Anton Bruckner: Symphony No. 4 "Romantic"

Editorial Reviews
Album Description
"Davies' re-imagination of the meaning of the work is extremely persuasive and his control of its form and expression is absolutely masterful. The Bruckner Orchester plays with a dedication that borders on the compulsive and together their performance does not allow for any doubt as to the value of the work. Arte Nova's sound is strong, firm, and real." -ALL MUSIC GUIDE

"Conducting an ensemble named the 'Bruckner Orchestra Linz' at a venue called the 'Brucknerhaus' in live concert in the 2003 Bruckner Festival, Dennis Russell Davies pretty much had to deliver a high quality performance of this favorite Bruckner symphony. He exceeded this expectation by a wide margin...The recording also is first rate. The audience is virtually silent; I didn't know it was there until I later read the recording notes. The natural concert-hall dynamics are impressive: from soft string tremolandos to flurries of brass, the range is wide but not exaggerated. Set your volume to achieve an audible opening and the loudest sound is not yet so loud that you have to turn it down to protect your ears and your lease. I saved one of the best things about this disc for last: It is on a super-budget label, yet is equal in every respect to the value of full-price discs. Serious Brucknerians must have the original version, and this is the one to get." (9/9 rating!)-CLASSICS! TODAY

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:

Among the best
Among the best recent Bruckner Fourths: 4.5stars

Bruckner: Symphony No. 4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Brahms: Ein Deutsches Requiem
Richard Strauss: Four Last Songs
Schumann: Symphonies Nos. 2 & 4 (The Mahler Arrangements)
Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva
Mahler - Symphony No. 2

ASIN: B000NPCMJE
Release Date: 2007-05-08

Tracks:

Bewegt, nicht zu schnell
Andante quasi allegretto
Scherzo- trio
Finale

Amazon.com

Bruckner's Fourth Symphony underwent a complicated revision history. This recording uses the Nowak from 1886. Bruckner himself nicknamed this symphony "The Romantic." Its 1881 premiere marked his first Viennese triumph; it remains his most popular symphony, despite its occasional repetitiousness and moments when grandeur becomes grandiosity. As always, the spirit of Wagner hovers over the harmonies and the orchestration. The solemn processionals and chorales reveal the devout Catholic, while the sonorities and the frequent rests and pauses recall the organist resetting his stops. The Symphony abounds with long, arching melodies - somber and prayerful, soaring and ecstatic - and innumerable climaxes, often aborted but gathering for the final triumph. The incomparable Berlin Philharmonic revels in the glorious orchestral sound, from each individual solo to the massed tuttis. The performance is immensely exciting, expressive, and evocative. The only flaw is the excessive dynamic contrast; keep a finger on the volume-control. --Edith Eisler

Album Description

Following up their release of Brahm's Ein Deutsches Requiem, Sir Simon Rattle and the Berliner Philharmoniker continue to celebrate the orchestra's 125th year with an exploration of the 19th-century Germanic greats. On this recording they take on Bruckner's mighty Fourth Symphony, an uplifting spiritual journey across a huge musical landscape which commands the listener's attention and promises to remain in memory long after the final chords have died away.

Speaking of the individuality and overwhelming power of Bruckner's music, Rattle had this to say: "It's as though one's caught up in a gigantic wave...which simply will not stop until the last note and in fact when the last note is sounded, very often the audience simply doesn't applaud because there's a feeling to it still going out into space..."

Tracklisting:

Anton Bruckner (1824-1896)
Symphony No.4 in E-Flat Major "Romantic"
1. Bewegt, nicht zu schnell
2. Andante quasi allegretto
3. Scherzo- trio
4. Finale

Customer Reviews:

Among the best.......2007-07-03

This new recording of Bruckner 4 is among the best Bruckner 4th's I have heard.
I would set this recording along side Bohm or the Karajan(s) recordings. The tempos are often broad but Rattle has the vison and energy to keep the natural flow of the music. Rattle does not disrupte the music's natural flow as let say Celibidache often does.
The playing of the Berlin Philharmonic is nigh perfect and the intontion and ensemble continue to amaze. The recording is very good with a good wide range that does not confine the sound of this great orchestra.

Strongly recommended.

Among the best recent Bruckner Fourths: 4.5stars.......2007-05-14

There is no shortage of fine Bruckner 4s but this is another one. And it was recorded live, which I can't recall being true of many others, perhaps Wand's BPO CD for RCA. The performance has a slight Schubertian tinge but is weighty and powerful with plenty of impetus.

The BPO playing is outstanding as is the recording - with the slight caveat that the in opening pages of the first movement occasionally the brass attacks lack crispness and the recording doesn't seem quite as transparent sonically as the rest of the performance - was this perhaps recorded on a different night to the rest of the CD? But these are minor quibbles.

In fact the only reason I might not give this 5 stars is the presence in the catalogue of a more individual reading - namely that by Celibidache on EMI. Here Celi's interpretation and penchant for slightly slower speeds make absolute sense, and one ends up almost with a recreation rather than an interpretation. That would be my first choice.

Bruckner: Symphony No. 4 in E Flat Major 'Romantic'; Herbert von Karajan; Berlin Philharmonic

Average customer rating:

A good performance that has a tendency to drag just a little.
Karajan vs Karajan - Two superb recordings
Which Karajan Bruckner Fourth to choose?
Exceptional.
Low budget in more ways than one.

