Bruckner:Symphony No. 2

On this CD:

1. Symphony No. 2 in C Minor (Symphony of Pauses) (Original version; Herbeck version), WAB 102
Composed by Anton Bruckner
Performed by Saarbrucken Radio Symphony Orchestra
Conducted by Hiroshi Wakasugi

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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

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

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra
Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
Symphonies 1-9
Bruckner Motets
Bruckner: Symphony No. 4 / Karl Böhm

ASIN: B000001GQ6
Release Date: 1996-01-23

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

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 highlights from their vast collection of choral, vocal, orchestral, and solo instrumental music that is very satisfying. As with most CDs of this sort, it is a case of some tracks not appealing as much as others- I for instance am a lover of choral music so the gorgeous renditions of Stanford's "Magnificat" by St. Paul's Cathedral Choir or John Sheppard's divine motet "Libera Nos" by the Sixteen are obvious preferences of mine. However, whether you seek dyed-in-the-wool orchestral classics as Haydn's "Surprise" Symphony, less familiar works performed by period artists (such as "'E irei Madr'a Vigo" by ancient Spanish composer Martin Codax), or snippets of breathtaking instrumental solos (such as the rousing performance of Lefebure-Wely's "Sortie in E flat" which is sadly only an excerpt), this disc is bound to have something on it for you. And all of it is finely recorded.

Average customer rating:

I think this is the best recording of this symphony
a wonderful recording.it has a rightness about it.
Tintner's Grand Achievement
Glorious Bruckner!
The Carragan Edition

Bruckner: Symphony 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Anton Bruckner: Symphony No. 1 in C minor (Unrevised Linz Version, 1866, prepared by William Carragan from the critical report of Robert Haas) / Adagio (1876) to Symphony No. 3 in D minor - Georg Tintner
Anton Bruckner: Symphony No. 3 in D minor (1873 Original Version, ed. Nowak) - Georg Tintner
Anton Bruckner: Symphony No. 6 in A major - Georg Tintner
Anton Bruckner: Symphony No. 7 in E major (ed. Haas) - Georg Tintner
Anton Bruckner: Symphony No. 9 (ed. Nowak) - Georg Tintner

ASIN: B0000060D5
Release Date: 2000-04-11

Tracks:

Ziemlich Schnell
Scherzo: Schnell
Andante: Fierlich, Etwas Bewegt
Finale: Mehr Schnell

Customer Reviews:

I think this is the best recording of this symphony.......2006-03-11

It is not as popular as the other symphonies. Still you can find Barneboim (boring), Sarbriken (not too bad) and Chaily which is pretty good.
But Tintner really shines in this delicate symphony.
I only wish Celibidach had recorded it...

a wonderful recording.it has a rightness about it........2005-10-31

This is the first time i've heard Bruckner 2 and this performance simply forces you to listen from the very outset.Bruckner can be tricky to grasp on first hearing but in Tintner's performance the argument is wonderfully lucid while not glossing over the rough hewn quality which is part of the essence of Bruckner.Orchestral playing is not up to the standards of Berlin(Karajan) or Dresden (Jochum)but this isn't a paramount issue.I can't imagine a more persuasive recording of Bruckner 2.

Tintner's Grand Achievement.......2005-10-07

Sometimes you are distracted from getting the full measure of an interpretation. That had been the case with me until last evening as I walked to Tintner on Bruckner 2. Tintner brings us great pleasure with this glorious romantic interpretation. It's the Andante that revealed itself to me in all its glory - Tintner placing each note in its proper perspective. Put this on your list of the best classical recordings! Buy it, and you'll never regret it.

Glorious Bruckner!.......2004-05-26

Having seen Georg Tintner conduct on numerous occassions I can honestly say his genius in this repetoire is truly spellbinding. He conducted here in Canada Symphony Nova Scotia and yet I always felt he need a larger ensemble to create the canvas of sound so needed for the Romantic music he was so attuned to.

His skills at balance and getting the right colours for the music are much in evidence here. This Irish orchestra is incredible as well and perform with such conviction one almost thinks it's the Vienna Philharmoncic.

