Bruckner: Symphony No. 8 (1887 version, ed. Nowak) / Symphony No. 0 "Die Nullte"

Editorial Reviews
Amazon.com
George Tintner's program notes forthrightly touch upon both the strengths and gaucheries of Bruckner's seldom heard 1887 first version of the Eighth Symphony and the composer's early "Symphony No. 0." Tintner proves just as clear-headed and loving a Brucknerian from the vantagepoint of the podium. He takes the composer's tempo relationships on faith, letting the music run its natural course while never letting the momentum sag one drop. The orchestra breathes as well as sings together, although the splendid brass section tends to overpower the winds during loud tuttis. Still and all, anyone who cares about Bruckner should not pass up this illuminating release. --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:

Hearing the Third Movement
Like Bernard Herrmann's best, music for driving rain.
beautiful
Philip Glass sucks
... Symphony No. 8 is a Charm for Philip Glass

Philip Glass : Symphony No. 8

Manufacturer: Orange Mountain Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B000F1HQTW
Release Date: 2006-03-15

Tracks:

Movement I
Movement II
Movement III

Product Description

After the critically acclaimed Orange Mountain Music release of Philip GlassÂ’ Symphony No.6 Â“Plutonian OdeÂ”, Symphony No. 8 marks an exciting return for the composer to purely instrumental symphonic writing. This World Premiere recording is conducted by Dennis Russell Davies and performed by the Bruckner Orchester Linz. After a series of symphonies which featured text and voices, Philip Glass was asked by Davies to Â“think of the orchestra as a collection of virtuoso instruments as you would find in a concerto formation. Symphony No. 8 starts from this point in presenting ideas involved with timbre, density, structure, and melody.Â” In reviewing the Symphony, the New York Times said: Â“(Symphony no. 8) is about continuous changeÂ…the chromaticism that has crept into Mr. GlassÂ’ music since Â‘KoyaanisqatsiÂ’ is now more extreme, and more fluid. Indeed, the great attraction of the work is the unpredictable orchestration.Â” Once again, Orange Mountain Music is pleased to be releasing this major work by Philip Glass.

Customer Reviews:

Hearing the Third Movement.......2007-02-14

It took many hearings before I could engage emotionally with Glass's Symphony No. 8. That happened in Movement III -- a slow, quiet little thing of only seven minutes. This movement does not call attention to itself, and I had at first mistaken it as just a gentle conclusion to the symphony rather than its most profound statement. Now I see the first and second movements as a lead-in to Movement III. The statement by the oboe, a theme that is presented with slow, deliberate simplicity in the middle of this movement, could break one's heart. I had to be in a quiet frame of mind to hear this music and be open to its somber emotional colors.

Like Bernard Herrmann's best, music for driving rain........2006-12-14

This delicious music presented me with an unusual joy- a disc that stayed in my car cd player for several days of repeated play. I'm no musicologist so I can't describe how this music works but can rather tell you that it brought me a great deal of delight. Like Bernard Herrmann's music for "Marnie" it can be listened to closely, felt deeply or left to play in the background. If you are expecting 19th century classical music, you might be disappointed. If you've already decided, as has one of Amazon's more brilliant reviewers, that "Philip Glass sucks", why bother? This sumptious and delicious music. At just under 40 minutes, the length is perfect for my attention span and a complete presentation of one beautiful idea. 5 Stars!

beautiful.......2006-11-10

I love Glass' music and this Symphony is Glass at his best: nothing else needs to be said.

Philip Glass sucks .......2006-10-29

Yet another dull, recycled symphony from Glass. Why doesn't he do what he does best .... the minimalist keyboard and small ensemble pieces that made him famous in the first place. Glass has gone astray and alienated his original fans. Glass symphonies suck. Other Glass fans may not want to admit this, but I am just being honest.

... Symphony No. 8 is a Charm for Philip Glass.......2006-09-28

Philip Glass' Symphony #8 is arguably the best symphony he has written to date and one of the most spirited instrumental works he has created in years. Under the always faithful baton of Dennis Russel Davies with the Bruckner Orchestra Linz performing. Glass' most recent symphony proves that this mostly film and opera composer can create something in the world of (in his own words) abstract concert music worth listening to.

Ever since Glass' premiere of the Low Symphony in the early 90's (based on themes from Brian Eno and David Bowie's collaborative album of the late seventies entitled Low). The composer who at that time created a prolific body of work in the genres of film, opera, dance, theater, chamber music, and at times a mixture of all of the above seemed to step in an exciting new direction that at that time was quite unexpectant for both ardent fans of the composer and even Philip Glass himself.

After the Low Symphony all of the other symphonies (mostly commisioned by longtime confidante Russel Davies) came as fast and furious as a car on the assembly line at the Ford Motor Company. Some were good, most were bad, and all unfortunately were as foursquare and predictable as the next. Worse than that every new symphonic work that came after the other would all very much sound identical to each other in some way. After about a decade of symphonies from Philip Glass one might have thought that it seemed to be just another paycheck for a composer who has carved his career from at times repeating what he does all to well in the first place.

Luckily here Glass comes full circle with Symphony No. 8 and goes "for the juggular" right from the very start in the first movement. The opening moment is loud, galiant, and expressively triumphant. Then with unexpected surprise, Glass adds and or subtracts several rythmic elements in the structure of the movement. His use of the orchestra is profoundly rich and flourishes with a vigor that is undoubtedly enthusiastic. Add of course his use of inventive polytonality via: hyperkenetic arching lines, harmonic sliding, counterpoint, and intriguing sudden changes in musical themes and motifs, altogether this brilliant mix of density and complexity keeps one on the edge of his or her seat for about 20 minutes.