Bruckner: Symphony No. 4 in E Flat Major 'Romantic'; Herbert von Karajan; Berlin Philharmonic
Anton Bruckner , Herbert von Karajan , and Berlin Philharmonic
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Bruckner: Symphony No. 9
Bruckner: Symphony No. 7
Bruckner: Symphony No. 7
CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 4
Sibelius: Symphony No. 2; En Saga

ASIN: B000239B8M
Release Date: 2004-07-13

Tracks:

I: Bewegt, Nicht Zu Schnell
II: Andante Quasi Allegretto
III: Scherzo: Bewegt - Trio: Nicht Zu Schnell
IV: Finale: Bewegt, Doch Nicht Zu Schnell

Customer Reviews:

A good performance that has a tendency to drag just a little........2007-07-08

This same 4th by Karajan and the BPO is posted at Rhapsody under the Karajan Collection and sells for over 40% (5 Dollars!) more here at Amazon. Ah, the whiz kids in EMI marketing. Each has the exact same elapsed track times, so beware and be aware before you buy. If you are a collector, your guess is better than mine as to which jewel case packaging will be the more collectable. I would guess having all the "Karajan Collection" CDs or a great number of them and offering them all at once will fetch a pretty penny at Ebay in 5 to 15 years.

If you like your Bruckner 4th performed as a somewhat meandering, sentimental journey that drags just a bit, look no further. This is true especially in the first and fourth movements. They are two to three minutes longer than my favorite fourths. I prefer that these two movements be a somewhat exciting romp instead of a slow moving, dirge like, sentimental journey. My other problem with this 4th are the many low volume parts where the sound seems to disappear. I find myself fiddling with the volume knob and getting the back and forth tennis match treatment--too loud, too soft, too loud, too soft, etc. etc. etc.

The playing, especially the strings, is very polished, almost creamy feeling--much different than Inbal's. The playing is good, but does not top many of my favorite fourths and the sound recording is OK (see above about the low volume parts). If you have a program like Audio Cleaning Labs you could load this wave file into it and use the leveler feature set at classical soft. This feature will bump up the lows just a bit and not mess with the high volume sections.

I enjoyed listening to this fourth, but my favorite Karajan Bruckner Symphony is the 8th. I love the late 1980s version.

Karajan vs Karajan - Two superb recordings.......2006-11-17

I own both the EMI and DG recordings of Karajan's Bruckner 4 with the Berlin Phil and to me they are both superb. Karajan's interpretation is flawless and he manages to conjure up such a rich variety of textures and colours that they can surely not be surpassed. The Berlin Phil of the 70's and early 80's was at its height under Karajan and the quality of its sound (especially evident in the richness of the strings) as well as the virtually perfect beginnings and endings of each passage in these two recordings can surely not be surpassed. Karajan really gives meaning to the 'romatic' in this symphony's name. I would say these are the definitive recordings of this work.

Which Karajan Bruckner Fourth to choose?.......2006-01-01

Karajan made two classic recordings of the Bruckner Fourth, one in 1970 for EMI--he had briefly jumped ship from DG over a cntract dispute--then again in 1975 when he returned to his home company. Both recordings are with the Berlin Phil., and both aspire to be the greatest Fourths in the catalog. Which one should you choose?

EMI 1970: Karajan is noticeably slower here, adding two min. to each movement compared with his later reading, except for the thrillingly fast Scherzo, which is the same on both. The broader pace allows for more expressive shaping, and the orchestra responds magnificently--just the opening string tremolos and hushed horn solo will have you holding your breath. Karajan was a sophisticate, the mirror opposite of the naive Bruckner, yet somehow he could clothe himself in simplicity and directness in this music. The Berlin strings are very sweet and tender when need be. The brass is enormous without being bombastic. As for sonics, the EMI version was recorded in the BPO's best location, the Jesus Christe Kirche, and the sound is clear and wide-ranging. At times the horns are a bit too recessed for maximum impact, but the climaxes come across without mircophone distortion.

DG 1975: This recording is out of print except in Karajan's complete Bruckner set. As a performance it is faster than the earlier one, which Karajan uses to achieve more immediate excitement. In all other respects the two readings are identical--Karajan tended to make up his mind once an interpretation was set. The deciding factor will probably be the sound. Recorded in the problematic Berlin Philharmonie, the orchestra sounds pinched and restricted compared to the EMI account, and there is a muffled haze in climaxes. In the loudest passages there is also a "crunch" that is not pleasant. These flaws aren't crippling, but they can't be overlooked, either.

Sometimes I feel it's worthwhile to own all of Karajan's various Bruckner interpretations--that's certainly true for Sym. 7, 8, and 9--but his EMI Fourth is so artistically complete that one should own it first and foremost. I can hardly imagine a more satisfying account.

(As to the digital transfers, I would bet that all three versions listed here at Amazon represent the same remastering done for the Karajan Edition, which is the one I own.)

Exceptional........2005-03-19

I listen to plenty of Bruckner performed by plenty of conductors and orchestras. I always try to maintain an open mind when encountering new (to me) performances. Frankly, this is one of the most radiant and magnificently played Bruckner Fourths I've ever encountered--one of those interpretations that almost leaves one convinced this is exactly the way the composer intended the music to sound.

Karajan seems to be one of those high-profile conductors about whom aficionados enjoy having strong opinions. Nothing attracts derision like success and during his lifetime he was an amazingly successful conductor.

