Anton Bruckner: Symphony No. 3 in d minor

Editorial Reviews
Album Description
Fresh from this year’s Cannes Classical Awards come this latest entry in the popular Michael Gielen discography. This month we feature our Lifetime Achievement Award winner in a riveting performance of Bruckner’s troubled 3rd Symphony. Originally conceived as his “Wagner” Symphony (complete with quotes from Wagner’s operas), the score was the target of mean-spirited attacks from Bruckner’s nemesis, the critic Hanslick. Poor insecure Bruckner produced no fewer than three different versions of this score in an ongoing attempt help it find acceptance. Fortunately, those dark days are long past and we can enjoy Bruckner without fear in this epic reading of the approved 1876 revision. Bravo Bruckner!

Anton Bruckner: Symphony No. 3 in d minor, Music, Anton Bruckner, Richard Wagner, Michael Gielen, SWF Sinfonieorchester Baden-Baden, Classical, Classical Composers, German/Austrian Romantic Opera, Opera, Orchestral & Symphonic, Romantic Symphony, Symphonic
Bruckner: The Complete Symphonies
Average customer rating: 4.5 out of 5 stars
  • One of two Jochum sets of Bruckner
  • Bruckner by Jochum
  • The Best Complete Bruckner Symphonies
  • A good, but not great, Bruckner cycle.
  • Outstanding set!
 Bruckner: The Complete Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004YA0T
Release Date: 2000-11-07

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

  1. Sym No.9 in d: I. Feierlich, Misterioso
  2. Sym No.9 in d: II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
  3. 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:

4 out of 5 stars 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.

4 out of 5 stars 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.

5 out of 5 stars 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.

3 out of 5 stars 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.

5 out of 5 stars 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: 3.5 out of 5 stars
  • poco refinado
  • Poor Tuning in the Mass in E minor
  • not to be missed
  • Magnificent
 Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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  1. Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra
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  4. Bruckner Motets
  5. Bruckner: Symphony No. 4 / Karl Böhm

ASIN: B000001GQ6
Release Date: 1996-01-23

Tracks:

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

Tracks:

  1. Mass no. 2 in E minor for 8-part choir and wind orchestra: IV. Sanctus (Ruhig; mehr langsam)
  2. Mass no. 2 in E minor for 8-part choir and wind orchestra: V. Benedictus (Moderato)
  3. Mass no. 2 in E minor for 8-part choir and wind orchestra: VI. Agnus Dei (Andante)
  4. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: I. Kyrie (Moderato)
  5. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Andante, mehr Adagio - Tempo I - Ziemlich langsam)
  6. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo (Allegro - Moderato misterioso - Langsam - Largo)
  7. 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
  8. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Moderato - Allegro)
  9. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: V. Benedictus (Allegro moderato - Allegro)
  10. Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante - Moderato)

Customer Reviews:

2 out of 5 stars 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.

2 out of 5 stars 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.

5 out of 5 stars 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.

5 out of 5 stars 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.

Someone once said that God gave us music so that we could pray without words. This is the music I would expect to hear upon arrival in Heaven.
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
Average customer rating: 5 out of 5 stars
  • Symphony No. 1 - Bruckner
  • Spirited, committed Bruckner from a late-blooming conductor
  • A visionary conductor reconsiders Bruckner
  • My favorite 1!
  • Very Very Good Bruckner 1
 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 , Georg Tintner , and Royal Scottish National Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:
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  4. Anton Bruckner: Symphony No. 9 (ed. Nowak) - Georg Tintner
  5. Anton Bruckner: Symphony No. 6 in A major - Georg Tintner

ASIN: B00004SYFQ
Release Date: 2000-05-16

Tracks:

  1. Symphony No. 1 in C minor: Allegro
  2. Symphony No. 1 in C minor: Adagio
  3. Symphony No. 1 in C minor: Scherzo: Schnell
  4. Symphony No. 1 in C minor: Finale: Bewegt, Feurig
  5. Adagio To Symphony No. 3 In D Minor

Customer Reviews:

5 out of 5 stars Symphony No. 1 - Bruckner.......2007-05-17

I am glad to have this great symphony in my CD collection of classic music. I've enjoyed a lot hearing it when I have enougth time. The quality of this recording is as hight as the music itself. I strongly recommend evryone to buy this CD.

