Bruckner: The Complete Symphonies (00-9) [Box set]

Editorial Reviews
Amazon.com
George Tintner's sudden, untimely death in the fall of 1999 coincided with the completion of his Naxos cycle devoted to Bruckner's complete symphonies. In nearly every case where more than one Bruckner version exists, Tintner favors the composer's first thoughts. Thus we have the first recording of Symphony No. 1 in its unrevised 1866 version, the original 1872 Second, plus the seldom heard 1873 Third and 1887 Eighth. By contrast, Tintner preferred Bruckner's revised Fourth of 1878/80, with its new and beloved "hunting" Scherzo. He also makes eloquent cases for the early "Study Symphony" No. 00 and "Die Nullte" (Symphony No. 0). The performances are beautifully sculpted, spaciously paced, and never dragging. Soft passages are full-bodied and vocally informed, while the magisterial climaxes congeal without losing textural differentiation between orchestral sections. The orchestras may not boast the tonal refulgence and lungpower you find in Jochum's Dresden Staatskapelle Bruckner recordings, or the best of Günter Wand's live accounts. Yet you can tell that Tintner's musicians constantly give their all. Certainly, you won't find as interesting or as moving a Bruckner cycle at Naxos's super-bargain price. Tintner's scholarly, heartfelt, and pedantry-free annotations, moreover, prove as articulate and caring as his music making. --Jed Distler

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

The Glorious Reissue Game

Bruckner: Symphonies [Complete]
Eugen Jochum , Stanislaw Skrowaczewski , Anton Bruckner , and Dresden Staatskapelle
Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: The Complete Symphonies (Box Set)
Mahler: Symphonies 1-10; Das Lied von der Erde
Gustav Mahler: Symphonies 1-10 / Das Lied von der Erde - Frankfurt Radio Symphony Orchestra / Eliahu Inbal
Dvorák: The Masterworks [Box Set]
Complete Symphonies (Box)

ASIN: B000BLI3LQ
Release Date: 2005-10-25

Customer Reviews:

The Glorious Reissue Game.......2005-11-21

As the previous review stated correctly, this is indeed the EMI set of Jochum (his second, with the Dresden Staatskapelle) - and for good meassure BRILLIANT threw in the "Nullte" (0) with Skrowaczewski. That being established, it gets a hearty recommendation because you get an additional (and very well performed) Bruckner symphony for less money. Jochum's Bruckner is nothing if not very good and reliable... ever consistent (there is little give or take between this and the earlier Munich/Berlin cycle on DG) and respectful to Bruckner. Jochum's is the safest of recommendations in complete Bruckner sets - and that's not damning with faint praise, either. I may prefer Guenter Wand or Celibidache (an extroverted choice if you haven't already come well acquainted with Bruckner) but I never mind returning to Jochum.

The EMI set can easily be had for less than $81 dollars, taking the edge of this set's price advantage... then again, you should soon enough see this set for far less than $62, too. We can only assume that these recordings have been licensed from EMI (why would EMI do that, when their set is still on the market?) - if not, grab it now before they win another lawsuite (as in the case they settled with Naxos, causing Naxos to withdraw all their recordings based on 50+ year old EMI/Polygram recordings)

Don't be afraid of this set's low price - it's not "so cheap, it can't be good". This is - as often (if not always) with Brilliant - some of the finest that there is to offer and no one would regret the purchase. Those who have thought about getting the EMI cycle on top of the DG cycle have now 21 more arguments to do so, too.

Average customer rating:

Bruckner: Symphonies [Complete]

Manufacturer: Brilliant
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Average customer rating:

GLORIOUS BRUCKNER!