For the classical newcomer my somewhat impartial assessment may be helpful: Herbert von Karajan was a genius and certainly a perfectionist. He tended to get spectacular sound and performances from his orchestras. Now some find his stuff just a bit too "perfect" and consequently emotionally distant--hence "bandmaster." Sometimes I think this assessment by some folks is influenced by personal feelings about the conductor's wartime associations with the Nazi party. Sometimes people just act oddly when confronted by perfection. Personally, I've liked most of the von Karajan recordings I've heard, a number are favorites or first choices, but I also love the work of many other conductors and for different reasons. When you start sampling different interpretations you realize there're many acceptable and enjoyable ways to play the same music.

Case in point. Karajan's Mahler is gorgeous and majestic while simultaneously not exactly rustic and folksy. His approach brings out an astonishing aspect to the music, how well-written it is. It may not be the best Mahler for some but it's still a great listening experience for others--myself included. There's nothing out there quite like it. I have other interpretations when I want the folksy side played up better.

Low budget in more ways than one........2005-01-23

A waste of time. Bruckner does not respond well to band-masters. End.

Average customer rating:

Jacobs was overrated
The Great Arnold Jacobs Captured on C.D.
arnold jacobs
inspiring technician musician artist
Arnold Jacobs - Icon of education and performance

Portrait of an Artist: Arnold Jacobs

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

Ballets | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
Similar Items:

Orchestral Excerpts for Tuba
Legacy of an Artist
Bobissimo! The Best of Roger Bobo
The Chicago Principal: First Chair Soloist Play Famous Concertos
Tuba Tracks

ASIN: B00004UDEY
Release Date: 2000-08-15

Tracks:

Buxtehude: Fanfare - Adolph Herseth/Vincent Cichowicz/William Scarlett/Charles Geyer/Dale Clevenger/Jay Friedman...
We Are Enormously Complex
Hn Con No.1 in E flat: 1st Movt: Allegro
Hn Con No.1 in E flat: 2nd Movt: Andante
Hn Con No.1 in E flat: 3rd Movt: Allegro
The Musician Plays The Instrument
Playing For The Audience
Programming The Brain
Czardas
Carnival Of Venice
Con: 1st Movt
Etude No.24
'Czardas' With The Metronome
This Is An Art Form
We Play By Song And Wind
Canzon Per Sonare No.2 - Adolph Herseth/Vincent Cichowicz/Dale Clevenger/Jay Friedman/Arnold Jacobs
Lohengrin: King Heinrich's Call (Exc) - Jay Friedman/Arnold Jacobs
Sym Fantastique: Dies Irae
Become A Singer In Your Brain
There Must Be A Source Of Vibration
Breath As A Motor Force
Sonatine: 1st Movt: Allegro Vivo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Sonatine: 2nd Movt: Andante Ma Non Troppo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Sonatine: 3rd Movt: Allegro Vivo - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Sonatine: 4th Movt: Largo; Allegro - Adolph Herseth/Vincent Cichowicz/Richard Oldberg/Frank Crisafulli/Arnold Jacobs
Keeping Music As An Art Form
Breathe To Expand
F Tuba Demonstration With Berlioz
Romeo And Juliet (Exc) - Chicago SO/Carlo Maria Giulini
Con: 2nd Movt (Exc) - Chicago SO/Fritz Reiner
Petrouchka (Exc) - Chicago SO/James Levine
Sym No.4: 1st Movt (Exc) - Chicago SO/Jean Martinon
Sym No.4: 1st Movt (Exc) - Chicago SO/Daniel Barenboim
The Key For Communicating In Music
Pictures At An Exhibition: The Great Gate Of Kiev (Exc) - Chicago SO/Fritz Reiner

Customer Reviews:

Jacobs was overrated.......2005-09-28

Arnold Jacobs was a brilliant man who could have succeeded in practically any profession. He was also a fine musical pedagogue, judging from his verbal insights on this CD with respect to the human body as a musical instrument. Yet, I am amazed that he rose to the rank of tubist in a world-class orchestra such as the Chicago Symphony. Frankly, I found his tone quality uninspiring, although he had fine techinque. I have heard at least half a dozen tubists whose tone is far more pleasing musically. Among the bassmen/women of the world, Jacobs has become a semi-divine entity. I believe that he has been somewhat overrated as a result. I felt that his verbal commentaries were highly educational; I was disappointed by his playing overall.

The Great Arnold Jacobs Captured on C.D........2005-04-02

This is a prolific set of audio that captures the historical sound of Arnold Jacobs' playing and teaching. I bought this C.D. because I wanted to explore the limits and capabilities of a tuba player so that I could see if playing music on the tuba was for me. This C.D. banished any doubt that I had about the ability of a tuba player to achieve at the utmost musical level. I have never meet Mr. Jacobs in real life, but this C.D. made me feel as if I was in a master class or recital hall listening to him myself. I would recommend this C.D. to anyone who loves music. As Arnold Jacbos said " It's not about the tuba, it's about music".

arnold jacobs.......2001-05-16

This cd tries to capture arnold jacobs: a prolific teacher, player and above all a great man. while listening, you'll discover the ideals, the methods and ideas that made arnold jacobs the best tuba player that there'll probably ever be. The more complex issues and artistry of brass playing are explained in simple words and sayings. a great deal of jacobs' lectures is also given, and you can also see the importance of understanding the functioning of other body units that help us trough our playing (the brain). a great disc, highly recommended, not only for tuba players, but for all brass players.

inspiring technician musician artist.......2000-09-01

Cannot agree more,this is a wonderful exposition of Jacobs the teacher,for he had developed working concepts any wind player could adopt.His studio in the Fine Arts Building in Chicago was like a mecca for all wind players coming to Jacobs to resolve some deep-rooted performing problem. As he says( my paraphrasing) " they get tied up in knots,worrying about all the motions of the lip. . .you can't think about all those motions for they are thousands of motions from the brain to engage in performing a brass instrument "