And in some ways the excitement stops there (or does it?). The second movement could be called a "grand stately march" tinged in melancholy. It gives the impression of trying to drive during a foggy day. Themes here are mixed slowly against each other, structurally the second movement takes a cue from the first one yet its slower and is in essence a passacaglia. There is some genuine lyrical music here throughout the movement and for just a few bars the flute and harp share a beautiful dialogue with each other in the middle of this section.

The third movement is the most unlikely third movement probably in the history of symphonic composition. And although it is astoundingly beautiful and elegant, it is also even slower than the preceeding movement and sounds more like the ending of a movie soundtrack. Over all this movement fails to connect to what was happening before it and although it is 6 minutes of beautiful music it seems more like an afterthought than anything else.

As symphonies goes for Philip Glass. Symphony # 8 is quite simply the best of Glass' output in this genre yet. I do await the next few at this point to see what he does.

Average customer rating:

Happy Trails
The most soothing sounds
moving and lyrical
Wonderful Music !!
Just one listen changed my life

Zamfir: The Lonely Shepherd

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Romance of the Panflute
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Gold
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Magic of the Panpipes

ASIN: B000001F9H
Release Date: 1990-10-25

Tracks:

The Lonely Shepherd
The Rose
Floral Dance
Theme From Summer Of '42
Bilitis
Adagio 8
Black Rose
Ete D'Amour
She
Laryssa
Theme From Limelight
Run To Me
Elsha
Don't Cry For Me Argentina

Customer Reviews:

Happy Trails.......2007-01-11

Item arrived in perfect condition and very quickly. Will trade again in the future. Thank you.

The most soothing sounds.......2006-02-20

I grew up listening to Zamfir's pan flute soothing music, then for the past 15 years, I've been away from it until I heard The Lonely Shepherd while watching Kill Bill. I was pleasantly surprised to find the CD at Amazon and bought it at once. Many of the other songs on this CD are good as well, but nothing beats The Lonely Shepherd.

moving and lyrical.......2005-10-08

I dont care for any of the other songs on the CD, but the "Lonely Shepherd" theme is very beautiful and sad. Zamfir was obviously deeply in love with the panpipes. Listen to his "Picnic at Hanging Rock" soundtrack and you'll know what I mean. I highly recommend this CD.

Wonderful Music !!.......2005-09-26

THis CD by Zamfir is out of this world. There is nothing better than "The Lonely Shepherd"... I haven't heard a better one than this. Just the type of soft instrumental one would like...very soothing.

Just one listen changed my life.......2005-01-19

I was once a punk rocker. I listened to the Sex Pistols, Ramones, Black Flag, and The Dead Kennedys. I have a string of gigs under my belt with various punk bands, a long list of one night stands with rocker chicks, and did enough drugs to make Keith Richards OD. All that changed the night I listened to Zamfir.

Alone in my apartment I played this CD while cleaning a puke staine off my carpet. I don't know whose it was, but I'd like to thank him because it led me to my new life. I have since thrown away my guitars, amps, and entire music collection. It is all garbage by comparison to this and in the trash is where it all belongs.

How can anyone listen to 'Summer of 42' and not fall to their knees by the sheer beauty of it? The Lonely Shepard title track brings tears to my eyes everytime I listen to it. It brings me to a magical place where no one gets arrested for shoplifting and everyone has peace in their hearts.

I cannot find a panflute at the music store, so I'm trying to make one out of PVC pipe and old bongs. I think I found the G, A, and D major chords, but can't quite find F. A silly straw with a slit in it can make a pretty decent B minor, but it stretches out after a couple of days.

All my friends have abandoned me and I haven't been with a woman in three months, but it is all worth it. I now happily skip through life with merriment in my heart. No more drugs for me, Zamfir is my natural high.

Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan

Average customer rating:

Karajan is Dandy, But Boulez Is Better
bruckner plain and simple
Something Missing Here.....
If it's Karajan it must be good.
Study it

Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000001GAX
Release Date: 1989-09-13

Tracks:

SYMPHONIE NO.8: Allegro moderato - Bruckner
SYMPHONIE NO.8: Scherzo. Allegro moderato - Trio. Langsam - Bruckner

Tracks:

SYMPHONIE NO.8: Adagio, Feierlich langsam, doch nicht schleppend - A. Bruckner
SYMPHONIE NO.8: Finale, Feierlich, nicht schnell - A. Bruckner

Amazon.com essential recording

Herbert von Karajan identified with the Eighth perhaps more intensely than with any other score in the repertory; it is significant that in February 1989, in what proved to be his last performances outside of Austria, he brought it to New York with the VPO and made it the centerpiece of a three-concert engagement. The air of finality was heavy at those concerts, and Karajan, determined to go out as a conqueror, did just that. This 1988 recording comes very close to recapturing the experience of that live performance. Karajan's careful pacing gives the Eighth time to unfurl, allowing the mystery and tenderness of Bruckner's vision to radiate from some place deep within the paroxysmal intensity of the symphony's argument. The cumulative effect is shattering. Throughout, the Viennese play beyond their limits, as if their lives depended on it. The recorded sound is vivid and of very wide dynamic range. --Ted Libbey

Customer Reviews:

Karajan is Dandy, But Boulez Is Better.......2007-03-27

A divisive performance and recording among those who love the Bruckner Eighth (moi!) -- expansive, cerebral, polished, and the last adjective is either "transcendent" for some or "indulgent" for others. I'll admit, it took me awhile to bend to its whims, but I'm getting there, slowly -- very slowly -- but surely.

