's symphonies #5, 7 and 8 and Celibidache's interpretations have not swayed me. It can be hard to fathom his take on Bruckner after listening to other recordings with the "right tempo". But you do need to listen to this interprtation of the 4th. It is slow but never ponderous. It allows the wonders of Bruckner's writing to shine forth and for me personally,I now know that he was a much better symphonist than I had realized. Now the problem is that all other recordings seem way too fast and uninvolving.

The beautiful opening horn theme captures the imagination immediately when taken at a at a slower tempo. Although Bruckner subtitled the work "Romantic" with half-hearted descriptions for each movement, I do envision the citadel at dawn with knights leading forth etc. I am especially captivated by the return of the opening theme later in the movement but accompanied by the delicate flutes. Ah, Sheer Beauty!

He also emphasizes the Shubertian grace and quality of the wonderful second movement where the strings shine and the brass cilmaxes, although evident are not overbearing. This is the "quiet Bruckner".

The third movement is arguably Bruckner's most famous music and Celibidache's tempo is not much slower than other conductors. In fact he made me appreciate the quieter passages of the movement even more.

THE FINALE AND ITS CODA: Oh Boy! This will be hard to describe in words as I am unable to convey exactly what my feelings are when I hear this music. The last movement of the 4th symphony has often been criticised as not being of the high standard of the first three movements. It is true that it was totally revised by Bruckner yet I did feel the criticisms were justified until I heard this recording. Now I think it is probably the most brilliant of all Bruckner's last movements, even surpassing that of #5 and #8. By slowing the movement Celibidache comes closest to what Bruckner might have envisioned. It makes for a complete symphony rather than a symphony of three movements with a finale tacked on. Sure, 27 minutes of music may seem like an endurance but amazingly the slower it is, the more power and beauty shines forth. Celibidache has taken this finale which seemed to disappoint and transformed it into a deeply spiritual and ultimately exalting experience. Is it classically correct? Does it arrive at the home key by the end? Does it answer all the questions and uncertainties of the first three movements? Hell I don't know. All I can say is it moves me. Music is a very personal experience and for me, this is the most rewarding finale of all the symphonies played today.

The most notable talking point in this performance is the end of the finale and the slow tempo. I brought this cd on a road trip through the more remote parts of the Sierra Nevada mountains here in California. When it came to the coda, I stopped the car knowing I was in "Bruckner Country", that is a landscape made by God. Bruckner was an extremely religious man, devoted to God and there is nowhere more fitting and beautiful to listen to this music than being alone and surrounded by the majesty of these peaks. Celibidache slowed the music down in an extreme way and found hidden wonders like the muted horns over the two note string motif played staccato by the violins instead of the flowing manner found in nearly all other recordings I have heard. How did other conductors miss this???

The coda starts at 20:04 minutes and continues to the end. "Heavenly", "impassioned", "majestic", "soaring", "spiritual", "transcendant" are all fitting terms to describe it. I am not sure what else "Celi" did to this music but the combination of the stunning scenery and this glorious, moving coda affected me deeply. I have listened to it many times at home with my eyes closed and no outside distractions. It will always have the power to take me somewhere very spiritual and calming. This is without a doubt, some of the most serenely beautiful seven and a half minutes of music I have ever heard and will probably ever hear in my life. Faure's IN PARADISUM from his REQUIEM, Barber's ADAGIO FOR STRINGS and the finale of Mahler's SYMPHONY # 2 are others that affect me deeply also. I feel that all other recordings I own of the Bruckner 4 do not matter to me anymore which is a shame as i have some great cds of this symphony. But for me this is the only one I want to listen to. No other conductor I have listened to can match it.

1. Bewegt, nicht zu schnell 21.56
2. Andante quasi allegretto 17.35
3. Scherzo. Bewegt-Trio... 11.04
4. Finale. Bewegt, doch nicht zu schnell 27.53

Can Bruckner be Zen?.......2006-07-09

EMI's cover photo for this Bruckner Fourth depicts a detail from a famous Zen garden in Kyoto, giving us a hint how we should approach Celibidache's Bruckner: as a meditation on the infinite. A famsouly slow condcutor who based his aproach on esoteric writings from his guru (among other things), Celi was undoubtedly spiritual in his intentions. The Amazon reviewers below are all die-hard fans, but what will new lsiteners experience?

The string tremolos and horn calls that begin the first movement may seem painfully slowed down to a crawl, but Celi's sense of pace and drama isn't slack: it's just moving to a different drummer. Compare his timings with Karajan's acclaimed Fourth from 1970, also on EMI:
Celibidache Karajan
1st mvt. 21:56 20:48
2nd mvt. 17:35 15:38
3rd mvt. 11:04 10:41
4th mvt. 27:53 23:05

In the first and third movements Celi's tempos are not outrageously slow, coming within hailing distance of Karajan's, but be repared that the feeling is completely different: Celi is building architecture in broad arches, and when the opportunity comes to inject contrast with a faster passage, he doesn't take it. He wants us to remain mesmerized, and if you are on his wavelength, you will be. Orchestral execution is committed and passionate; the radio broadcast sonics are excellent.