As a brass player myself,(trombone & tuba) I have always sensed we have little repertoire to play of any interest,but Jacobs in a lecture here reveals this problem and one way to solve it, is to consciously search for things to play,like an aria from Puccini,or a particular non-tuba passage,to duplicate it,a piano or violin solo. What this approach implies is then for the brass player to develop skills as a consummate musician/ virtuoso,for you are forever challenged then to expand your repertoire endlessly,as much as the instrument or your technique will allow. I now find myself playing Chopin Preludes(Eb-minor,B-minor melodies only) on the trombone,and contrabass orchestral excerpts or trumpet etudes on the tuba,and Jacobs encourages tuba players to learn to read treble clef to be able to read any melody.

There are wonderful examples here from all genres in music from solo etudes in his studio to Berlioz and Wagner excerpts, solo and within the context of the orchestra. It all reveals the seemless consistent sound Jacobs was able to summon from his York tuba. Every attach was uniform,every tone even and pure,at least that is what he heard in his ear. That's another Jacobs credo,you have to have the sound in your head,what do you want your listener to hear. You command that.

The Bozza Sonatine(brass quintet) is also a wonderful performance of great brass music,great use of colours and entrances,breaking down the quintet into smaller duets and trios.This all with Chicago Symphony players makes it all the more interesting,a vintage performance from 1966.I recall those days where solo brass was considered an oddity,and unaccompanied solos even more so.

Jacob's sound should remain in your mind's hearing to duplicate it. Eugene Pokorny (Jacob's Chicago Symphony successor) also provides insightful interesting notes here.

Arnold Jacobs - Icon of education and performance.......2000-08-23

Amazing! For the students who studied directly with Arnold Jacobs, "Protrait of an Artist" will take you back to his studio, sitting right next to him. This excellent collection of lectures (lessons) and demonstrations are a fantastic embodiment of Arnold Jacobs' concepts and teachings. It is certainly a must for any music performer or educator. From the samples of CSO performances at the end of this CD to the practice tapes, the music on this CD is truely inspirational.

The Most Uplifting Classics in the Universe

Average customer rating:

The Most Uplifting Classics in the Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Sextets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music
Similar Items:

Most Inspiring Classics in the Universe
Most Romantic Classical Music in the Universe
Classical Blast
More of the Most Romantic Classical Music in the Universe
The Most Relaxing Classical Music in the Universe

ASIN: B0002JUX9C
Release Date: 2004-08-17

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:

classic recording...horrible oboe
AS EXPECTED
JUSTIFIABLY CALLED A 'LEGEND'
One side of the Bruckner coin
BOHM AND BRUCKNER 4TH=FANTASIC!

Bruckner: Symphony No. 4 / Karl Böhm
Anton Bruckner , Vienna Philharmonic Orchestra , and Karl Böhm
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Bruckner: Symphony No. 7
Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes
Brahms: Piano Concerto no 1 / Curzon, Szell
Anton Bruckner: Symphonie Nr. 7

ASIN: B00000JXZA
Release Date: 1999-08-10

Tracks:

Symphony No. 4 in E flat major 'Romantic': I Bewegt, nicht zu schnell
Symphony No. 4 in E flat major 'Romantic': II Andante, quasi allegretto
Symphony No. 4 in E flat major 'Romantic': III Scherzo: Bewegt - Trio: Nicht zu schnell Keinesfalls schleppend
Symphony No. 4 in E flat major 'Romantic': IV Finale: Bewegt, doch nicht zu schnell

Customer Reviews:

classic recording...horrible oboe.......2007-07-04

This is a classic recording but with a very acid oboe play. Sometimes with this orchestra the oboe sound cuts and does not bland. Bohm's ideas are excellent.

AS EXPECTED.......2007-06-11

I received the packge approx. 1 week after I ordered it. It was packed properly, and arrived in very good condition.

The cassette was as ordered. The sound quality excellent and I am overall very satisfied with this purchase.

JUSTIFIABLY CALLED A 'LEGEND'.......2007-05-11

Sometimes everything just clicks. It all goes right on the night. All the careful preparation is realised in performance. The conductor's private vision is perfectly transmitted to and by the orchestra before him. The soloists' most felicitous phrases gel ideally with the conductor's large-scale interpretation of the work.

This was just such a performance - or rather a set of recording sessions. Bohm was certainly well versed in the Bruckner canon, but he was not one of those `core' Bruckner conductors like Jochum and Wand or even Furtwangler and Knappertsbusch. Recordings also exist of him conducting Symphonies 3, 5, 7 and 8 as well as other readings of the Fourth, but none of them are really in the class of this performance, fully worthy of Decca's `Legend' moniker emblazoned on the jewel case. Perhaps it's better not to speculate about why it all worked so well at those sessions, but just to rejoice that it did and relish the results.

`Romantic' was Bruckner's own soubriquet for his Fourth. It certainly stands apart from most of the rest of the canon in its freshness, its sense of the Austrian countryside and indeed of Austrianness in general. It doesn't seek to explore the construction and structure of a symphony in the way the 5th or the 8th do, nor to plumb the spiritual depths of the 8th or 9th. Bruckner's programmatic descriptions for his Fourth conjure up a medieval world of forests, birdsong, hunting expeditions and knightly derring-do. That's not to say it is not constructed with much thought through seven years of the usual Brucknerian overhauls, including three different Finales. Its form is certainly a lot more tightly organised than its predecessor, the Wagnerian 3rd. But its character is, perhaps, more simply approachable than the other symphonies.