The Carragan Edition.......2001-01-05

This is actually the second recording of the Carragan Edition of Bruckner's Symphony No.2. Eichorn and the Linz Bruckner Orchestra offer this edition in two different releases. One, a two-disc set, also includes the 1873 revision of 1872. In 1873 the scherzo was moved to the more familiar third movement position. The other touches are too subtle to note, and I'm not sure anyone but a Bruckner scholar could spot the changes.

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
The Musician Plays The Instrument
Playing For The Audience
Programming The Brain
Czardas
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
Sym Fantastique: Dies Irae
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
Romeo And Juliet (Exc) - Chicago SO/Carlo Maria Giulini
Con: 2nd Movt (Exc) - Chicago SO/Fritz Reiner
Petrouchka (Exc) - Chicago SO/James Levine
Sym No.4: 1st Movt (Exc) - Chicago SO/Jean Martinon
Sym No.4: 1st Movt (Exc) - Chicago SO/Daniel Barenboim
The Key For Communicating In Music
Pictures At An Exhibition: The Great Gate Of Kiev (Exc) - Chicago SO/Fritz Reiner

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.

Bruckner: Symphony No. 6 in A (Nowak ed.) / Wolf: 4 Goethe-Lieder

Average customer rating:

terrific sound
Fine Bruckner, even finer Wolf
An interpretative failure
To the nay-sayers : This one is excellent !
The problem is simpler than you think

Bruckner: Symphony No. 6 in A (Nowak ed.) / Wolf: 4 Goethe-Lieder

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony No. 8

ASIN: B00000J9FT
Release Date: 1999-06-15

Tracks:

Harfenspieler-Lieder: I. Wer sich der Einsamkeit ergibt
Harfenspieler-Lieder: II. An die Turen will ich schleichen
Harfenspieler-Lieder: III. Wer nie sein Brot mit tranen ass
Anakreons Grab
Symphony No.6 In A Major: I. Maestoso
Symphony No.6 In A Major: II. Adagio: Sehr feierlich
Symphony No.6 In A Major: III. Scherzo: Nicht schnell - Trio: Langsam
Symphony No.6 In A Major: IV. Finale: Bewegt, doch nicht zu schnell

Amazon.com essential recording

Why has Bruckner's Sixth Symphony remained relatively unfamiliar compared to his other mature masterworks? After all, it features thrilling orchestral effects, is decked out with profuse variety, and includes one of the composer's most grippingly beautiful slow movements. Bruckner also found it to be one of his boldest statements; in this account (Nowak Edition), Riccardo Chailly presses down against the veins of tension coursing through the symphony to create a largely exciting, charged momentum, particularly effective in the symphony's rhythmically overdetermined climaxes. He seems less interested in pursuing Brucknerian repose and serenity than Georg Tintner (who has recorded a splendid Sixth in his budget series on Naxos) and never achieves the sustained level of organic inevitability that still makes Klemperer's classic account the touchstone interpretation. Still, there's plenty of poetry in his voicing of Bruckner's unusually lush garlands of melody in the Adagio and a driving pulse that's hair-raising in the especially scary Scherzo. Chailly gets a fine performance from the Concertgebouw, above all in the unstoppered brilliance of the horns and trumpets (listen to their antiphony in the long first-movement coda for an especially magical effect). The coupling with four orchestrated Goethe songs by Hugo Wolf--one of the happy few to understand Bruckner in his time--shows off Matthias Goerne's ravishing, always-expressive tone, and makes a choice lagniappe. --Thomas May

Customer Reviews:

terrific sound.......2006-03-11

I liked this razor sharp recording a lot (and I own quite a few others). The conducting is excellent in my opinon. The orchestra playes when it should and stops in the breaks.
Celibadache's is very good also though not as accessible.
Klemperrer's is excellent conducting-wise, but the level of playing is not as good as in this recording.
Highly recommended.

Fine Bruckner, even finer Wolf.......2002-04-20

The primary appeal of this disc for me was the Bruckner, one of his more underrated symphonies. I already own an outstanding version by Wolfgang Sawallisch on Orfeo, but was not about to miss this one, which turns out to be an excellent performance.

Chailly's way with Bruckner, like his Mahler, emphasizes the inner voicing. For me it works, but clearly it may not for all Brucknerites (many of whom hold very strong opinions!). If there are more moments here that feel "wandering" it is probably the fault of the score, not Chailly's interpretation. Nevertheless, the quality of the orchestral playing, and many fine passages throughout, make it worth hearing.