The strings are the star here, with the ethereal harp glissandi of the third movement adagio spotlit as in no other recording. In fact, there's a lot of spotlighting going on in what is an obviously designed recording scheme. The lustrous violins seem to be heavily weighted to the right-channel with the harp isolated far to the left. The burnished brass blaze forth with fire. I tend to like the tympani a bit more prominent in the final movement, but it's merely a quibble here.

Pierre Boulez - with the same orchestra, the same Haas edition, and on the same label - "convinced" me on first listen; this is one I would recommend to a novice as opposed to Karajan. Plus, Boulez is on a single disc.

bruckner plain and simple.......2007-03-25

in my view this is a truly great performance of bruckner 8. for me the vienna philharmonic are - with the right conductor - unbeatable in this repertoire. no single performance can reveal all the facets of such a masterwork - furtwaengler, jochum, schuricht, kempe, boehm, wand, giulini, celibidache, haitink and sinopoli - to name but a few, all of whom have much to offer. but i have never heard such a totally convincing realisation of the opening movement, be that in concert or in a recording, the tempo seemingly emerging from within rather than being imposed from outside, and that pulse - almost a single breath, is maintained throughout the remaining movements. sad that some seem more interested in judging karajan the man in their reviews rather than the musician.

Something Missing Here............2006-08-11

This is a very expensive recording, a full-priced 2CD package for a piece that runs just past the limit of one CD. Try to find it in a used CD store for half the price or buy it from one of the amazon marketplace sellers. Better yet, if you live in a decent city, check your local library to see if they have a copy and hear this famous Karajan record before you choose to buy it.

I've heard this record several times and I'm never satisfied. That may be because I'm not a hardcore Bruckner fan by any stretch of the imagination. All those old Bruckner cliches that his symphonies are huge, long-winded boring spectacles and that Bruckner couldn't write a symphonic allegro, well the cliches are generally true but in the hands of the right conductor, this music can take on a life of it's own and transport you to heaven. Furtwangler could do that, his devotee Barenboim is still trying to do that. Celibidache and Guilini could do the transporting, so could Karajan, but on this recording I'm just not feeling it, as beautiful as it is and as massive as the orchestral outbursts in the codas are, there is something hollow that keeps things grounded here on Earth.

The great adagio is a case in point, it simply does not move me like it should. Just hearing a little bit of Celibidache's infamous version moves me, I don't know why Karajan, my favorite conductor does not. I am prepared to concede that in certain works, Karajan just can't get to that domain which invariably is occupied by the likes of Wilhelm Furtwangler. Karajan's many recordings of Beethoven's Ninth for instance pale in comparison to Furtwangler. I also am not fully pleased by the famous Karajan Mahler Ninth, which is too emotionally cool for my liking.

It seems like when a musical work asks for complete involvement and unrestrained passion, Karajan takes an objective approach, which can work wonders in many pieces of music but not in a spiritually enigmatic opus like Bruckner's Eighth Symphony.

This is still one of the best recordings of this work from an objective standpoint but make sure you hear it before you buy it, because I've heard it several times and still have no temptation to buy it. On the other hand, Karajan recorded a great Bruckner Seventh on EMI, get that one right away! See my review.

If it's Karajan it must be good........2006-05-07

I am going to be brief. I have stayed away from this work because I find Karajan to be superficial and self indulgent in much of his work, sort of like the early Bernstein and Mehta. Lenny got over it, and so did Mehta as attested by a recent concert I attended with the Los Angeles Phil. Magnificent. I cannot get into this performance, and I must have 20 or so, finding the Carl Schuricht most satisfying--along with Knappertsbusch. I cannot describe a specific fault. It is just not right.

Study it.......2006-03-25

This is a very challenging recording of Bruckner's 8th symphony, and one which I listened to at least ten times before digesting to a satisfactory degree.

In the first movement Karajan conjures up a spectrum of emotions. For example, the beginning of the piece is practically inaudible and full of mystique. By the time we reach the phrase from 2:50--3:10, we are engulfed in splendor and royalty. The orchestral playing is exquisitely dark, flowing, and balanced throughout. But probably the most impacting feature of this movement is that by the time it ends, Karajan has convinced us that the world really is coming to an end. Listen to the motive from 14:52--15:46. The sheer force of the music is almost debilitating. It is an amazing effect.

Karajan pulls off the Scherzo with flowing, dark, heroic, and all-around gorgeous sounds. The tempo seems just about right. This movement is of course not the most musically intriguing, and Karajan does the best he can with what Bruckner has given him.

The third movement is what makes this recording extraordinary. It begins with great depth of beauty and serenity, but that is only the most basic requirement of any great recording of this piece. What makes this recording exceptional is how Karajan dramatically and completely evokes the musical conflicts between strife, despondency, serenity, and optimism, which occur throughout the movement. Listen to the point at 9:22 into this movement. What Karajan achieves is a sound so full of spiritual transcendence that when I heard it I knew neither what it meant nor how to respond. All at once I was overcome by fear, joy, wonder, and amazement. What I heard was a sound that I was certain humans were not intended to experience-a sound which should have been barred from production on Earth. I felt as though I was seeing the face of God. This maelstrom of emotions is then followed by the wrenching strife of 10:41--11:00, and then the utter glory of 12:32--14:05. The great climax of this movement, heard from 20:05--20:32, is nothing less than an Earth-shattering, cathartic eruption. As the movement ends, it drifts away and is extinguished with such serenity that as I listened I felt as if I was drifting through Elysium. Bravo Karajan. Bravo Bruckner.