For this recording, Bohm was at the head of the greatest Austrian orchestra - at the time, arguably the world's greatest orchestra - the Vienna Philharmonic. And the rapport between them seems almost tangible. Certainly their distinctive sound with its rich string tone, its unique French Horns and full brass sound suits this music to a T. One always seems to sense Bruckner, the organist, behind the tiered orchestration he employs, often using the different sections - strings, woodwind, brass - to produce separately coloured blocks of sound layered on top of each other. The Vienna Philharmonic of 1973 seem the perfect instrument to realise this sound. That horn sound is glorious thoughout and the woodwind playing here is exceptional, too.

As to Bohm's interpretation, he really understands the Austrian heart of this music. His tempi are relaxed but never sluggish. Bruckner felt it necessary to qualify the tempo markings in every movement - the first's allegro is nicht zu schnell (not too fast): so is the Finale's: the slow movement is Andante, but quasi allegretto: and the Scherzo's Trio is marked nicht zu schnell again. Bohm observes all this, allowing the music room to breathe while always sustaining momentum. The pacing and placing of Bruckner's huge climaxes is always spot-on. And he fully understands exactly where the highest point of each movement should be - he doesn't play all his cards too early: the climaxes are `scaled' to retain a meaningful shape to each movement and to the whole symphony.

This is definitely a disc that merits the title Legendary. And at a bargain price. What more encouragement should you need?

One side of the Bruckner coin.......2006-08-01

This Bruckner 4 has been cited by many as being THE benchmark version for several decades. However, I think that listening to Karl Bohm conducting is like making love with your clothes on .. ok but a bit, er, shall we say, 'safe'! His 1974 Bruckner 4 is a pretty good example of what I mean; it's a typical Bohm reading - undynamic, safe, earthbound, 'gemutlich' (= comfortable) even, almost as if the VPO is being conducted by somebody with a background in farming who aspires to direct a great orchestra. His way was nearly always typically conservative Austrian, which for some may well be OK because Bruckner too was a conservative Austrian, but he was one whose music can work on different levels; or two sides of the same coin. I really liked this Bruckner 4 when it first appeared on LP thirty-odd years ago, it seemed grand and imposing, but I was new to Bruckner and I quickly found that I preferred a more robust, lithe and dynamic approach, which is why my Bruckner 4s have been whittled down to just one version - Karajan on EMI (1972). Karajan's approach is for me ideal, he is the bold mountaineer up on the glaciers and rocky summits where Bohm is the farmer in the cabbage fields below. In the final analysis it comes down to personal preference as to which way suits you best and Bohm's way may suit many people, but not me.

BOHM AND BRUCKNER 4TH=FANTASIC!.......2006-05-09

This recording was the first Bruckner symphony I bought and one of the first Bruckner symphonies I listened to. I instantly found it moving,inspiring,and fascinating. The opening crescendo of the first movement is one of the most awe-inspiring and lovely moments in all symphonic literature. The adagio is most lyrical and displays Bruckner's prowess in writing slow movements. The 4th's scherzo instantly captivated me and the brass writing is spectacular. Then the finale; while it has been said by some scholars that this finale contains some structural flaws, as a layman I do not notice this. Instead I find it to be a thrilling experience, indeed it is one of Bruckner's most amazing finales'. After many months of listening to this great work I decided to get the score and read along, and I must say this symphony is perfect for just that. It never gets tedious or uninteresting while reading along with the music. Now about the recording.

I knew nothing about Bohm and hardly anything about Bruckner when I bought this album, but after the first listen I was struck by its intensity. I would warmly recommend it to any classical music fan. It is one of Bruckner's most approachable symphonies. The acoustics are magnificent, Bohm has the tempo down just right, and the orchestra sounds clear and loud. I love this recording & this symphony, and look foward to many more listens in the years to come.

The Essential Hyperion (Label Highlight Compilation)

Average customer rating:

A MUST BUY!!!
Great music, Excellent Value!
This truly is essential!

The Essential Hyperion (Label Highlight Compilation)
Henry Purcell , Charles Villiers Stanford , Sheppard, John , Haydn, Joseph , Satie, Erik , Schumann, Robert , and Shostakovich, Dmitri
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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

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

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

Classical | Imports | Stores | Music

$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Essential Hyperion, Vol. 2
Glass Harmonica
Mendelssohn: Piano Trios Op. 49 & Op. 66
Essential Purcell

ASIN: B000002ZDX
Release Date: 1995-02-13

Tracks:

Concerto For Two Trumpets, 1687: Allegro
Abdelazer: Rondeau
Who Can From Joy Refrain?: A Prince Of Glorious Race
The Morning: The Glitt'ring Sun
The Ephesian Matron, Or The Widow's Tears: Vaudeville
Magnificat In G
Libera Nos
Cantigas de amigo: My Love's Coming Home
My Lady, You Do Great Wrong
Locus iste
Symphony No 14 In A: Tempo di Minuetto
Symphony No 94 In G (The 'Surprise' Symphony): Finale
Gymnopedie No. 1: Gymnopedie No. 1 (Orchestrated By Debussy)
Liederkreis op. 39: Waldesgesprach
Album Leaf In Waltz Form
Prelude And Fugue In A, Op. 87, No. 7
Phil The Fluter's Ball
Piano Concerto In C Sharp Minor, Op. 30: Allegro
O salutaris hostia
Da quel sembiante, D. 688, No. 3
Sonata In G Minor, Op. 5, No. 5: Vivace
Clarinet Quartet No 1 In E Flat, Op. 2: Rondo
String Sextet In A, Op. 48: Furiant
Sherzo In A minor, Op. 81, No. 2
Come You, Mary, Op. 21, No. 2
Chorale Prelude 'Nun freut euch, lieben Christen g' mein'
Deus in adiutorium
Sortie In E Flat

