Bruckner: Symphony 3

On this CD:

1. Symphony No. 3 in D Minor (Wagner) (First Definitive Version; Schalk version; Final version), WAB 103
Composed by Anton Bruckner
Performed by Glasgow BBC Scottish Symphony Orchestra
Conducted by Osmo Vanska

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

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Deutsche Grammophon: Music | Specialty Stores | Music
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:

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
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Jochum Set a Welcome Addition to My Collection

First few are great, but...

A Classic

A Hierarchy of Bruckner Symphony Cycles

The very finest set Ever!!!

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

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Bruckner: Symphony No. 8

Tchaikovsky: Symphonies Nos. 1-6

Wagner: Der Ring des Nibelungen

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

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!!!

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The Times Of Day

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

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Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000015A3
Release Date: 1995-10-09

Tracks:

Das deutsche Lied
Standchen
Ave Maria
Abendzauber
Alto Rhapsody, Op. 53
Ave Maria
Festgesang an die Kunstler - Die Tageszeiten
Der Morgen (Morning)
Mittagsruh (Midday Rest)
Der Abend (Evening)
Die Nacht (Night)

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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

Improvisation | Forms & Genres | Classical | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

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
Finale Andante Maestoso - Fricsay
Rosen Aus Dem Suden - Fricsay
Wiener Blut - Fricsay
Un Poco Sostenuto Allegro - Bohm
Andante Sostenuto - Bohm
Un Poco Allegretto E Grazioso - Bohm
Adagio Piu Andante Allegro Ma Non Troppo Ma Con Brio - Bohm
Overture Der Fliegende Hollander - Bohm
Ouvertue Le Nozze Di Fiigaro - Bohm
Allegro Moderato - Jochum
Allegro Sehr Feierlich Und Sehr Langsam - Jochum
Scherzo Bewegt - Jochum
Finale Bewegt Doch Nicht Zu Schnell - Jochum
Allegro Affetuoso - Steinberg
Intermezzo Andantino Grazioso - Steinberg
Allegro Vivace - Steinberg
Allegro Moderato - Steinberg
Canzonetta (Andante) - Steinberg
Finale Allegro Vivacissimo - Steinberg
Allegro Brillante E Molto Vivace - Kondrashin
Andante Non Troppo - Kondrashin
Allegro Con Fuoco - Kondrashin
Allegro Man Non Troppo - Kondrashin
Adagio Ma Non Troppo - Kondrashin
Finale Allegro Giocoso Ma Non Troppo - Kondrashin
Komm SuBer Tod BWV 478 - Stokowski
Adagio (From Taccata) Adagio And Fugue In C - Stokowski
Mein Jesu Was Fur Ein Seelenweh Bwv 487 - Stokowski
Es Ist Vollbracht - Stokowski
A Night On The Bare Mountain - Stokowski
Romeo And Juliet Fantasy Overture - Stokowski
Tanz Der Sieben Schleier - Stokowski
No 1 - Stokowski
No 3 - Stokowski
Allegro Ma Non Troppo - Ormandy
Intermezzo Adagio - Ormandy
Finale Alle Breve - Ormandy
Andante Ma Non Troppo Allegro Energico - Ormandy
Andante - Ormandy
Scherzo Allegro - Ormandy
Finale Quasi Una Fantasia - Ormandy
Adagio Allegro Molto - Szell
Largo - Szell
Molto Vivace - Szell
Allegro Con Fuoco - Szell
Allegro Non Troppo - Szell
Scherzando - Szell
Andante - Szell
Rondo - Szell
An Der Schonen Blauen Donau - Szell
Allegro Maestoso - Barbirolli
Romance Larghetto - Barbirolli
Rondo Vivace - Barbirolli

Album Description

German digitally remastered box-set features one disc apiece from some of the 20th century's greatest composers including, Arturo Toscanini, Leopold Stokowski, Herbert Von Karajan, Leonard Bernstein, Otto Klemperer, Eugene Ormandy & many more. 20 slimline

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FABULOUS SELECTION OF CLASSICAL MUSIC

Classics for Relaxation and Meditation

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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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.