The fourth movement bears my only criticism of this recording-in the opening line, the brasses are not quite balanced, and it sounds as though it has to do with the mixing when the recording was produced. I've never heard such jagged imbalance in any of Karajan's other recordings. Other than that, the remaining portions of the movement are great. The ending is so voluminous, heroic and triumphant that the sheer force of the sound almost threw me from my chair.

As a final note, this recording has another interestingly unique feature: it creates an effect of "sparkle". It mostly occurs at moments when the strings play in the high register. A few places where it is particularly affecting are: 1st movement: 2:50--3:10; 3rd movement: 1:17--1:33, 13:44--14:00, and 21:20--21:44. Listen to and enjoy these-they are very special moments in music.

Average customer rating:

Great performance and recording
Very good traditional Bruckner, but not a revelation
A majuscule achievement!
This is the greatest Bruckner 8th to date!
sounds like hyperbole...

Bruckner: Symphony No. 8
Anton Bruckner , Gunter Wand , and Berliner Philharmoniker
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005Q66Y
Release Date: 2001-08-27

Tracks:

I. Allegro Moderato
II. Scherzo (Allegro Moderato) & Trio (Langsam)

Tracks:

III. Adagio (Feierlich Langsam, Doch Nicht Schleppend)
IV. Finale (Feierlich, Nicht Schnell)

Customer Reviews:

Great performance and recording.......2007-06-29

This is simply as good as it gets. Outclasses the fine Karajan of 20 years ago easily, and the BPO play as only they can. The one reviewer here who decries Wand and this recording is on a different planet, especially even mentioning the clueless Boulez in the same breath as this. Enough said!

Very good traditional Bruckner, but not a revelation.......2005-12-13

I have enough vindictive blood flowing in me to hound Gunter Wand all oer Amazon to decry his dull, unimaginative ways. But I won't because at a certain point I put the brakes on buying any more of his CDs. Without exception I've found as close to nil in his work as any conductor I've ever encountered who magically summoned up a reputation. That Wand belongs in the ranks of competent German provincial conductors seems fair to say; to attribute greatness to him--as British critics began to do when he was a cheap alternative to major talent for RCA in the Eighties--is greatly misleading.

This very late Bruckner Eighth is a case in point. Wand demanded oodles of rehearsal time with the Berlin Phil. (God knows why, since they have always been a superb Bruckner orchestra), but what emerged is a straightforward, fairly broad, routine performance with excellent sonics and fine execution. Of real depth or musical interest Wand has none.

Enough. I know these words will ignite sparks from Wand's camp followers; I only hope to warn off those who might be tempted to follow Wand's shallow footprints into the domain of Mozart, Beethoven, Schubert, Brahms, and more Bruckner. As for the Eighth, I heartily recommend this performance to anyone who already owns Karajan's four recordings, Giulini's, Klemperer's, Boulez's, a couple by Jochum, perhaps those by Szell, Welser-Most, Sinopoli, Haitink, chailly, and even Barenboim. At that point there's plenty of room for Wand.

A majuscule achievement!.......2005-11-21

Bruckner 's Eighth Symphony is a landmark work. Listening with careful attention, has become gradually the most pyramidal of his Symphonies, relegating to secondary levels, lofty architectural pieces such as the Fifth, the Seventh and the Farewell Ninth.

The third movement is by far, the core of the Symphony, but its colossal proportions its radiating potency, its delirious high scale proportions do not demerit at all its intrinsic virtues .

This is a very important version in the annals of the story. But I must confess I prefer by far, the Novak version.

This is the greatest Bruckner 8th to date!.......2004-08-10

I have always admired Gunter Wand. From his Beethoven Cycle to his awe inspiring interpretation of the last two Schubert symphonies, Wand is a master conductor. But this live recording of Anton Bruckner's great 8th symphony is quite possibly his greatest achievement. Never has this symphony sounded so perfect, so architecturally sound, so convincingly played. For those that admire the overrated Karajan/Wiener Philharmoniker, they need to listen to this amazing recording. It is Wand's genius that drives this great work - he is so deeply steeped in the german master.

From the beginning of the opening allegro, the upcoming excitement is palpable. The opening theme, rhythmically identical to the opening theme of Beethoven's ninth, unfolds mystically. Climaxes build with chilling precision. This is the only outer movement of a Bruckner symphony to begin and end quietly, but the effect is striking when the strings dip into nothingness, fragmenting the movement's main theme. The Scherzo is amazingly conducted and performed. The playing by both the winds as well as the timpani make this reading of the Scherzo so fascinating. Wand's tempo is swift but uncompromising. The sublime trio is equally powerful. However, it is in the Adagio that Gunter Wand and the Philharmonic truly shine. The string section of the Philharmonic has never sounded so pure, so rich, so beautiful - even under Karajan they never reached this level of perfection. Wand's reading of the adagio is inspired; his juxtaposition of the two themes is masterful. The finale is equally masterful. More powerfully executed than any other recording I have heard, the finale is the perfect apotheosis of structure, form, and musical vision. Wand is unfailing in his dedication to detail - every note is in its proper place, building for the listener the architecture that is Bruckner's symphonic world. With the awe-inspiring coda, Bruckner concludes this masterwork by combining all four main themes of the symphony, thus, in a way, integrating the symphony in a way not heard of since Beethoven's Ninth.