Customer Reviews:

A MUST BUY!!!.......2001-03-03

If I had to choose one CD to spend a month locked in isolation with, this would be the one. Its varied but it flows well together. It's restive and soothing. The quality is beyond excellent!!! At the price, anyone is a fool not to own it, and give it lavishly as gifts. Its gorgeous, lush and fabulous! Everyone that hears it in our home, falls in love with it!

Great music, Excellent Value!.......2000-07-26

Rarely can one buy so much good music for so little. This compilation features almost 80 minutes of high quality music.

This truly is essential!.......1999-10-23

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

Average customer rating:

Bombastic...
"Philadelphia Sound" + Bruckner = Bad Combo!
Watch out, you have a Great one here!
Searching for a soul??? Look elsewhere.....
Exhilarating and chilling

Bruckner: Symphony No. 4 "Romantic"

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Bruckner: Symphony No. 5
Berlioz: Symphonie fantastique Op14; Mussorgsky: Night on Bald Mountain
Eugene Ormandy
Strauss: Orchestral Music from Stage Works
Strauss: Also sprach Zarathustra; Don Quixote

ASIN: B0000027OF
Release Date: 1992-01-03

Tracks:

Symphony No. 4 in E flat major 'Romantic': I. Bewegt, nicht zu schnell
Symphony No. 4 in E flat major 'Romantic': II. Andante quasi Allegretto
Symphony No. 4 in E flat major 'Romantic': III. Scherzo. Bewegt - Trio. Nicht zu schnell. Keinesfalls schleppend - Scherzo
Symphony No. 4 in E flat major 'Romantic': IV. Finale. Bewegt, doch nicht zu schnell

Customer Reviews:

Bombastic..........2007-04-20

Bruckner's Fourth is a robust and bombastic, but also a very, very long experience. Eugene Ormandy and the Philadelphia Orchestra keep things interesting through lush and soaring strings, and shining horns ( I guess that's what they call the "Philadelphia sound").

Comparisons: Abbado

"Philadelphia Sound" + Bruckner = Bad Combo!.......2006-07-18

Ormandy's tenure with Philadelphia Orchestra is one of the greatest collaborations in performance history. He maintained the special "Philadelphia Sound" after Stokowski, with sensual strings and aggresive brass sound. Despite the group's virtuosity and distinct fame, however, playing a Bruckner piece with such style won't do for me.

In Symphony No. 4, titled the "Romantic" (not to mention my single favorite symphony), I've always been used to the warm, Germanic sound on the brass, while the strings often accompanied them with calm, shimmering sounds to make an organ effect (and Bruckner was also an organist and a devout Catholic). That amazing overtone which can be achieved in some performances is void in this one. The strings are too out of control, but also tend to be covered or blend with the brass - especially the vibrato-filled almost Russian trumpets. Bruckner's music is supposed to be a spiritual ecstacy, but being done by an orchestra under such an un-German sound is travesty. The work is played flawlessly and skillfully, especially in the third and fourth movements, but this isn't really Bruckner.

In short, the special "Philadelphia Sound" on Bruckner simply won't do...

There are plenty of great one out there. If you want the most of it, try Abbado/VPO. Although not as prestigious, I also recommend Salonen/LAPO (plus, there is actually a brief hold on the last thundering chord in the first movement).

Watch out, you have a Great one here!.......2004-05-26

The Philly Orchestra is one of the most inspired ensembles in the world. Here they make wonderful sounds in this Bruckner 4 unlike any other orchestra. To top it off the pacing is absolutely first rate and the Finale is truly rustic with the feeling of the Forest! In spite of knowing a great deal of other Bruckner records first hand, this one is a fresh approach which really gives great pleasure. The Slow movement is truly majesterial as well...well worth every cent!

Searching for a soul??? Look elsewhere............2003-04-24

ORMANDY'S PHILLY ENSEMBLE IS SUPERB PRODUCING PLAYING THAT IS IMMACULATE BUT THIS CONDUCTOR DOES NOT HAVE THE MUSICAL IMAGINATION NEEDED TO PRODUCE A SATISFYING INTERPRETATION OF THE Bruckner 4th.
He rushes thru passages thus completely eliminating the mystery that is such a focus point in this piece and Bruckner for that matter.
Bruckner was a spiritual man like Bach and his music demands a deep soul who knows how to make that spiritual connection.
Ormandy does not let the music breathe he just runs right thru it and so we have an interpretation lacking mystery,balance,
shattering climaxes,and musical sense.
A perfect example is the climactic ending of the first movement.
It should be built up slowly in piannisimo then increasing the tempo and dynamic little by little so that the tension sizzle's to its boiling point so that when the horns come blazing thru it makes a shattering impact.
Ormandy justs plows on thru with wonderful orchestral playing yet lacking any soul.
Karl Bohm's Vienna Decca recording from 1974 or Ricardo Muti's Berlin recording from 1986 both produce splendid results and should be considered if you wish for the real deal.
This ain't it folks.....

o.f.