Anton Bruckner: Symphony No. 3 in D minor (1873 Original Version, ed. Nowak) - Georg Tintner

Average customer rating:

A MOST MAGNIFICENT BRUCKNER 3RD!
OUTSTANDING!!!!! a very persuasive recording.
Stunning music and performance
a revelation
a fly in the ointment

Anton Bruckner: Symphony No. 3 in D minor (1873 Original Version, ed. Nowak) - Georg Tintner
Anton Bruckner , Georg Tintner , and Royal Scottish National Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony 2
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. 7 in E major (ed. Haas) - Georg Tintner
Anton Bruckner: Symphony No. 4 in E flat major "Romantic" (1878/80 Version, ed. Haas) - Georg Tintner
Anton Bruckner: Symphony No. 9 (ed. Nowak) - Georg Tintner

ASIN: B00003Q40K
Release Date: 2000-02-22

Tracks:

Symphony No.3 in D Minor: Gemassigt, misterioso
Symphony No.3 in D Minor: Adagio: Feirelich
Symphony No.3 in D Minor: Scherzo: Ziemlich schnell
Symphony No.3 in D Minor: Finale: Allegro

Customer Reviews:

A MOST MAGNIFICENT BRUCKNER 3RD!.......2006-05-08

A few days ago I attended a concert by the Florida Orchestra,with Stefan Sanderling conducting,which featured Bruckner's 3rd. Having never heard a Bruckner symphony in live concert I was quite excited before the performance. Slowly I became sorely disappointed. The edition Sanderling conducted was the third version (1888/89), and the version I was very familiar with was the original version (1873)played by Tintner- the one I am now reviewing. I cannot understand how any conductor would engage in such an injustice to themself, the audience, and Bruckner fans as to play the later and very truncated version. Bruckner scholars will readily admit this symphony fails structurally in more ways than one, however as they will state and the listener must realize is that Bruckner was opening new doors in symphonic writing and he himself was unsure of how to go about it. This does not mean he was an unable composer, it simply means he was entering a new world, one which he would soon perfect. As for the later versions I have done some Bruckner research and it is quite evident that Bruckner was influenced heavily by Viennese critics and his contemporaries. After the first performance the symphony was rejected and Bruckner began excising and re-orchestrating the symphony, often with his friends actively involved; friends who had no clue what Bruckner was really up to and merely wanted to help write what they wanted to hear. In his will Bruckner gives his original manuscripts to the Vienna library which contain his true intentions, and of which he frequently and significantly remarked 'for later times'.

Fortunately we have his original score and Tintner states, "To my mind this work as originally conceived suffered by its progressive mutilations more and more, and we should take the time to play and listen to this amazing original." Thank God Tintner did. The maestro does a wonderful job pulling this massive 77 minute work together. The moral of the story is this: if you want to hear the first symphony in which Bruckner is discovering/inventing a new symphonic world get this one. It is a compeling and interesting work.

OUTSTANDING!!!!! a very persuasive recording........2005-12-10

Once again,i'm struck by Tintner's magic way with Bruckner.There's a natural sweep to the peformance which lets the music unfold in a compelling manner.I've previously resisted this Symphony finding it too unwieldy but i now realise this was the result of impatient tempos and butchered editions.Even the much heralded Knappertbush 1954 recording seems less than persuasive after listening to Tintner.If you're not in awe about 16 minutes into the slow movement (when Bruckner alludes to Tannhauser)then we're on a different wavelength!

Stunning music and performance.......2005-03-15

Bruckner's fame as a symphonic composer is well deserved. He had a wonderful grasp of orchestration and emulated Wagner quite well. He also had much of the passion of a Beethoven. Bruckner's Third is, in my view, the composer's attempt to bring the influence of Wagner and Beethoven together.

I had heard the Third several years ago and was also captivated by the trumpet call early in the work. However, now a little older, I have come to appreciate the entire work better. And this appreciation is directly a result of Tintner's interpretation of this complex work and the incredible play of the Royal Scottish National Orchestra.

The first movement is a slow development with wonderful musical experiments. Some reviewers have noted that it is somewhat patchy; the transitions are not as transparent. This is somewhat true, but it must be noted that there are significant musical contrasts in this single movement. Indeed, in scale and musical content, the first movement can be considered a symphony of its own. In my opinion, patchiness is unavoidable.

The last movement is also a wonderful surprise. After a stormy beginning, the music settles into sweet flavors of symphonic poems, intertwined and freeflowing. The contrast is stark but very appealing.

The other movements serve their purpose of providing contrasts within the symphonic context. However, Bruckner does not skimp musically on them; there are wonderful musical ideas at work.

Now to the performance. Tintner's tempos are slow, emphasizing development. In my opinion, this is not to the detriment of the work. Indeed, Tintner's approach to the work is to couple the large-scale structure to the minutae of the melodic content; this requires a solid framework of tempos without being stolid. The success of this interpretation is that such tempos work to reveal the lyrical detail that Bruckner had intended to present.