I honestly cannot say more than get this CD as quickly as you can. You won't be disappointed. It's quite possibly the best CD in my collection.

sounds like hyperbole..........2004-07-05

(but isn't)

the best recording of any Bruckner Symphony for 2 Decades!

This recording speaks so very directly to the listener, grabs one, brings Bruckner (beware of the clichee:) to life. Bruckner like on this disk cannot but enchant even the most reluctant listeners.

read no more: if you like Bruckner or think you might like bruckner, go get this record!

off on a tangent:

I decided some years ago, that I was to like Bruckner. Thus I started and continued to acquire his symphonies, his masses etc. - but all along, I had never been sure if there was ever an emotional connection between me and the old catholic.

My rationalization was that Bruckner was music for those who regretted that Wagner had never written a symphony. That didn't suffice to fall in love with Bruckner (aside, early dvorak is a much better substitute) ... but i continued.

The I came across the live recordings of Guenther Wand on RCA with the Berlin Philharmonic. His 4th and 9th spoke to me quite a bit, but perhaps only enough to turn some of my attention to this last german master of conductors.

Then i got Bruckner's 8th Symphony with Hans Knappertsbusch and later with Riccardo Chailly and the Concertgebouw. Nothing happened to me. In fact, in both cases I forgot that I had already bought a Bruckner 8th! (Quite frankly, I am not sure what accounts for the drastic difference to the Wand, because the Chailly is not noticeably flawed in any way... though somewhat sterile)

A few weeks later, as mentioned: having forgotten that i had gotten the Chailly recording, i got the 8th with Wand - and finally, it clicked.

the nitty-gritty:

given the impact this recording (one of some 1200 classical cd's i have) has made on me, it deserves a bit extra mentioning.

BBC3's (forgot his name) had the following to say:

"He's [Guenther Wand] found a way of making Bruckner's Eighth Symphony communicate more directly, more emotionally. It's not enough here to sit back and be impressed with the structure and the sheer grandeur of the design - Wand demands a human, emotional response, recognition that it's not a heart of stone that keeps this music alive, and if anything the spiritual gains are greater."

I suppose this is precisely what I mean by: grabs you by the lapels. I put this CD in my player, going off to diddle around - alone, the music would not let me. It was not going to be relegated to the background. It didn't let you drift off. It demanded my attention but it made it easy for me, as well. By the time the first disc (it is sold as a single disc, but the piece fits only on two) is over, I could not get the second one into my CD-player quick enough.

This recording has since (I have become somewhat of an Evangelist about it) recruited three acquaintances of mine to Bruckner in the first place!.

Wand uses the original edition of the scorerather than than the novak edition which had been used more frequently and which is slightly shorter. (Thus more often fitting on one CD - though the format does not matter in this case as it doesn't affect the price)
Not being a musicologist, I can't say if it is at least in part the different version that makes this recording so outstanding... I will have to suppose that it is the combination of the musical and honest approach of Guenther Wand that lets it all come together like this.

Almost 90 years old when he recorded this symphony for the third time (it is his best account of it, despite two superlative earlier goes at it), Wand died soon thereafter. This recording was - and not for sentimental reasons - the Editor's Choice of the Month in Gramophone Magazine.

Because this work - and this recording thereof - deserves more and lavish attention, I shall be re-visiting this review. Perhaps I will add (in a second review, so as not to make this one unduly long) elaborate on the piece (the music) itself... until then, trust me: if Mahler, R. Strauss, Wagner scare you not... if bombastic late romantic music might be your liking, this is a jewel of which there are not many around.

Tracks:

Handel - Water Music, III.
Mozart - Eine Kleine Nachtmusik, I. Allegro
Mendelssohn - Violin Concerto, III. Allegro Molto Vivace
Beethoven - Symphony No. 5, IV. Allegro
Dvorak - "In Nature's Realm" Overture
Holst - The Planets, Jupiter, Bringer of Jollity
Mozart - Piano Sonata NO. 11, III. Alla Turca - Allegretto
Vivaldi - The Four Seasons, Spring, I. Allegro
Tchaikovsky - Symphony No. 4, II. Andantino in mode de Canzona
Dukas - Fanfare preceding "La Peri"
Mozart - Piano Sonata NO. 16, I. Allegro
Saint-Saens - Carnival of the Animals, XIII. The Swan

Tracks:

Bruckner - Symphony No. 4 "Romantic", First Movement
Mozart - Symphony No. 39, IV. Allegro
Handel - Water Music, XII. Alla Hornpipe
Strauss - Ein Heldenleben, 1. The Hero
Tchaikovsky - Symphony NO. 5 "Pathetique", II. Allegro con grazia
Dvorak - Symphony No. 8, I. Allegro con brio
Beethoven - Sextet, III. Rondo - Allegro
Bach - Orchestral Suite No. 1, III. Gavotte
Mozart - Flute Concerto in 2, I. Allegro aperto

Average customer rating:

It's not nice to carp, but..
Eating crow
Boulez: the Greatest Conductor since Karajan...
Boulez's Unique Interpretation of Bruckner's 8th Symphony
no mystique

Bruckner: Symphony 8

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TL2N
Release Date: 2000-06-13

Tracks:

Symphony No. 8 In C Minor: 1. Allegro Moderato
Symphony No. 8 In C Minor: 2. Scherzo. Allegro Moderato - Trio. Langsam - Scherzo da Capo
Symphony No. 8 In C Minor: 3. Adagio. Feierlich langsam, doch nicht schleppend
Symphony No. 8 In C Minor: 4. Finale. Feierlich, nicht schnell

Amazon.com Classical Music Reviews

When word got out that Pierre Boulez was planning to record the mammoth Eighth Symphony of Anton Bruckner, the reaction in some quarters was akin to the announcement that a leading Marxist intellectual had accepted the CEO position at General Motors. While Boulez has already acclimated the music world to his latter-day interest in the core symphonic repertory with his recent performances of Mahler, the sense of incongruity with Bruckner's mystical solemnity seemed too great a leap to expect from the famous apostle of the avant-garde.