Exhilarating and chilling.......2002-10-11

Explosive Ormandy rendering of Bruckner's uncanny Fourth will wring you dry as it marches from the bursting eros of the symphony's triumphal first movement to the equivocal, upsetting, and finally downright creepy finale. This is a larger-than-life composition rendered with high dramatic flare (and recorded without anything to complain of). Bruckner's Fourth deserves to be one of the most controversial works in the canon, in terms of its cumulative emotional or philosophical statement (or whatever abstract vocabulary you choose to impose upon it): whatever it has to say about the world, it is nowhere near as apparent as, say, Brahms' First or Tchaikovsky's "Pathetique". This is a remarkable, and very affordable, disc to keep in the stereo for a couple of weeks at a time to brood over. Addictive.

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]

Average customer rating:

Harnoncourt's Bruckner, a viable alternative to Karajan?
Depends what you consider good
Terrific performance!
Unconvincing performance; interesting commentary
Harnoncourt roars, but Wildner rages

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Bruckner: Symphony No. 5 (with Excerpts from the Rehearsals) [Hybrid SACD]
Bruckner: Symphony No. 9
Sibelius: The Symphonies [Hybrid SACD]
Bruckner: Symphony 8
Great Orchestral Highlights from The Ring of the Nibelungs / Szell, Cleveland Orchestra (SACD)

ASIN: B0000AF1IG
Release Date: 2003-10-21

Tracks:

Warum Hat Man Eigentlich 100 Jahre Lang Gedacht, E - Nikolaus Harnoncourt
Finale. T. 1-278 - Wiener Philharmoniker
Gegen Ende Eine Extreme Dissonanz In Den Trompeten - Nikolaus Harnoncourt
Nach Dem Ende Der Durchfuhrung Folgt Eine Wilde Fu - Nikolaus Harnoncourt
Finale. T. 279-342 - Wiener Philharmoniker
Quasi En Schreckensbild Des Todes - Nikolaus Harnoncourt
Finale. T. 343-478 - Wiener Philharmoniker
Danach Fehlen 16 Takte; Dazu Ist Nichts Zu Erklare - Nikolaus Harnoncourt
Finale. T. 479-510 - Lucke/Fehlender Partiturbog - Wiener Philharmoniker
Why Did We Think For Over Hundred Years That Nothing... - Nikolaus Harnoncourt
WAB 109: Finale. MM. 1-278 - Wiener Philharmoniker
Extreme Dissonances In The Trumpets Towards The End - Nikolaus Harnoncourt
At The End Of The Development A Wild Fugue Begins - Nikolaus Harnoncourt
Finale. MM. 279-342 - Wiener Philharmoniker
A Sudden Vision Of Death - Nikolaus Harnoncourt
Finale. MM. 343-478 - Wiener Philharmoniker
Then There Are Sixteen Bars Missing. We Will Just... - Nikolaus Harnoncourt
Finale. MM. 479-510 - Gap/Missing Score Bifolio - Wiener Philharmoniker

Tracks:

I. Satz. Feierlich; Misterioso - Wiener Philharmoniker
Scherzo. Bewegt; Lebhaft - Trio. Schnell - Scherzo - Wiener Philharmoniker
Adagio. Langsam; Feierlich - Wiener Philharmoniker

Customer Reviews:

Harnoncourt's Bruckner, a viable alternative to Karajan?.......2006-03-19

Even Karajan's detractors, except for the most severe, generally concede that he was supreme in Bruckner. His various performances of the Ninth Sym. with the Berlin Phil. are commanding in their huge scope, yet Karajan was also capable of delicate phrasing and had an intuitive grasp of how to organize these gigantic, sprawling movements. No one has quite reached that magistreial level since. To his credit, Harnoncourt doesn't try to. This is, for him, a straightforward performance that relies on some qualities Karajan's Bruckner doesn't possess.

First of all, Harnoncourt has his own instincts about phrasing and organizing the music. Contrary to a reviewer below, he doesn't exploit extreme rubato or sudden tempo changes. There are some quirky moments where the tempo speeds up unexpectedly, but overall, Harnoncourt's timing of 58 min. is dead center among various recordings (as much as I admire Giulini, his 68 min. traversal drags). Harnoncourt favors brash outbursts from the brass, particularly in the Scherzo, my least favorite movement here. But his main intent is to keep Bruckner simple, to impose himself far less than Karajan did with his ultra-control. This Bruckner Ninth is a bit plain at times, but it always breathes.

As to the recorded sound, I have only heard the regular two-channel CD, which is quite clear; the Vienna Pphil. is placed a bit far back on a wide soundstage. I would have liked to hear the solo winds up closer, but that's a quibble. This Bruckner Ninth satisfied me as much as the great accounts by Walter, Klemperer, Giulini, and Boulez. I sitll feel more thrills from Karajan's analog reading from the Sixties, yet Harnoncourt provides a viable alternative in itnerpretation.

In theory it was an exciting notion to provide a free bonus CD containing Harnoncourt's defense of Bruckner's surviving sketches for a fourth movement, never completed. Could it really be that his ocntemporaries were wrong and that Bruckner left us pages of great music begging to be revived? Harnoncourt's talk is highly persuasive, but when the Vienna Phil. actually plays what survives of the finale, it proves as sorely disappointing as its reputation would lead one to believe.