The real discovery were the Wolf songs, gorgeously sung by Matthias Goerne. If you like the Straussian long line, these beautifully orchestrated gems will probably appeal to you. This was also my introduction to Mr. Goerne, a formidable singer indeed.

Since most recordings of the Bruckner Sixth have no couplings, this one gets a strong vote for including these compelling Wolf pieces.

An interpretative failure.......2001-05-09

First of all, let's please stick to reviewing the recording itself rather than others' reviews. That to me is a start toward rationality.

As a conductor, I can attest to the well recognized fact that Bruckner's Sixth is a tough nut to crack. There are a lot of musical challenges which if not properly treated, will easily disintegrate the structure of this work. Bruckner's thematic materials are normally expanded through patient development. This telescoping effect requires foresight, and superb control form the part of the conductor, and Chailly in this particular recording failed to do so. The music starting from the middle of the first movement begins to fragment to multiple directions. To these ears the first movement is the weakest in this recording. And that delivers the early yet fatal blow. The Concertgebouw, which is my favorite orchestra, play like a well-polished ensemble but without a much needed sense of direction. Too bad.

I personally has less problem with the tempo than with the overall integrity of the music. The second movement could be a little slower, but it doesn't bother me. I would probably have guessed this to be a late Karajan work if I were to listen to the second movement blinded. For the orchestral color was so incredibly well blended, but absolutely failed to highlight the significance of the thematic recapitulation, for I didn't sense the music going anywhere. It was reduced to a rich, sonorous, exciting symphonic sound with absolutely nothing more to say. That by itself is a major failure to these ears.

I am perfectly ready to overlook the errors (some rather glaring) in the first movement for I don't believe in note-perfect performance, but I came away not feeling the greatness of Bruckner in this recording.

And Anton Bruckner is my hero...

To the nay-sayers : This one is excellent !.......2000-12-06

This one is for the nay-sayers. I read your discussion with interest and I must say I obviously disagree with the criticism. The point is, what do you ask from Bruckner. Do you want to silence your conscience for not going to church by engulfing yourself in the so-called religious depths of Bruckner. Or do you want to be enlightened by Bruckner's sublime manipulation of tonal colours and orchestral textures and large architecture. I myself am a convinced atheist. Yet I find immense pleasure in Bruckners opus. On the other hand I'm incredibly bored by the Klemps, Jochums, Celibedaches et. al. Not because they are not quick enough, but because imo they fail to see that Bruckner above all is MUSIC and not a holy mass. I've had a similar discussion about Wagner's Gotterdammerung, which imo is also ruined by the hordes of conductors who just want to grail-resonate in act I and III and rush through all the drama that's in the story. Now back to this Chailly recording : I live in Amsterdam, a few minutes bicycle ride from the Concertgebouw. I have not been able to see this 6th, but I've had the pleasure of hearing Maestro Chailly conduct the 8th with the Concertgebouw Orchestra. Personally I can't see anything wrong with it.....except that he doesn't conduct it like Klemp et. al. But this is just a matter of taste ! It's the same as those m%r(ns who blast away every Wotan who doesn't sing the role like Hans Hotter or every conductor who doesn't conduct Wagner like Furtwangler. This sixth shines in all it's glory (aided by the fantastic recording we've come to expect from Andrew Cornall) and I can't find anything un-Brucknerian about it. The structure is very clear but at the same time Chailly leaves all room for melodic beauty and for Bruckner's harmonic magic. Most of all this is one of those conductors who clears Bruckner of the image of "sound cathedrals" by perfectly outlining every contrapunctal line in the score and yet keep the whole perfectly integrated. Granted if you're stuck on one vision of Bruckner you're bound to hate this recording, but on the other hand if you love Bruckner's music qua music (as opposed to qua spiritual meaning) I can't imagine someone to dislike this recording. I don't think that Chailly goes for effectiveness, since I know him to be a very conscientious conductor whose integrity towards the music is beyond doubt. In the line of great Brucknerians, which for me consits of Haitink, Wand and very maybe Celibedache Chailly holds for me a fully justified place. Happy listening to whomever cares to explore this Bruckner miracle !