Bruckner: Complete Symphonies

Manufacturer: Camerata
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B000001ZL5
Release Date: 1996-10-01

Tracks:

Sym 'Nullte' in d, WAB 100: I. Allegro - Bruckner Orch Linz/Theodor Guschlbauer
Sym 'Nullte' in d, WAB 100: II. Andante - Bruckner Orch Linz/Theodor Guschlbauer
Sym 'Nullte' in d, WAB 100: III. Scherzo. Presto - Bruckner Orch Linz/Theodor Guschlbauer
Sym 'Nullte' in d, WAB 100: IV. Finale. Moderato-Allegro Vivace - Bruckner Orch Linz/Theodor Guschlbauer

Tracks:

Sym No.1 in c, WAB 101: I. Allegro - Bruckner Orch Linz/Martin Sieghart
Sym No.1 in c, WAB 101: II. Adagio - Bruckner Orch Linz/Martin Sieghart
Sym No.1 in c, WAB 101: III. Scherzo. Schnell/Trio. Langsamer - Bruckner Orch Linz/Martin Sieghart
Sym No.1 in c, WAB 101: IV. Finale. Bewegt, Feurig - Bruckner Orch Linz/Martin Sieghart

Tracks:

Sym No.2 in c, WAB 102: I. Allegro
Sym No.2 in c, WAB 102: II. Scherzo. Schnell/Trio. Gleiches Tempo
Sym No.2 in c, WAB 102: III. Adagio Feierlich, Etwas Bewegt
Sym No.2 in c, WAB 102: IV. Finale. Mehr Schnell

Tracks:

Sym No.3 in d 'Wagner', WAB 103: I. Mehr Langsam, Misterioso - Bruckner Orch Linz/Martin Sieghart
Sym No.3 in d 'Wagner', WAB 103: II. Adagio, Bewegt, Quasi Andante - Bruckner Orch Linz/Martin Sieghart
Sym No.3 in d 'Wagner', WAB 103: III. Ziemlich Schnell - Bruckner Orch Linz/Martin Sieghart
Sym No.3 in d 'Wagner', WAB 103: IV. Allegro - Bruckner Orch Linz/Martin Sieghart

Tracks:

Sym No.4 in E flat 'Romantic', WAB 104: I. Bewegt, Nicht Zu Schnell - Bruckner Orch Linz/Martin Sieghart
Sym No.4 in E flat 'Romantic', WAB 104: II. Andante Quasi Allegretto - Bruckner Orch Linz/Martin Sieghart
Sym No.4 in E flat 'Romantic', WAB 104: III. Scherzo, Bewegt/Trio. Nicht Zu Schnell. Keinesfall... - Bruckner Orch Linz/Martin Sieghart
Sym No.4 in E flat 'Romantic', WAB 104: IV. Finale. Bewegt, Dich Nicht Zu Schnell - Bruckner Orch Linz/Martin Sieghart

Tracks:

Sym No.5 in B flat, WAB 105: I. Intro, Adagio/Allegro
Sym No.5 in B flat, WAB 105: II. Adagio, Sehr Langsam

Tracks:

Sym No.5 in B flat, WAB 105: III. Scherzo/Molto Vivace (Schnell)/Trio, Im Gleichen Tempo
Sym No.5 in B flat, WAB 105: IV. Finale, Adagio/Allegro Moderato

Tracks:

Sym No.6 in A, WAB 106: I. Majestoso
Sym No.6 in A, WAB 106: II. Adagio. Sehr Feierlich
Sym No.6 in A, WAB 106: III. Scherzo. Nicht Schnell/Trio. Langsam
Sym No.6 in A, WAB 106: IV. Finale. Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.7 in E, WAB 107: I. Allegro Moderato
Sym No.7 in E, WAB 107: II. Adagio. Sehr Feierlich Und Sehr Langsam
Sym No.7 in E, WAB 107: III. Scherzo. Sehr Schnell
Sym No.7 in E, WAB 107: IV. Finale. Bewegt, Dich Nicht Schnell

Tracks:

Sym No.8 in c, WAB 108: I. Allegro Moderato
Sym No.8 in c, WAB 108: II. Scherzo. Allegro Moderato
Sym No.8 in c, WAB 108: III. Adagio. Feierlich Langsam/Doch Nicht Schleppend
Sym No.8 in c, WAB 108: IV. Finale. Feierlich, Nicht Schnell