Forget about those prejudices--Boulez's accomplishment here is arguably even more successful than his accounts of Mahler. It also offers a fascinatingly fresh view of the great symphonist, who some feel will finally come into his own in the 21st century. Stereotypes of Boulez's razor-sharp, "cerebral" bias don't do justice to the sensuous pleasure he can elicit from the Vienna Philharmonic's musicians, a detailed alertness to Bruckner's instrumental touches that are too often overshadowed by focus on his architectonics. Boulez, of course, has a command of the latter as well, and his brisk pacing of the Robert Haas compilation/edition creates a sense of momentum and flow that's particularly striking in his brilliant realization of the Scherzo and the Finale.

True, there's less of the "apocalyptic" (an epithet sometimes given to this symphony), of the crushing tragedy, one hears in Karajan's canonical interpretation or the fine version by Skrowaczewski, and Boulez's chary avoidance of pauses in the celestial Adagio cheats us of the near-death-experience-in-music that comes through in Celibidache's glacial but visionary concert recording. But that sense of detail--witness the balance of horns and strings in the Adagio's closing pages--counts for much. Moreover, this live recording gains warmth from the acoustics of the Abbey Church of St. Florian--where Bruckner served as organist, and where his body is buried--and benefits from excellent engineering. Ironic as it might seem, Boulez may indeed win new converts to Bruckner with this performance. --Thomas May

Customer Reviews:

It's not nice to carp, but.........2005-09-05

...the reviewer who gave this astonishing performance three stars because the Adagio movement lacked mystique may lead one to think that Boulez has replace Bruckner's spirit with his own. Actually, that's true, for his version of the Adagio is strcutrually clear, precise, and without much rubato to underline emotion. But for some reason this turns out to be alchemy--the Adagio is one of the greatest things about Boulez's reading.

But, then, I should disclose that my Bruckner collection is full of Karajan and Giulini and bare of Wand, Jochum, or Hiatink, all of whome this reviewer extols for mystrique. I find all three flat (even though Haitink performed a wonderful Bruckner Seventh with the BSO in recent seasons and an equaly superb Eighth with the Vinnea Phil in Carnegie Hall).

Eating crow.......2005-02-17

Ok, I admit it.I was one of those who initially cried 'Betrayal"
when I heard Pierre was recording Bruckner.
I mean, our leading avant-garde,anti-bourgeoise prophet conducting the very conservative Catholic Bruckner was just too much.
But, I bought it and...
Yes, he brilliantly re-thinks Bruckner, eliciting details and colors out of the Vienna Philharmonic that rivals his most exquisite performances.
Chalk this one down with his Sony La Mer, his Berg lieder, and his recent Mahler lieder.
And yes, that other sound I'm forced to listen to is the sound of my eating a good heaping of crow.

Boulez: the Greatest Conductor since Karajan..........2005-01-31

Everyone was totally blown-away when Boulez decided to conduct Bruckner's 8th: I don't know why, because Boulez is our greatest conductor in the world since the death of von Karajan; moreover, Boulez is an expert in Mahler and Schoenberg--Bruckner being their immediate predecessor, it stands to reason that Boulez should bring a similar insight to his oeuvre.

This is a great realizaton, and a great disc since it manages to squeeze the mighty 8th on one CD without feeling at all "squeezed."

I can hardly wait for Boulez to do Bruckner's 9th--his truly greatest work!

Boulez's Unique Interpretation of Bruckner's 8th Symphony.......2004-08-22

Once more Pierre Boulez opts for a clinical approach to late 19th Century German symphonic music, conducting Bruckner's 8th Symphony with the same keen attention to detail which he's lavished on his ongoing Mahler symphony cycle. But here he's able to coax the Vienna Philharmonic into lush, rhapsodic playing which emphasizes the melodic qualities of Bruckner's score, at the expense of some of the dramatics. The orchestra's sound is enriched immensely by the warmth of the church of Saint Florian, where Bruckner served as organist and now lies buried. To my amazement he keeps everything flowing at a rather brisk tempo, making this interpretation among the swiftest I've heard. Purists may decry the fact that Boulez has deemphasized the dramatic aspects of Bruckner's score, especially in the closing measures of the Adagio, which is an approach favored by most conductors, most notably by Herbert von Karajan in his definitive Deutsche Grammophon recording with the Berlin Philharmonic. However, those open to a different, indeed, fresh look at Bruckner will no doubt want this recording. For a live recording made during the international Bruckner festival held to commemorate the centennial of his death, Deutsche Grammophon's sound engineers have done a fine job in producing an extremely well-balanced recording.

no mystique.......2003-09-17

Many reviews have already been written so I shall make it short.
For me the most beautiful piece written by Bruckner, next to his glorious and spiritual adagio of the 5th, is the adagio from his 8th symphony.
This piece has in the right hands an authentic mystique quality in sound and feel.
Boulez doesn't come close to it and that's a pity because the other movements are superb.

The first movement, for instance, gets the right brisk speed and is lyrical without being ponderous.
Well I can go on and praise Boulez for these movements.
The orchestral playing, his excellent phrasing and the natural flow as ever.