The Royal Scottish National Orchestra is just wonderful. Its brass is powerful and the strings are dynamic. Despite the slow tempos, there is a sense of innate energy that is revealed through every nuance of the orchestra. The quality of the recording is also superb.

For the price, this is an excellent value. Granted that Bruckner's Third is not fare for everyone. But it is a phenomenal work and should make a wonderful addition to any classical music library.

a revelation.......2004-04-22

Like many of the other commentators reviewing this recording, I found it disconcerting and incredibly slow at first. I first heard this symphony almost 40 years ago, in the Szell recording of the last, must horribly cut version. Like most people, that's the version I got used to. So it is naturally "weird" to hear the piece with utterly different passages, and with principal melodies lengthened not just by slower tempi but by virtue of them actually being written out over more measures of music. This is the biggest change Bruckner made in this symphony: shortening the measures of the melodies, including the all-important opening theme. After about five listenings, however, one gets used to this. Once that happens, it changes everything. Now I can't listen to the later versions without thinking they sound ridiculously rushed and even shallow. There is no comparison. The only "fly in the ointment," and it's fairly minor, is that Bruckner somewhat improved the climactic endings of the first and last movements (in my humble opinion) for his later 1877 version. If only there were some kind of Haas hybrid using the later codas . . . but there isn't. In default of that, this version is the best. And Tintner's recording is by far the best of this version. A MUST BUY for any new or old Brucknerian.

a fly in the ointment.......2003-08-05

I hate to say that I'm the fly in the ointment in reviewing Tintner's CD of Bruckner's Third, but unfortunately I am. Having heard several versions of this work over the years, not the original 1873 version chosen by Tintner, I find his interpretation just too slow for my tastes. I like much better the more standard, concert version of the symphony. Sitting through 77 plus minutes for this opus is a bit too long. That's just my opinion.

Bruckner: Symphony No. 5 (with Excerpts from the Rehearsals) [Hybrid SACD]

Average customer rating:

One Of The Best Bruckner 5th Symphony Recordings Currently Available
Worst version I have heard
gorgeous, elegant sound
First Rate In Every Respect
Personal expression triumphs

Bruckner: Symphony No. 5 (with Excerpts from the Rehearsals) [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006PV58U
Release Date: 2005-03-08

Customer Reviews:

One Of The Best Bruckner 5th Symphony Recordings Currently Available.......2007-05-24

Nikolaus Harnoncourt's 2004 live recording of the Bruckner 5th Symphony performed by the Wiener Philharmoniker is among the finest available. It is definitely the most interesting release now, simply because Harnoncourt, as the fine musicologist that he is, has done a superb job in tying in all of Bruckner's musical influences, most notably Mozart's (For those interested in seeing how he's transformed his scholarship into actual practice, this recording includes a bonus CD of excerpts from rehearsals with the Wiener Philharmoniker, which some listeners may find more rewarding than the actual entire recording of the symphony itself, simply for giving them some important insights into Harnoncourt's musical scholarship and how he has translated it into intriguing, often successful, performances with many of Europe's great orchestras.). He has also relied on the most recent published corrected version of Bruckner's score. But, for those concerned primarily with performance, is this indeed the most exciting version available?

Long-time fans of Bruckner's music - of which I admit that I'm not with the notable exceptions of this symphony, the 4th, 7th, and maybe the 9th symphonies too - may find more rewarding Eugen Jochum's celebrated accounts with the Berliner Philharmoniker and the Dresden Staatskappelle. Speaking of the Dresden Staatskapelle, Giuseppe Sinopoli's 1999 recording may be the best recent recording, with a brash, bold interpretation that many may regard as far more interesting than Harnoncourt's. At best, Harnoncourt's interpretation is rather lush and warm, due of course to the exemplary musicianship demonstrated by the Wiener Philharmoniker. Primarily for these reasons I am a bit hesitant to mention Harnoncourt's interpretation of the Bruckner 5th Symphony as a definitive one, but it certainly merits attention from potential purchasers as among the most intriguing, best-performed accounts currently available.