5 out of 5 stars Spirited, committed Bruckner from a late-blooming conductor.......2006-05-26

The Viennese-born Georg Tinter fled Nazi persecution of the Jews and wound up spending his musical life in New Zealnd, Australia, and Nova Scotia, far from the limelight. He rose to eminence as a Bruckner conductor largely thanks to Naxos, the label that used him for their Bruckner cycle with the Royal Scottish National Orch., a fine ensemble that itself was essentially unknown to Americans. Having completed the recordings in 1998, the 87-year-old Tintner committed suicide by jumping off his apartment balcony rather than face an agonizing end with terminal cancer.

His account of Sym. #1 displays how talented Tintner was. Early Bruckner symphonies already have the shape, intensity, and ambition of late Bruckner, but the melodies are less inspired, the orchestration hasn't found a cosmic dimension yet, and the counterpoint is feeble. Bruckner kenw where he was heading, and we can hear that, even though Sym. #1 wouldn't seem that satisfying if he had stopped here. Tintner doesn't do anything revolutionary to it--he just has a tuoch for Bruckner, keeping the rhythms alive, thrusting the climaxes forward a bit brashly at times, but always avoiding reverence and rhetoric. He makes this music feel genuine if not yet fufilling.

As an added bonus we get an alternate version of the Adagio to Sym. #3. In the thicket of Bruckner scholarship, which we amateurs enter at our peril, this 1876 revision is ocnsidered inferior for such things as the attempted Wagnerian string accompaniment to the main them on its final return, but weak or strong, Tintner gives the movement a reading as committed and enjoyable as the main work.

5 out of 5 stars A visionary conductor reconsiders Bruckner.......2002-06-29

Although the First is not the most popular of Bruckner's symphonies, it is nevertheless absorbing, not to mention tantalizing in its premonitions of the symphonies which would come later. The beginning of a new symphonic cycle can be an exciting event, and Bruckner's First, begun so late in the composer's life, is quite sophisticated - at least, in this highly evocative version by Georg Tintner and the excellent Royal Scottish National Orchestra.

This recording, the first of the original version from 1866, is very special, and Tintner's illumination will be startling for those who know the symphony. Some of the harmonic changes are almost radical, given the time period. The last movement is strange enough that it will have you rethinking the composer's work completely - no small feat. There were moments when I almost felt as if I were listening to early Schoenberg.

But small differences in the language are evident in the three prior movements as well. Without going into exhaustive harmonic detail, listening to this recording caused me to muse on how Bruckner's path might have changed, and music history altered, if this "first draft" had received overwhelming acclaim. It might have led to even more original thoughts in the subsequent symphonies. After hearing this recording, the revised versions seem, well, more conservative.

The Royal Scottish National Orchestra sounds magnificent, and I'm not even going to qualify that comment, as some have, by comparing them with other "more Brucknerian" orchestras. What has been accomplished here is huge, and the RSNO's beautiful, heartfelt playing must be considered in any assessment of success. They get the job done, and more so. The Naxos recording is gorgeous - one of their best - with glowing, realistic sound and the huge climaxes making a great impact.

But it is Tintner, who sadly died just as his Bruckner cycle was complete, who will be really missed. It is intriguing to imagine the heights he might have reached, had he lived to explore (and record) the symphonies further. And his liner notes - scholarly and persuasive - show us that he was a fine writer as well.

So I cannot recommend this disc highly enough, particularly for Bruckner fans - but anyone new to the composer will find it just as satisfying. All the Brucknerian hallmarks are here: the long phrases rising to ecstatic climaxes, the subtle chord progressions embarking on journeys to other keys, the glorious writing for massed choirs of instruments, especially the brass section. I only wish Georg Tintner were still alive so I could congratulate him on what he accomplished: a major addition to our understanding of this composer.