Depends what you consider good.......2004-06-14

Harnoncourt has done some great things for music in his career, but I would not consider this one of them. He achieves an "authentic" performing style from the Vienna Philharmonic with a thin string sound and little or no vibrato. So anyone expecting that sweet Vienna sound will be disappointed. But his conducting does not meet that goal of authenticity, because he varies tempos too much. It draws attention to itself and weakens the cohesiveness of the work as a whole.
There are other versions, many of which are mentioned by the other reviewers below (Giulini, Karajan, et al.), which communicate this great work more simply and effectively. They are also unique and full of interesting details (some attention to detail is good). In light of them, Harnoncourt's view is radically different. Experience has taught me that subtle differences in interpretation give pleasure with repeated listening. Radical differences are OK in a live performance (which this is), but do not stand the test of time. So I do not recommend this as a first recording to have of Bruckner's 9th.

Terrific performance!.......2004-02-25

The symphony recording is damn good, and the extras are very interesting (to hear Harnoncourt speaking German and English, to hear the sketches of the last movement). In my mind, this ranks among the very best -- with Celibidache on EMI, Giulini on DG, Bernstein on DG, and don't forget the second movement of the Jochum on EMI.

Unconvincing performance; interesting commentary.......2004-01-15

First off, I do not like the performance. Harnoncourt's tempi are erratic, particularly in the adagio (where he speeds up the second theme-group to the point he cheapens it).

Secondly, I found his commentary on the 4th movement "chunks" informative. They could easily have been printed in liner notes; instead, we have each of the chunks played twice, followed first by commentary German, then in English.

Thirdly, I see no reason why he should not have recorded the full movement as completed by someone -- by William Carragan (Chandos: Yoav Talmi, Oslo Philharmonic); by Nicola Samale & Giuseppe Mazzuca (Teldec: Inbal, Frankfurt Radio Symphony Orch [with the 5th Symphony]); or by Samale, Mazzuca, and John A Phillips (Camerata: Eichhorn, Linz Bruckner Orch). My first choice is the Carragan: though the Oslo band takes third place among those in these recordings, it is good enough and I find Carragan's completion the most convincing.*

(In January 1984 I went to New York and Carnegie Hall to hear the American Symphony Orchestra perform the premier of the 9th with Carragan's finale. The performance was reviewed the next day in the Times. I immediately wrote Joel Flegel, editor of Fanfare, asking if he knew whether a recording was planned. Joel was dubious and dismissive: "If that college professor really....")

As Carragan noted in his program notes for the ASO "premier," the finale includes the greatest of Bruckner's chorales. That magnificent theme cannot be understood or appreciated by hearing it only in Harnoncourt's chunks. It needs to be heard in context -- and that context can only be provided in a "performing version."

In my opinion, Harnoncourt does a disservice to Bruckner and to listeners by not offering a completed finale. There is certainly room for one in this two-disk set.

* But Carragan will either produce a new version or be superseded as pages not available to him have since been found -- and as still more come to light.

Harnoncourt roars, but Wildner rages.......2004-01-05

As the other reviewers note, this release is essential for anyone interested in this work, for the workshop and documentation of the currently surviving material from the final movement of the symphony. Another important aspect of the release is the use of a new "critical edition" of the initial three movements of Bruckner's 9th, which contains a number of very evident modifications, particularly in orchestration. All the same, it is a concert recording, and, at least in the usual CD format, balances aren't always optimal, trumpets and trombones often too forward, at the expense of the Vienna Phil's strings and (especially) glorious horn section, and timpani are somewhat reticent, especially in the first movement. Harnoncourt also tends to push a bit hard, lacking the natural plasticity in tempo that marks the greatest performances of the first three movements of this work. The impression is one of roaring power, building and receding throughout. Of the 4th movement sketches, Harnoncourt plays exactly what survives, except he omits the 50-odd bars of three coda fragments that have turned up.

Just a few months ago, a recording of the 9th including a reconstruction/completion of the 4th movement, based on the same body of fragments and sketches (including the coda) and prepared by the same editors, was released on Naxos(8.555933-34). The orchestra is the New Philharmonia of Westphalia (Germany) and the conductor is Johannes Wildner. Now, finally, we can hear this work in a form tantalizingly close to the way Bruckner intended. Furthermore, unlike Harnoncourt's Vienna Phil performance, Wildner and his astonishiingly capable Westphalians present what I can only describe as a ferocious performance, with horns and timpani cutting through the fabric of the orchestra at key points, and effectively flexible tempos. It's a performance unlike any I've heard since Furtwangler's furious and terrifying recording made in Berlin during the darkest days of World War II. If you've gotten the Harnoncourt (or even if you haven't), you have to get the Wildner, too.

As an aside, these recordings render superfluous the 1986 Chandos recording by Yoav Talmi and the Oslo Phil of a 4-movement version of Bruckner's 9th. That documented a brave effort by William Carragan to reconstruct a finale. Unfortunately he had barely 3/4 of the body of sketches to work with that we have now, and nothing of the coda at all.

Bruckner: Symphony No. 4 Romantic [Hybrid SACD] [Japan]
Average customer rating:
Bruckner: Symphony No. 4 Romantic [Hybrid SACD] [Japan]

Manufacturer: BMG (Japan)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Classical | Imports | Stores | Music
Similar Items:

Bruckner: Symphony No. 8 [Hybrid SACD] [Japan]

Bruckner: Symphony No. 7 [Hybrid SACD] [Japan]

Bruckner: Symphony No. 5 [Hybrid SACD] [Japan]

Bruckner: Symphony No. 9 [Hybrid SACD] [Japan]

Appalachian Spring (Multichannel/Stereo)

ASIN: B000J10DP2
Release Date: 2006-12-12