Tracks:

Sym No.9 in d, WAB 109: I. Feierlich, Misterioso
Sym No.9 in d, WAB 109: II. Scherzo. Bewegt, Lebhaft/Trio. Schnell

Tracks:

Sym No.9 in d, WAB 109: III. Adagio. Langsam, Feierlich
Sym No.9 in d, WAB 109: IV. Finale (Misterioso, Nicht Schnell)

Customer Reviews:

GLORIOUS BRUCKNER!.......2001-12-14

i cannot help after seeing this set of recordings here at amazon but write a review as i believe this is the most listenable complete set of bruckner's symphonies on the market. yes, there are more 'famous' conductors and recordings and i have heard them all, but i keep returning to this set for my real enjoyment of this great masters work. this is not bombastic or neurotic bruckner as some recordings are even by famous conductors and labels. the phrasing is also excellent. overall structure is well maintained by all three conductors. i have only seen one negative review of these recordings and it comes from Fanfare magazine. this is not surprising as they have been known for years not to give good reviews to anything other than the record companies who pay them ....(...).

Bruckner: The Complete Symphonies (00-9)

Average customer rating:

Uneven Bruckner
Not Perfect but indispensible
spectacularly persuasive performances.
Great interpretations, superbly recorded
Provincial & Un-Inspired

Bruckner: The Complete Symphonies (00-9)
Anton Bruckner , Georg Tintner , and Royal Scottish National Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Bruckner: Symphony No.7
Sibelius: The Complete Symphonies, Kullervo
Bruckner: Symphony No. 9
Complete Mozart Symphonies / Pinnock, English Concert
Dvorák: The Symphonies

ASIN: B00005QISB
Release Date: 2002-02-19

Tracks:

Allegro
Adagio
Scherzo: Schnell
Finale: Bewegt, Feurig
Bewegt, Quasi Andante: Feierlich

Tracks:

Ziemlich Schnell - Georg Tintner
Scherzo: Schnell - Georg Tintner
Andante: Feierlich, Etwas Bewegt - Georg Tintner
Finale: Mehr Schnell - Georg Tintner

Tracks:

Gemassigt, Misterioso
Adagio: Feierlich
Scherzo: Ziemlich Schnell
Finale: Allegro

Tracks:

Bewegt, Nicht Zu Schnell
Andnate, Quasi Allegretto
Scherzo: Bewegt
Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Adagio - Allegro
Adagio
Scherzo: Molto Vivace
Finale: Adagio - Allegro Moderato

Tracks:

Maestoso - New Zealand Symphony Orchestra
Adagio: Sehr Feierlich - New Zealand Symphony Orchestra
Scherzo: Nicht Schnell - Trio: Langsam - New Zealand Symphony Orchestra
Finale: Bewegt, Doch Nicht Zu Schnell - New Zealand Symphony Orchestra

Tracks:

Allegro Moderato
Andante: Sehr Feierlich Und Sehr Langsam
Scherzo: Sehr Schnell - Trio: Etwas Langsamer
Finale: Bewegt, Doch Nicht Schnell

Tracks:

Allegro Moderato - Georg Tintner
Scherzo: Allegro Moderato - Trio: Allegro Moderato - Georg Tintner
Adagio Feierlich Langsam, Doch Nicht Schleppend - Georg Tintner

Tracks:

Finale: Feierlich, Nicht Schnell - Georg Tintner
Allegro - Georg Tintner
Andante - Georg Tintner
Scherzo: Presto - Trio: Langsamer Und Ruhiger - Georg Tintner
Finale: Moderato - Georg Tintner

Tracks:

Feierlich, Misterioso
Scherzo: Bewegt, Lebhaft
Adagio, Langsam, Feierlich

Tracks:

Allegro Molto Vivace
Andante Molto
Scherzo: Schnell
Finale: Allegro
Allegro Moderato