But that doesn't take away my impression that the adagio, how beautiful and intense it is played, lacks just that crucial element which makes Bruckner's music special and which makes up for the somewhat weak and fragmented structure of his music: the genuine mystical atmosphere.

Gunther Wand, Jochum and Haitink handle this movement (this music in general) the best I think
Wand especially in his NDR symph.recording of the 8th and without doing anything special really, that's so amazing.

Overal a very good performance, but without that specific character Bruckner's music (to my ears) desperately needs.
Three stars

Wilhelm Furtwängler: Live Recordings 1944-1953

Average customer rating:

A representative introduction to Furtwängler's art

Wilhelm Furtwängler: Live Recordings 1944-1953
Ludwig van Beethoven , Franz Schubert , Robert Schumann , Johannes Brahms , Anton Bruckner , Richard Strauss , Pyotr Il'yich Tchaikovsky , Paul Hindemith , Cesar Franck , Maurice Ravel , Richard Wagner , Wilhelm Furtwangler , Berlin Philharmonic , and Vienna Philharmonic
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Recordings 1942-1944, Vol. 2
Recordings 1942-1944, Vol. 1
An Anniversary Tribute
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
CARL SCHURICHT Decca Recordings 1949-1956

ASIN: B00007BGXS
Release Date: 2003-02-11

Album Details

Original Masters serie.

Customer Reviews:

A representative introduction to Furtwängler's art.......2003-02-15

We are not exactly short on recordings by Wilhelm Furtwängler, and for collectors and aficionados of the great German conductor this box of 6 CDs with live recordings from 1944-1953 will undoubtedly be a severe disappointment. The only rarity is the (otherwise unnecessary) Tchaikovsky "Pathétique" from Cairo, 1951. All the rest are reissues and have been released by various labels in different couplings.

This set is therefore mainly destined for anybody wanting a well-programmed and representative introduction to the art of Furtwängler. Except for the already mentioned Tchaikovsky, the "Rapsodie espagnole" by Ravel, and the "Symphonic Metamorphosis" by Hindemith, interesting but not really indispensable, the rest of the box is required listening. There are stunningly revelatory cuts of Brahms 2nd (Vienna, 1945), Beethoven's 7th (Berlin, 1953), Schubert's 8th (Berlin, 1952), Bruckner's 8th (Vienna 1944), and a formidable disc of orchestral excerpts from Wagner's operas. On top of that the Vienna 1944 recording of Beethoven's Leonore III is a real killer. The "Haydn Variations" by Brahms, "Manfred" by Schumann, "Don Juan" by Strauss, and the "Symphony" by Franck are equally rewarding.

It goes without saying that the sound quality of these live recordings from the 1940s and 1950s is variable, although within context everything is acceptable and well remastered (There is some serious distortion though in the final movement of the Franck "Symphony").

This set comes in yet a new limited-edition historical series "Original Masters" from Deutsche Grammophon. The liner notes emphasizing the rarity of the recordings (so-called "buried musical treasures") are however to be taken with more than a grain of salt. The presentation of the CDs in paper bags with a transparent cover isn't exactly a great idea either.

Customer Reviews:

Excellent!.......2007-07-20

I think Libra is one of Julio Iglesias' best albums and this cd is excellent. Buy it and enjoy!

I am a non-fan of Bohm's but this is exemplary Bruckner.......2007-06-01

Bohm was around 84 when he made this Bruckner Eighth for DG, which comes in good sound and exemplary execution form the vienna Phil. If you are a collector of Bohm's Bruckner, this studio version of the Eighth is much to e preferred over a live 1974 reading from Cologne on EMI's Great Condcutors of the Century series. I am not a fan of Bohm's, but I feel a bit sorry for him here, because DG has no less than three other Eights with the Vienna Phil., from Karajan, Boulez, and Giulini. The Karajan stands at the very peak of Bruckner conducting, but that doesn't make the bohm version a disappointment by any means.

The playing here is sonorous and alert at the same time, with inner vitality and no pomposity. I like Bruckner without rhetoic, and although Bohm is blunt rather than eloquent, he gives us unsalted musical expression that feels real. The Scherzo is appealing in its lightness and quick pace. The Adagio is takne quite slowly but is sustained extremely well--I think it almost equals Karajan's. The finale escapes slam-bang thanks to the elegance of the /Vienna brass and strings.

In all, I find myself very impressed and highly recommend this Bruckner Eighth in a field crowded with great recordings. (Because it spills over on to a second CD, this midprice set costs more than the single-disc Boulez.)

Karl Bohm was a great Brucknerian.......2007-04-19

Karl Bohm's stereo recording of Bruckner's 8th Symphony, recorded by DG in 1976, is a witness to Bohm's reputation as a great Brucknerian. I highly recommend this recording, not only for Bohm, but for the great Vienna Philharmonic, a match made in heaven for this sprawling, titanic symphony.

Bohm's tempos are always flexible and sensible, and never on the fast side. His Adagios do not bog down, and the long line is always emphasized.

If someone has a criticism of this recording, they might say the bass is a bit shy in places, although this isn't a problem for me, and my system doesn't have great bass response/emphasis. The Vienna brass really soar in climaxes, and the overall feeling is one of terror and ectsasy combined, especially in II and IV. DG could be light on bass response in some recordings, and if that is a concern for you, be aware.

Other options? Karajan/Vienna (DG, made late in his career); Schuricht/Vienna (EMI) and Jochum/Berlin (DG). AVOID: Karajan/Berlin, either EMI or DG.