The problem is simpler than you think.......2000-07-12

Let's simplify this, folks: there are two ways to do Bruckner, fast or slow. Sometimes they both work well in the same work, but not in the same performance, and that's what causes Chailly to make something close to twaddle here in the bottom of the Sixth.

He's off to the races here, chuckling along there. There's an overuse of the rubato. There were obviously a lot of takes which means maybe there wasn't a lot of rehearsal for this one. Chailly seems to be trying to get the work to "display" as he goes along, but it won't budge. He doesn't have the key to the kingdom.

But cut him some slack, folks, a lot of maestri have made a mess of this one, too. Let's face it: it's the weak sister in both Jochum sets, the Tintner, the Haitink, the Inbal (whatever version he might be trying out this week). Reichert, Walter, Steinberg, Solti (a lot worse than this), Rosbaud, Sawallisch and Karajan couldn't do much with the thing, either. Bohm was so out in the currents that it completely ruined Bruckner for him. It's not that it's bad work, it's a real challenge to interpret.

Yes, Horst Stein got the right idea, and Klemperer surely did. They started from that old notion of mapping out a Bruckner forest and its boundaries first, then starting in clearing through the thickets, methodically, sensibly, honestly...and accordingly, the old Sixth opens up nicely. It's no great intellectual exercize, it's just hard to do. Remember, Bruckner even found work ON it sending him off on some tangents that had to be snipped out later (by him, not the famous "editors").

Klemp and Stein knew this and planned accordingly. They, and subsequently we, were immediately rewarded for the effort.

Listening to Chailly, I think he'll have some more to say later about Bruckner's Sixth that's valid, but he'll have to get organized first. Don't hockey all over him; I have a feeling he'll be back with this to better effect.

Symphonies 1-9
Average customer rating:

Jochum Set a Welcome Addition to My Collection

First few are great, but...

A Classic

A Hierarchy of Bruckner Symphony Cycles

The very finest set Ever!!!

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

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Bruckner: Symphony No. 8

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Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra

ASIN: B00006YXOX
Release Date: 2003-04-08

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sadly, Jochum has been neglected by history...

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

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

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

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

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

Average customer rating:

Orchestra Excerpts for Viola

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

Suites | Forms & Genres | Classical | Styles | Music

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Orchestral Excerpts for Viola, with written and spoken commentary
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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
Tallis Variations
Sym No. 35
Sym No. 4
Haydn Vars
Sym No. 10
Peer Gynt
Sym No. 5
Mother Goose
Romanian Rhap No. 1
Romanian Rhap No. 2

Average customer rating:

The 20th Century Maestros (Box Set)

Manufacturer: History
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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General | Symphonies | Classical | Styles | Music

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

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Tracks:

Allegramente - Bernstein
Adagio Assai - Bernstein
Presto - Bernstein
Prophecy - Bernstein
Profanation - Bernstein
Lamentation - Bernstein
Solo - Bernstein
Pas De Deux - Bernstein
Pas De Trois - Bernstein
Coda - Bernstein
Allegro Con Brio - Kubelik
Adagio - Kubelik
Allegretto Grazioso - Kubelik
Allegro Ma Non Troppo - Kubelik
The Moldau - Smetana
Hakon Jarl - Smetana
Molto Allegro - Von Karajan
Andante - Von Karajan
Menuetto Allegretto - Von Karajan
Presto - Von Karajan
Adagio - Von Karajan
Allegro Con Grazia - Von Karajan
Allegro Molto Vivace - Von Karajan
Finale Adagio Lamentoso Andante - Von Karajan
Allegro Non Troppo - Celibidache
Andante Moderato - Celibidache
Allegro Giocosco - Cilibidache
Allegro Energico - Celibidache
Overture - Celibidache
March - Celibidache
Variations - Celibidache
Trepak - Celibidache
Danse Arabe - Celibidache
Danse Chinose - Celibidache
Danse De Mirlitons - Celibidache
Valse Des Fleurs - Celibidache
Largo E Maestoso - Dorati
Lento - Dorati
Andantino Quasi Allegretto - Dorati
Allegro Molto - Dorati
Allegro Molto Moderato - Dorati
Adagio - Dorati
Allegro Moderato Molto E Marcato - Dorati
Andante Allegro Con Anima - Fricsay
Andante Cantabile Con Alcuna Licenza - Fricsay
Valse Allegro Moderato - Fricsay
Final