Amazon.com

George Tintner's sudden, untimely death in the fall of 1999 coincided with the completion of his Naxos cycle devoted to Bruckner's complete symphonies. In nearly every case where more than one Bruckner version exists, Tintner favors the composer's first thoughts. Thus we have the first recording of Symphony No. 1 in its unrevised 1866 version, the original 1872 Second, plus the seldom heard 1873 Third and 1887 Eighth. By contrast, Tintner preferred Bruckner's revised Fourth of 1878/80, with its new and beloved "hunting" Scherzo. He also makes eloquent cases for the early "Study Symphony" No. 00 and "Die Nullte" (Symphony No. 0). The performances are beautifully sculpted, spaciously paced, and never dragging. Soft passages are full-bodied and vocally informed, while the magisterial climaxes congeal without losing textural differentiation between orchestral sections. The orchestras may not boast the tonal refulgence and lungpower you find in Jochum's Dresden Staatskapelle Bruckner recordings, or the best of Günter Wand's live accounts. Yet you can tell that Tintner's musicians constantly give their all. Certainly, you won't find as interesting or as moving a Bruckner cycle at Naxos's super-bargain price. Tintner's scholarly, heartfelt, and pedantry-free annotations, moreover, prove as articulate and caring as his music making. --Jed Distler

Customer Reviews:

Uneven Bruckner .......2006-06-13

I have just listened to all of the works on this recording and have amibelant feelings about certain elements of the approach to these works....Tintner was certainly a very fine Bruckner scholar and I do not hesitate in adding I think the 7th is the strongest of all of the interpretations here. One problem is the tendency to use slow tempi's especially in No. 5 which really is a hindrance to expressive playing.

In all I find the 3rd and the 5th to be very weak points interpetively with tempos plodding along and in the 3rd the first movement alone is over half an hour. ON top of the the 3rd is very dull throughout and lacks bite.

The 4th is given a very academic style treatment and is no better than alot of lesser conductors in this repetoire...Jochum elicits more excitement from both Berlin and Dresden.

As to the 6th I find the Tinter performance quite good in the outer movements but the slow music far too monochrome.

As to the 8th I tend to find the interpretation to literal with very little warmth...

The 2cd is the greatest performance on this set with no doubt.

The 1st symphony is quite good but does not excel Jochum or even Karajan.

Not Perfect but indispensible.......2006-05-30

I purchased this box set after having heard only the 7th,4th, and 9th symphonies, and each performed by different conductors. Therefore I was very new to Bruckner and hardly understood his symphonies, however I knew there was something special about his music. So I decided to get a Box set since I was resolved on hearing all of Bruckner's symphonies. I decided on this one largely from the good reviews and the fact that it contained 11 symphonies. Now that I consider myself a Brucknerite and have heard other conductors versions of many of these symphonies in NO way do I regret buying this box set. Although it is not perfect, the 9th,5th,7th,and 4th being in mind; the other symphonies are superb. But even this is not the main reason one should hear this set. I value these performances because they represent in mnay cases Bruckner's original versions. I am thinking mostly about the 3rd and 8th when I say I am very glad I heard these symphonies first before any other versions. It is quite evident that Tintner really loved Bruckner's music and wished to convey that sentiment to the world. Although this set cannot be considered the definitive Bruckner recordings (the 3rd and 8th come awfully close) I would warmly recommend it to anyone new to Bruckner, or anyone wishing to hear the Master's original ideas.

spectacularly persuasive performances........2005-12-13

Tintner's is a glorious cycle.There's a warm glow to these readings which is ultimately awe inspiring.The early symphonies are a particular triumph partly on account of the editions he opts for but also some spectacularly successful slow tempos(3rd symphony,ist movement)
Can't understand the reviewer below (Jeffrey Lipscomb)
who describes the performances as sincere but pedestrian.This is most definitely NOT the case!