Further suggestion: Be sure to consider Bohm's Vienna Philharmonic recordings of Bruckner Symphonies 3 and 4 (both Decca releases) and Bruckner Symphony 7 (DG Galliera). The Bohm/Bruckner 3 may be hard to find in the US, but is worth the search.

Jascha Horenstein Conducts Bruckner/Liszt/Wagner

Average customer rating:

A sense of fresh discovery
In Distinguished Company!!!
Jascha Horenstein Anton Bruckner Symphony No.8 in D Minor

Jascha Horenstein Conducts Bruckner/Liszt/Wagner

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

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Horenstein conducts Mahler Symphony No. 1 & Bruckner Symphony No. 9
Mahler: Symphony 9 and Kindertotenlieder / Norman Foster / Jascha Horenstein (2 CDs)

ASIN: B000001KC0
Release Date: 1992-11-04

Tracks:

A Faust Symphony: I. Faust
A Faust Symphony: II. Gretchen
A Faust Symphony: III. Mephisto; Choral Finale
A Faust Overture - Richard Wagner

Tracks:

Symphony No. 8 In C Minor (1890 Version): I. Allegro moderato
Symphony No. 8 In C Minor (1890 Version): II. Scherzo: Allegro moderato
Symphony No. 8 In C Minor (1890 Version): III. Adagio (Feierlich langsam; doch nicht schleppend)
Symphony No. 8 In C Minor (1890 Version): IV. Finale (Feierlich, nicht schnell)

Customer Reviews:

A sense of fresh discovery.......2006-04-25

The Vienna Pro Musica is actually the Vienna Symphony Orchestra using an assumed name for contractural reasons. Though their playing is not the plush upholstered artefact that the Philharmonics of Vienna and Berlin can produce they hold up very well in a performance that has the freshness of new discovery stamped on it. Nowak produced his critical edition of the 1890 score in 1955 and this is probably its first commercial recording. The rival Haas Bruckner Gesellschaft edition of 1939 has 60 bars more music (distributed between the last two movements) and handles several moments of linkage rather more smoothly, but it is not the music that Bruckner actually authorised - and indeed Haas has added 10 bars of a sort of pastiche of his own to sort out a connection problem in the last movement. The Haas restoration of some link passage from the abandoned 1887 version (rejected by Hermann Levi for performance)is supposed to produce an "ideal" version of the work. Personally I think this works very well, provided that you understand what it is you are listening to. Nowak's version, as recorded here by Horenstein, however more authentically reflects the score that Bruckner had published. There are many technical arguments and theories about this that need not worry the listener. If you are concerned get a recording of both versions! This Nowak edition disc is remarkably inexpensive and is a performance of utter integrity from start to finish. Horenstein's way with the first movement is swift and superbly connected-up. I know of no other with such a sense of inevitable "line" - though it might strike somebody used to an approach like Karajan's as extremely fast you soon get used to the speed and then start to marvel at the way it all hangs together. The scherzo is at just the right speed and the "earthy" sound of the orchestra suits the approach completely. The wonderful slow movement is grave and noble, building to the superbly cymbal-capped major climax with inexorable majesty. This is followed by another marvellously connected interpretation of the finale - a movement that can sound disjointed in other conductors' hands. The final coda of this symphony is one of the greatest moments in music, bringing all the major themes of all the movements together into a section of complete apotheosis. Horenstein is wonderful here.
Though the sound is a little boxy and in mono the ear soon adjusts and the disc is surprisingly well recorded for its age. The other works by Liszt and Wagner receive good performances and are worth having in themselves, but anybody wanting to hear a very enlightening interpretation by a conductor who was one of the first to programme Bruckner outside of German-speaking countries will not be disappointed by what they hear and will want to have this version on their shelves.

In Distinguished Company!!!.......2003-12-11

There are only two Bruckner 8th's worth owning! This one, and Furtwanglers 1944 recording with the Vienna Philharmonic on Music & Arts CD-764! On this VOX recording, Horenstein peforms the 1890 version of Bruckner's score!There is something haunting about the less than perfect sound of the Vienna Symphony. In addition, the reverberant mono sound obtained by the VOX engineers adds to the cataclysmic mystique of the music!In my opionion, Horenstein along with his mentor Wilhelm Furtwangler, are among a select few who interpret Bruckner the way Bruckner would himself!If you like Bruckner and decide to purchase a complete set, my only recommendation would be Jochum's EMI set. Remember, Bruckner was an organist, and he had pipe organ music in his blood when he composed his massive orchestral canon! Good Listening To You!!!

Jascha Horenstein Anton Bruckner Symphony No.8 in D Minor.......2001-05-19

Anton Bruckner was called as a "rustic genius." Indeed his symphony is "rustic" but yet has the most liberating effect of transcendence. The Coda of the fourth movement of the 8th evokes the feeling of flying and ascending up and up into the sky. It is the beauty in his music!!
The flow, subtlety, detail and structural consistency are crucial for the performance of his symphonies. The depth of his music can only be revealed via insight and intuition. Mere technical brilliance will not communicate the underlying message. Overtly aiming for the dramatic effect in the fashion of Beethoven by the dramatic change in the tempo will destroy the structure of Bruckner. Although it is monoral recording and fast in tempo as compared to the 1970 live BBC version, Horenstein shows superb dynamism, incredible structural stability and consistency throughout the performance. The powerful brass, sensual strings and delicate winds (i.e. flute) are the highlights of this performance. The performace reminds us of the conductors Wilhelm Furtwangler and Carl Schuricht.

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