5 out of 5 stars My favorite 1!.......2002-03-06

This is perfect to me, it's sweet and roaring, all when it counts. Tintner has the best timing with the early Bruckner symphonies. I would say that the recordings could have been a little softer in sound but then that would have been to perfect, I suppose. Just get it!

5 out of 5 stars Very Very Good Bruckner 1.......2000-11-19

This is the 2nd CD of Tintner's Bruckner I have bought and I heartily recommend both of them (also the 9th).

One feels the presence of a master Brucknerian sharing his love of the music with the orchestra and with us. The notes enclosed were prepared by Tintner himself thus endowing the performance with an even more personal touch of the conductor.

Tintner presents in this rendering (of the original version) an expansive performance (opposite of Jochum) but just right, stressing the more heroic nature of the work. I particularly liked the 1st movement. I felt a bit disappointed with the 4th movement especially the climax after the 2nd (lyrical) theme. Maybe this is true to the original version but the almost total absence of the strings in this climax is disappointing.

The recording is excellent and the performance is very good. If I'm not mistaken the 2nd violins are positioned on the right (European style) and this is very enjoyable.

At the very budgeted price- a must.
Anton Bruckner: Symphony No. 3 in D minor (1873 Original Version, ed. Nowak) - Georg Tintner
Average customer rating: 5 out of 5 stars
  • 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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  3. Anton Bruckner: Symphony No. 7 in E major (ed. Haas) - Georg Tintner
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ASIN: B00003Q40K
Release Date: 2000-02-22

Tracks:

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

Customer Reviews:

5 out of 5 stars 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.

5 out of 5 stars 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!

5 out of 5 stars 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.

5 out of 5 stars 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.

4 out of 5 stars 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.
An Anniversary Tribute
Average customer rating: 5 out of 5 stars
  • Another Splendid Furtwangler Box in Original Masters Series
 An Anniversary Tribute

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002ANRZS
Release Date: 2004-09-14

Customer Reviews:

5 out of 5 stars Another Splendid Furtwangler Box in Original Masters Series.......2004-12-29

Let me start by saying it took me a while before I began to fully appreciate Wilhelm Furtwangler as a conductor. When I began collecting classical CDs, I realized early on that I preferred vintage stereo recordings to newer digital performances. However, historic mono recordings were a horse of a different color. I just couldn't select something that didn't sound very good as my one and only version of a given piece, even if it meant scrapping something as amazing as Furt's Beethoven 9th. But don't worry I have since come to my senses -- first, why own only one of a given work, and two, Furtwangler is indeed one of the master conductors of the 20th Century. And while I don't own dozens of his discs, I do now consider some of his recordings to be the best representations available (Schubert 9th, Schumann 4th -- see my reviews), despite the mono sound.

Anyway, recently I've picked up both of the Furtwangler Box Sets in DG's Original Masters series, and I certainly feel they were worthwhile purchases (and terrific values to boot). This latest set, "An Anniversary Tribute," features five discs of music and one interview disc (in German of course, rats!) in performances ranging from Bach and Gluck to Strauss' "Metamorphosen." However, serious Furtwangler fans should be aware that several of these selections have been available previously, and may duplicate their collection. In particular, there is a 1944 Bruckner 9th, most recently OOP on the Music & Arts label and fetching ridiculous prices in the Amazon Marketplace (thankfully, sanity is now restored), and a 1952 Brahms 1st available on DG 415 662-2, among others. Also of note, now that UNI owns both DG and Decca, there is a 1951 Schumann 1st with the Vienna Philharmonic that was originally released on Decca but is now included in this "DG" set. All in all though, this is another first rate set in the "Original Masters" series.
Classics for Relaxation and Meditation
Average customer rating: 5 out of 5 stars
  • FABULOUS SELECTION OF CLASSICAL MUSIC
 Classics for Relaxation and Meditation