Great interpretations, superbly recorded.......2004-10-06

I have heard Jochum's and Karajan's recordings of Bruckner and Tintner grasp of this material equals theirs. The Irish and Scotish orchestras he uses are fully up to the task and the Naxos engineers did a great job getting this on disk just before Tinter's death. Even if you have other sets this one is worth having because of the rarely performed editions he uses of the second, third and eighth symphonies. Tinter's commentary in the accompanying booklet is informative and entertaining. The inclusion of the 0 and 00 symphonies is a great bonus.

Provincial & Un-Inspired.......2004-05-15

I have mixed feelings about writing a negative review of this set - it's obviously a sincere effort. But there is a great deal more to Bruckner than what Tintner offers here. So let's take a brief look at each symphony, the "versions" available, and some other performances of greater distinction. Tintner does have good moments: they can be heard on single CDs in lieu of purchasing this entire set.

"Study" Symphony (aka "00"). At 37:09, Tintner's performance of this minor work is the shortest ever (no exposition repeats in mvts. I & IV). Not much competition here - the coupling is the "Volkfest" finale from an early version of the 4th - it's a keeper.

#1. Tintner's is the only account of the original 1866 Linz version: indispensable. Far better as a performance is Jochum's 1877 Linz (DG) - I feel it is Jochum's best account of ANY Bruckner symphony. The 1893 Hynais edition, done with crusty swagger by Volkmar Andreae (1879-1962), was once on a Masterseal LP.

#0. Bruckner's third in order of composition - one wag called it the "Zeroica." Haitink (whom I generally dislike) offers much better playing than Tintner, whose Scherzo is too slow. I prefer the slightly ragged Henk Spruit (Concert Hall LP).

#2. Tintner's "1872 First Concept" version can be heard in a better account by Eichhorn and the Linz Brucknerhaus (Camerata). Andreae is superb in the 1877 Haas (Amadeo LP), and Jochum (DG) is tops for the 1877 Nowak.

#3. Tintner (the original 1873 version) is ponderous at 77:43. Inbal's 65:12 is better, but both are pedestrian. My favorite 3rd is Knappertsbusch ("Kna"), using the 1890 version (Tahra 132/135). In stereo, Schuricht (Preiser) and Jochum (DG) are both excellent.

#4. A fine reading of the 1874 original by Kurt Woss was on a Linz Brucknerhaus LP. Tintner (1881 Haas) is glacially slow at 73:39 - at least it doesn't coagulate like Celbidache's absurd 78:28 (EMI). Neither matches Schuricht (Archiphon). My other favorites are Andreae (using Nowak, on Orfeo) & Furtwangler (Loewe, on Orfeo).

#5. 1878 Haas/Nowak: nearly identical. Tintner (Nowak) is prosaic; just compare him to Abendroth (Arlecchino) and you'll hear what I mean. My other favorites: Furtwangler (DG), Schuricht (Musica Classica), and (in Loewe) Kna (M&A 1105). Horenstein (BBC) is the best stereo choice.

#6. Haas/Nowak (1878): no major difference. Tintner's literal account is the low point of his set. Even so, he's better than the rudderless Sawallisch (Orfeo), and his 16:35 Adagio is preferable to the brusque Klemperer (14:42 on EMI). My favorite is Heinz Bongartz (Berlin Classics). The only recording of the 1899 Hynais edition is the superb Adler (Tahra).

#7. To over-simplify: either go Nowak (cymbal clash & triangle at the Adagio's climax), or go Haas (which omits them). Tintner's Haas is a good one - but Rosbaud (Vox) and Otterloo (Epic LP) are even better. My favorite Nowaks are Furtwangler (EMI) and Kna (Preiser).

#8. Tintner & Inbal are the only choices for the original 1887, which I feel is inferior to the later versions (e.g., the later 1st mvt. quiet ending is more effective than the original's loud crash). Inbal's 75:39 is preferable to Tintner's lumbering 89:28. Haas/Nowak diverge hugely in the 8th: I prefer Haas and opt for Horenstein (BBC), Beinum (MHS), Kempe (Somm), and Schuricht (EMI). The Karajan/VPO (DG) strikes me as impersonal, uninvolving, and rather slick. Furtwangler's hybrid edition (Testament) is the most powerful performance of all; it is rivalled only by his earlier account (DG). The 1892 Schalk is best served up by Kna (Tahra 207/8).