Worst version I have heard.......2007-03-25

I really love Bruckner's 5th and have heard many versions. This is the most boring,tedious,interpretation I have ever heard.
1)There is NO flow to the 1st movement-it just stops and then starts.
2) The dynamics are either VERY loud or VERY soft.
Harnoncourt nearly kills this(wonderful) music off with the lack of flow and no spontaneous energy .We know Bruckner is blocks of sound but surely Bruckner did'nt mean like this! Yes it is the VPO-I realise their playing is always excellent,but the interpretation itself is like watching paint dry.It is so portentous and slow! I bet the VPO wished someone like Wand,or even Barenboim were conducting them instead.The recording is also curiously dead-it has no life. For an alive acoustic listen to Chailly on Decca(though his interpretation, while miles better is a little bit ordinary).
I really do not understand why this version gets great reviews.I played it to a musician friend and he also said it was terrible.
Listen to Wand with NDR(1990 recording)or Barenboim(BPO on Teldec- a very exciting 1st mvt apart from too slow an intro so bear with me)instead.

gorgeous, elegant sound.......2007-01-10

This new Bruckner 5th from Harnoncourt and the Vienna Philharmonic enters the ranks of the finest recent recordings. The late Giuseppe Sinopoli's renowned 1999 live recording with the Dresden Staatskapelle is bolder, and the late Gunter Wand's 1996 live recording with the Berlin Philharmonic is nobler, but Harnoncourt and the VPO (also recorded live) reveal a lush, elegant, even graceful Bruckner.

The 5th has been called the most classical of Bruckner's symphonies, the most perfectly symmetrical of his symphonic cathedrals, and Harnoncourt, with his deep experience in Bach and Mozart, inhabits its world easily. I agree with those reviewers who have noted Harnoncourt's tendency to focus on detail at the expense of the tempo and narrative drive and sweep (a shortcoming he shares with Gergiev), but that is not evident here. Harnoncourt does not radically reinterpret Bruckner in this magnificent 5th, but brings out a warm, burnished, elegant sound that is unique and deeply rewarding.

First Rate In Every Respect.......2006-12-08

As one who was so fortunate to have been in the Musikverein when this performance was recorded, it's a true pleasure to have this superb performance...and on SACD at that. I'll never forget being there and even if you don't have an SACD player, you can still play this CD in any player, as it is a hybrid. The dynamic range is quite stunning and while it may be over the top for some, it certainly gives you the feeling that you are in the Musikverein's Grosse Saal, which some consider the best hall in the world.

Personal expression triumphs.......2006-10-21

The Fifth is probably the least known of Bruckner's symphonies and certianly the hardest to hold together. Its sprawling structure too easily breaks down into disjointed segments, all the more when you consider how often he repeats the same material or uses the same devices. It's a rare conductor who can make the work sound completely coherent and convincing. Harnoncourt does so superbly. He approaches every section with his own expressive ideas, shifting tempos, massaging the phrase, and applying generous rubato. These personal touches heighten dramatic contrast, which would seem on the surface to be jsut the thing a disjointed symphony doesn't need.

But for works of high Romanticism like Bruckner's symphonies, strong personal expression is in fact authentic. By gripping us emotionally and keeping us on the edge of our seats, Harnoncort does what Bruckner wants. Add to this the magnificent Vienna Phil., the premiere Bruckner orchestra in the world, and you have a study in perfect style. RCA's hybrid SACD sounds very fine through a regular stereo system, but be aware that the dynamic range is huge, and it takes patience to accommodate music that whispers one moment and thunders the next.

In sum, this is a great addition to Harnoncourt's Bruckner discography, the most impressive since the era of Karajan.

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 3

Average customer rating:

What beautiful music !

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 3

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Symphony No. 3 In D Minor: I. Mehr langsam, Misterioso
Symphony No. 3 In D Minor: II. Adagio, bewegt, quasi Andante
Symphony No. 3 In D Minor: III. Ziemlich schnell
Symphony No. 3 In D Minor: IV. Allegro
Symphony No. 3 In D Minor: Applause

Customer Reviews:

What beautiful music !.......2002-06-08

Right, so Celibidache takes his music at a more spacious and broader tempo than most, but I think it works very well. The music has never sounded so serious and all the while concious of
that intangible quality Celibidache always spoke about and bashed to death in the CD booklets. I also have the Jochum Dresde Staatskapelle which is also recommended just to use as counterpoint against Celibidache's Munich performances. The Munich Orchestra has this great sound Celibidache draws upon, its almost indescribable. There is something so wonderful about the foundational bass sound that is so dark and dense- yet its never sludge!... I heard this symphony live with Yoav Talmi conducting the MontrealSymphonyOrchestra, and I was not convinced at all. But listening to Celibidache changed my mind about this piece.

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