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000LOH
Release Date: 1995-04-16

Tracks:

  1. BWV 992: Jeusus Is Always My Gladness
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  7. Symphony No. 8 In Minor D 759: Andante Con Moto
  8. Fantasy Op. 73: Tender And With Expression
  9. The Moldau: Sympohic Poem
  10. Valse Triste: Op. 44, 1 From 'Kuolema'
  11. Oboe Concerto In C Major K314: Adagio - Mozart
  12. Piano Concerto No. 21 In C Major K467 'Elvira Madigan': Andante

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  1. Souvenir De Florence In D Minor Op. 70: Adagio Cantibile - Tchaikovsky
  2. Raindrop Prelude In D Flat Major Op. 28 - 15
  3. Symphony No. 4 In A Major Op. 90 'Italian': Andante con molto
  4. Love Dream No. 3 In A Flat Major Op. 62
  5. Lullaby - Berceuse Op. 105
  6. Berceuse: Lullaby Op. 57 - Chopin
  7. Wind Quartet In E Flat Major Op. 88-2: Andante grazioso
  8. Cello Concerto In G Major: Romance
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  11. Divertimento No. 1 In B Flat Major 'Chorale St. Antoni': Andante - Haydn _

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  4. Symphony No. 5 In D Major, Op.107 'Reformation': Finale
  5. Execution Transcendante: Evening Harmony - Liszt
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  7. Orfeo ed Euridice: Dance Of The Blessed Spirits - Gluck
  8. Piano Concerto No. 1 in C major Op. 15: Largo - Beethoven
  9. String Quartet No. 62 In C Major, Op.76, 3 'Emperor': Adagiop cantabile - Haydn _

Customer Reviews:

5 out of 5 stars 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.
Historic Organs of Baltimore
Average customer rating: Not rated
    		Historic Organs of Baltimore

    Manufacturer: Organ Hist. Society
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000004AHR
    Release Date: 1995-09-26
    Bruckner: Symphony No. 3 in D minor [Hybrid SACD]
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      		Bruckner: Symphony No. 3 in D minor [Hybrid SACD]

      Manufacturer: Audite
      ProductGroup: Music
      Binding: Audio CD

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      ASIN: B000CSUMQW
      Release Date: 2006-01-24
      Discover the Symphony
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        		Discover the Symphony

        Manufacturer: Naxos
        ProductGroup: Music
        Binding: Audio CD

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        ASIN: B00000G2P7
        Release Date: 1998-09-29

        Tracks:

        1. Allegro - City Of London Sinfonia
        2. Allegro Di Molto - Yoon K. Lee
        3. Allegro - New Zealand Chamber Orchestra
        4. Menuetto: Allegretto - Capella Istropolitana
        5. Molto Allegro - Capella Istropolitana
        6. Finale: Allegro Assai Vivace: Alla Marcia - Claudio Otelli
        7. Allegretto - Michael Halasz
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        9. Poco Allegretto - Alexander Rahbari
        10. March To The Scaffold - Czecho-Slovak Radio Symphony Orchestra
        11. Scherzo: Bewegt - Royal Flanders Philharmonic Orchestra
        12. Allegro Con Grazia - Polish National Radio Symphony Orchestra

        Tracks:

        1. Allegretto Grazioso - Molto Vivace - Stephen Gunzenhauser
        2. Presto - Imrich Szabo
        3. Kraftig Bewegt, Doch Nicht Zu Schnell - Michael Halasz
        4. Allegro Molto - BBC Philharmonic Orchestra
        5. Epilogue - Bournemouth Symphony Orchestra
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        Music for Meditation (Box Set)
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          		Music for Meditation (Box Set)

          Manufacturer: Ent. Media Partners
          ProductGroup: Music
          Binding: Audio CD

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          ASIN: B000002XEC
          Release Date: 1997-10-24

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