The only real drawback for me is that even with a fairly energetic Scherzo, there's not much variance in mood, tone, and pacing. You have to surrender to a 'spiritual' atmosphere that's unrelenting. Some days I'm not willing to do that, but when the stars are jsut right, Celibidache's Bruckner can be as inspiring as his devoted fans insist it is.

If Bruckner could only hear this........2006-06-05

After owning a number of well known 4ths I came upon this by accident. I did not know Celibidache. I should have. For you who know Bruckner and are familiar with his works, this performance will come as a revalation. It is slow. It has a relentless driving force. It has the spirit of Bruckner that few can communicate, it has the power and inner detail that the slow tempi allow. Do not think that there is a moment of boredom, there is not. Sound is excellent. I cannot get it out of my head. Especially the driving coda of the last movement.

Bruckner and Celibidache 2nd to none!.......2006-05-10

Celibidache was a conductor who truly loved and understood Bruckner's compositions, and this wonderful recording is a perfect example of both Celibidache and Bruckners' genius. Celibidache knows how to bring the best out of the Munich Philharmonic. You can hear the flowing counterpoint, and each section of the orchestra seems to have a marked role which is heard most clearly. The brass and string section are absolutely marvelous on this recording. I think Celibidache really knew what a Bruckner string section should sound like. Words cannot describe the 4th symphony. All I can say is grab this recording as it is a perfect illustration of the greatness of Bruckner's music and the superb ability of Celibidache.

Best modern recording of this piece .......2006-03-11

Amazing, if you like this piece - get it!
I doubt there is a better stereo recording of this piece..

There is a Furthwangler recording of this piece which I find better, but the recording quality is of a different era.

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HAITINK'S EARLY BRUCKNER CYCLE
Literal, often gentle Bruckner without complications
Shipshape, predictable and reliable
unbelieveable recordings of the complete Bruckner Symphonies
Great Bruckner Set

Bruckner: The Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

ASIN: B0009A41VU
Release Date: 2005-10-11

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Great Bruckner Set.......2006-03-25

Haitink has long been a renowned interpreter of Bruckner, and the Concertgebouw with which he has long been associated, and who can also lay claim to a rich Bruckner tradition dating back to Mengelberg, are in possession of arguably the ideal 'Bruckner sound'. This cycle was one of Haitink's first major projects with the Concertgebouw, and in many ways it shares a common approach with the Bruckner of Van Beinum.
In any case, the principal virtues of these recordings, apart from the fabulous orchestral playing, are Haitink's own virtues: patience, structural sense, and honest musicianship. Apart from Tintner very few could lay claim to such virtues, in addition to Haitink's command of the orchestra in all its facets. And of course, this approach is perfect for Bruckner.

All in all -- I would have to recommend this as probably the best overall cycle, and one which will reward a lifetime's listening.

The Essential Hyperion (Label Highlight Compilation)

Average customer rating:

A MUST BUY!!!
Great music, Excellent Value!
This truly is essential!

The Essential Hyperion (Label Highlight Compilation)
Henry Purcell , Charles Villiers Stanford , Sheppard, John , Haydn, Joseph , Satie, Erik , Schumann, Robert , and Shostakovich, Dmitri
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Essential Hyperion, Vol. 2
Essential Purcell

ASIN: B000002ZDX
Release Date: 1995-02-13

Tracks:

Concerto For Two Trumpets, 1687: Allegro
Abdelazer: Rondeau
Who Can From Joy Refrain?: A Prince Of Glorious Race
The Morning: The Glitt'ring Sun
The Ephesian Matron, Or The Widow's Tears: Vaudeville
Magnificat In G
Libera Nos
Cantigas de amigo: My Love's Coming Home
My Lady, You Do Great Wrong
Locus iste
Symphony No 14 In A: Tempo di Minuetto
Symphony No 94 In G (The 'Surprise' Symphony): Finale
Gymnopedie No. 1: Gymnopedie No. 1 (Orchestrated By Debussy)
Liederkreis op. 39: Waldesgesprach
Album Leaf In Waltz Form
Prelude And Fugue In A, Op. 87, No. 7
Phil The Fluter's Ball
Piano Concerto In C Sharp Minor, Op. 30: Allegro
O salutaris hostia
Da quel sembiante, D. 688, No. 3
Sonata In G Minor, Op. 5, No. 5: Vivace
Clarinet Quartet No 1 In E Flat, Op. 2: Rondo
String Sextet In A, Op. 48: Furiant
Sherzo In A minor, Op. 81, No. 2
Come You, Mary, Op. 21, No. 2
Chorale Prelude 'Nun freut euch, lieben Christen g' mein'
Deus in adiutorium
Sortie In E Flat

Customer Reviews:

A MUST BUY!!!.......2001-03-03

If I had to choose one CD to spend a month locked in isolation with, this would be the one. Its varied but it flows well together. It's restive and soothing. The quality is beyond excellent!!! At the price, anyone is a fool not to own it, and give it lavishly as gifts. Its gorgeous, lush and fabulous! Everyone that hears it in our home, falls in love with it!

Great music, Excellent Value!.......2000-07-26

Rarely can one buy so much good music for so little. This compilation features almost 80 minutes of high quality music.

This truly is essential!.......1999-10-23

What a brilliant idea from one of our leading record companies! On this disc, they have assembled a programme of