#9. The 3 mvt. choice: original 1894 or the heavily revised 1903 Loewe. This is one of Tintner's best, but in stereo I prefer Schuricht (EMI) and Keilberth (Telefunken LP). Kna is excellent in the Loewe (Tahra 208). But for me, the greatest Bruckner 9th is the intensely anguished Furtwangler (M&A 730). As for the "completed" 9ths, none has persuaded me so far.

Tracks:

Sym 'Nullte' in d, WAB 100: I. Allegro - Bruckner Orch Linz/Theodor Guschlbauer
Sym 'Nullte' in d, WAB 100: II. Andante - Bruckner Orch Linz/Theodor Guschlbauer
Sym 'Nullte' in d, WAB 100: III. Scherzo. Presto - Bruckner Orch Linz/Theodor Guschlbauer
Sym 'Nullte' in d, WAB 100: IV. Finale. Moderato-Allegro Vivace - Bruckner Orch Linz/Theodor Guschlbauer

Tracks:

Sym No.1 in c, WAB 101: I. Allegro - Bruckner Orch Linz/Martin Sieghart
Sym No.1 in c, WAB 101: II. Adagio - Bruckner Orch Linz/Martin Sieghart
Sym No.1 in c, WAB 101: III. Scherzo. Schnell/Trio. Langsamer - Bruckner Orch Linz/Martin Sieghart
Sym No.1 in c, WAB 101: IV. Finale. Bewegt, Feurig - Bruckner Orch Linz/Martin Sieghart

Tracks:

Sym No.2 in c, WAB 102: I. Allegro
Sym No.2 in c, WAB 102: II. Scherzo. Schnell/Trio. Gleiches Tempo
Sym No.2 in c, WAB 102: III. Adagio Feierlich, Etwas Bewegt
Sym No.2 in c, WAB 102: IV. Finale. Mehr Schnell

Tracks:

Sym No.3 in d 'Wagner', WAB 103: I. Mehr Langsam, Misterioso - Bruckner Orch Linz/Martin Sieghart
Sym No.3 in d 'Wagner', WAB 103: II. Adagio, Bewegt, Quasi Andante - Bruckner Orch Linz/Martin Sieghart
Sym No.3 in d 'Wagner', WAB 103: III. Ziemlich Schnell - Bruckner Orch Linz/Martin Sieghart
Sym No.3 in d 'Wagner', WAB 103: IV. Allegro - Bruckner Orch Linz/Martin Sieghart

Tracks:

Sym No.4 in E flat 'Romantic', WAB 104: I. Bewegt, Nicht Zu Schnell - Bruckner Orch Linz/Martin Sieghart
Sym No.4 in E flat 'Romantic', WAB 104: II. Andante Quasi Allegretto - Bruckner Orch Linz/Martin Sieghart
Sym No.4 in E flat 'Romantic', WAB 104: III. Scherzo, Bewegt/Trio. Nicht Zu Schnell. Keinesfall... - Bruckner Orch Linz/Martin Sieghart
Sym No.4 in E flat 'Romantic', WAB 104: IV. Finale. Bewegt, Dich Nicht Zu Schnell - Bruckner Orch Linz/Martin Sieghart

Tracks:

Sym No.5 in B flat, WAB 105: I. Intro, Adagio/Allegro
Sym No.5 in B flat, WAB 105: II. Adagio, Sehr Langsam

Tracks:

Sym No.5 in B flat, WAB 105: III. Scherzo/Molto Vivace (Schnell)/Trio, Im Gleichen Tempo
Sym No.5 in B flat, WAB 105: IV. Finale, Adagio/Allegro Moderato

Tracks: