Bruckner: Symphony No.5 [Import]

Editorial Reviews
Album Details
For Many Years, the Ground was Thick with Misconceptions About Anton Bruckner - that He was a Sort of Idiot Savant, that He Composed Nothing of Merit Until He Reached Middle Age, and that He was to Be Spoken of in the Same Breath as Gustav Mahler. None of These Fables, and Others, Could Be Further from the Truth. It is True, However, that his Manners and Tastes were Sometimes Rustic, that He (Like Brahms!) Didn't Complete his First Numbered Symphony Until He was in his Forties, and That, in his Music, He Tended to Express Himself in Paragraphs and Not in Individual Sentences. Bruckner Referred to the Fifth Symphony as his 'fantastic' Symphony, but the Adjective Hasn't Stuck - Presumably Because Berlioz Got to it First. His Pupil and Biographer August Gollerich Called it the 'tragic' Symphony. The Fifth Symphony is No More (Or Less) 'fantastic' Or 'tragic' Than Any of his Other Mature Symphonies.

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 .

The Most Uplifting Classics in the Universe

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The Most Uplifting Classics in the Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

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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

The Essential Hyperion (Label Highlight Compilation)

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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
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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
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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
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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.

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Average quality recordings, great historical significance

Recordings 1942-1944, Vol. 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Beethoven; Mendelssohn: Violin Concertos / Furtwangler, Menuhin

ASIN: B00005ONML
Release Date: 2002-10-08

Tracks:

Allegro Affettuoso - Walter Gieseking
Intermezzo. Andantino Grazioso - Attacca - Walter Gieseking
Allegro Vivace - Walter Gieseking
Nicht Zu Schnell - Tibor De Machula
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Tracks:

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Tracks:

Introduction. Adagio
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Tracks:

Thema I. Bewegt - Thema II. Sehr Lebhaft - Thema III. Ruhig
Scherzo. Munter
Wiegenlied. MaBig Langsam
Adagio. Langsam
Finale. Sehr Labhaft
Tone-Poem After Nikolaus Lenau

Tracks:

Tone-Poem For Large Orchestra
Till Eulenspiegel's Merry Pranks After An Old Picaresque Legend - In Rondeau Form
Daphnis Et Chloe - Suite Nr.2

Customer Reviews:

Average quality recordings, great historical significance.......2004-12-09

These recordings were made in wartorn Berlin by one of the past century's greatest conductors, Wilhelm Furtwangler, who was one of very few international caliber artists who remained in Germany during WWII. Combine Furtwangler's passionate conducting with the sad context of war and you've got an utmost interesting and pertinent package.

Schumann's Piano Concerto is wild and intense as you may expect, and totally unedited as you can hear several of Walter Gieseking's errors. The Cello Concerto is equally intriguing, as well as Brahms' Piano Concerto. This set contains a lot of pieces which are not part of Furtwangler's "standard favourites".

The only drawback is the sound quality. These are live recordings who were made with primitive technology, and we lose much of the dynamics of Furtwangler's volume fluctuations. However, the style and tempi are unmistakenly his.

While most of today's digital recordings are bland and perfect, this boxed set is a good alternative for those who appreciate the historical context of a recording. As much as I enjoy Zimerman/Karajan's interpretation of Schumann's masterpiece on digital DGG, there is something about these old recordings that is so passionately nostalgic that I can't help but listen to this noisy mono recording more often than I listen to other versions I possess. It's also one of very few Furtwangler collections which are properly packaged, in an attractive slim box from Deutsche Grammophon's Dokumente series.

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favourite symphony?
A Great Fifth
Brilliant Bruckner

Bruckner: Symphony No. 5

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000027UT
Release Date: 1992-06-02

Tracks:

Symphony no.5 In B-Flat Major: I. Introduction. Adagio - Allegro
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Symphony no.5 In B-Flat Major: III. Scherzo. Molto vivace
Symphony no.5 In B-Flat Major: IV. Finale. Adagio - Allegro moderato

Customer Reviews:

favourite symphony?.......2005-12-23

Allthough the sound and ambiance is tremendous, i am still doubting this is my favoroutie. Thatis because of the 7th. The tension is around in this music, and there are some climaxes. Bruckner surely meant this, but the symphonie is long. Never a dull moment though. The orchestra from Philadelphia is flawless, the director will probalby have his saying in that. I own by the way some more performances under the batron of Ormandy, and they are not always simple. Each time they are great though. I do not see this director as avoiding a temptation or difficulty in music.

A Great Fifth.......2002-03-15

This is my favorite Bruckner Fifth symphony. It's big, well and dramatically paced, the sound is tremendous, and the interpretation delivers all the sentiment, brutality and visionary uplift the music has to offer. Wow!

Brilliant Bruckner.......2001-04-01

This budget-priced CD from the Sony Essential Classics series of Bruckner's 5th Symphony performed by Eugene Ormandy & the Philadelphia Orchestra is simply brilliant. Before I start I guess I should mention that I own no other recordings of this symphony (this seems to be a necessary disclaimer for some). However, I do own a half-dozen symphony titles by the composer, including Szell's recording of the 3rd and 8th on the same label, Klemperer's recording of the 6th on EMI, Wand's performance of the 9th on RCA, and two versions of the 4th -- Salonen's 1998 release on Sony and Jochum's classic on DG Originals. So while I may not be a Bruckner expert, I think I know what I'm listening for in a good Bruckner symphony performance. And on this title, Ormandy has outdone himself yet again. The thing I love about Ormandy as a conductor is he has the talent and ability to handle a repertoire as vast and differing as Mozart, Bizet, Hindemith, Ives and Bruckner, and yet he always manages to pinpoint the composer's original intentions, and without drawing much attention to his own presence (and ego). This 5th Symphony overflows with radiant strings, massive brass, powerful surges, and multiple climaxes, and the Philadelphia Orchestra has never sounded better. There may be other great discs of Bruckner's Symphony No. 5, but I can't imagine one better than Ormandy's. Throw in the inexpensive price and you have an essential purchase to go along with classic performance.

Average customer rating:

a very good interpretation and a truly great recorded performance
The time for listening Bruckner depends on you!
Great
Absolutley Stunning
The best of the new-wave Bruckner

Bruckner: Symphony No. 5

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony No. 8
Bruckner: Symphony No. 9
Bruckner: Symphony No. 6 - Günter Wand / NDR Sinfonieorchester (Live Recording)

ASIN: B000003G38
Release Date: 1997-01-06

Tracks:

Sinf No. 5 in B Flat: Introduktion (Adagio)-Allegro
Sinf No. 5 in B Flat: Adagio (Sehr Langasm)
Sinf No. 5 in B Flat: Scherzo. Molto Vivace (Schnell)
Sinf No. 5 in B Flat: Finale. Adagio-Allegro Moderato

Customer Reviews:

a very good interpretation and a truly great recorded performance.......2007-02-01

As my introduction to the Bruckner Fifth, I listened to three different recordings to compare them: the 1953 reading by Furtwängler and the Vienna Philharmonic, Furtwängler's 1942 recording with the Berlin Philharmonic, and this, Gunther Wand's 1996 live performance with the Berlin Philharmonic.

Wand's album here is really a magnificent acheivement. To begin with, this may be the best recording of an orchestra that I've ever heard. This is demonstration quality audio, to say the least, the Berliners' playing thundering from the speakers with all of its nuances captured in the right balance. The orchestral playing and the recording are so breathtaking, you'd want to hear this disc for them alone.

But Wand's interpretation is just as much of an asset here. His reading of this symphony conveys an astute sense of chapter and paragraph: of the connections between them and of the rise and fall of the dramatic line that runs through them. The real gem here is the reading of the second and third movements. Wand treats them as two parts of the same middle movement, highlighting the strong thematic interrelationships between the Adagio and the Scherzo better than in either of Furtwängler's recordings; this is conducting of real depth and profundity. I also quite enjoyed the first movement here. Where Furtwängler in his '42 Berlin recording saved the real drama for the finale, Wand brings an impressive force and weight to the first movement as well. While it might be argued that this approach doesn't serve the dramatic effect of the entire symphony quite as well, nevertheless it brings an awesome majesty out of the opening movement.

I think Wand delivers a lesser reading than Furtwängler's of '42, in that he's just a bit plodding and muscle-bound. I do mean just a bit, mind you: this is still elegant, refined work. But next to Furtwängler, Wand is just a bit less improvisatory and graceful and a bit more methodical, plodding, workmanlike. It's a narrow margin, to be sure, but it's definitely there, and it shows especially in the finale, where I think the Furtwängler of '42 is twice the reading of Wand's here. Wand's finale is finely wrought, but Furtwängler's is one of the greatest masterpieces of musical interpretation with which I'm familiar.

In sum, I recommend hearing this album and the 1942 Furtwängler (which I've also reviewed here at Amazon). In all the Furtwängler is the better reading, but not by much, and the incredible recorded sound here makes up the difference, to my ears.

The time for listening Bruckner depends on you!.......2006-06-26

Andrei Tarkovsky once affirmed the actual times the future is considered an extension of the present, and therefore, the capacity to dream tends to vanish. That attitude before the life has been the main obstacle for Anton Bruckner, a composer who always looked forward.

Having born in a transition moment, Bruckner' s time was so gentle; the world was in the eve of the WW1 and the art was walking not precisely in the same direction; so his time had to wait for best times, but after the WW2, the triviality mastered the world and nothing seems to announce a change of profile.

It could be said Bruckner was spiritually, a direct heiress of Beethoven and his music is distant to be self indulgent, agonic or desperate. But their values are there and only waits for you.

The Fifth Symphony is a true breakthrough, an authentic crossroad that defined the cosmic dimensions of this composer; and this version remarks it with special emphasis.

Totally recommended.

Great.......2006-03-24

Wand had a special understanding of Bruckner. This recording was made live but you would never know it. Grab this CD while it is still available.

Absolutley Stunning.......2004-10-27

It seems that Gunter Wand can do no wrong when it comes to Anton Bruckner; his amazing talent and brilliant vision drive this somewhat enigmatic work to the breaking point. Never has this difficult symphony sounded so clear, so logical, so convincing. Gunter Wand's skillful hand leads the Berlin Philharmonic in this definitive version of Bruckner's 5th Symphony.

What makes this recording so wonderful is Wand's masterful rendition of the finale. The finale of Bruckner's 5th is difficult for conductors and listeners alike. The complex (but throughly logical) fugue that rests in the middle of the piece is daunting. Bruckner masterfully weaves the opening motif of the finale with a choral theme introduced before the onslaught of the fugue. Its difficult to not only coordinate this thematic struggle between the two motifs but also to bring meaning to the music. So many conductors barely make it out of the fugue alive - the recording I have with Solti and the CSO being a prime example. However, only a true musical genius can bring meaning to this complex movement. Wand's interpretation is amazing. He highlights what needs to be highlighted, allows the fugue to unfold naturally, and brings a level of logic and understanding to the music. I never really understood the finale of Bruckner's 5th until I heard Wand's interpretation. Absolutely stunning.

The other three movements are just as wonderful. The powerful introduction unfolds mystically in Wand's hands. The beautiful string playing from the Philharmonic in the adagio is enchanting. The demonic scherzo also develops quite wonderfully. Typical of all of Gunter Wand's recordings, the level of musicianship and scope of vision is unparalleled. This is a highly recommended recording.

The best of the new-wave Bruckner.......2001-07-13

One reviewer refered the this performance as taut and dramatic. This is puzzling. If by taut, he meant broadly well-polished, then I'd agree. Otherwise, taut and dramatic are two things this performance is not. Wand, along with Karajan, Celebidache, and upstarts like Ingo Metzmacher(sic) have been intent on changing or reinventing the Bruckner sound. I grudgingly admit that they have successfully brought new Brucknerians to the fold. Wand's rendition of the 5th is compelling and convincing. Let me begin by saying that much. However, his desire for transparent textures, broad tempos, and an emphasis on a polished sheen (an atribute that made Karajan's Bruckner irritatingly sterile at times) are far remote from the Organ-like blocks of sound that Bruckner surely was imagining when he penned his symphonies. The antiphonal effect so prominent in Bruckner's works is blunted because Wand suppresses stark dynamic contrasts intended to invoke organ-like register changes. But this is the new Bruckner, and with the immense popularity of Wand's recordings on RCA and Celibedache's recordings on EMI, Bruckner is becoming increasingly long-winded, and I cringe to say it, re-Nazified. By this, I mean that Monumental Bruckner is now in vogue. Notice the Haas versions making a comeback. This Bruckner has certainly more Wagner than Schubert in it, and is more monumental and monolithic than lithe and dramatic. But I suppose my bias is very clear now, so let me state that in my humble opinion, Jochum's recordings represent best what sound Bruckner was trying to create. In addition, in both the DG set and the EMI set, the three orchestras used(Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and Staatskapelle Dresden) play beautifully under Jochum's watchful Baton. Wand's rendition, nevertheless is compelling and beautiful within its own tradition: new-wave Bruckner.

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

Average customer rating:

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

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

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Similar Items:

Bruckner: Symphony No. 7 [Hybrid SACD] [Japan]
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Bruckner: Symphony No. 9 [Hybrid SACD] [Japan]
Bruckner: Symphony No. 8 [Hybrid SACD] [Japan]
Appalachian Spring (Multichannel/Stereo)

ASIN: B000J10DPC
Release Date: 2006-12-12

Average customer rating:

Jochum Set a Welcome Addition to My Collection
First few are great, but...
A Classic
A Hierarchy of Bruckner Symphony Cycles
The very finest set Ever!!!

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

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Similar Items:

Bruckner: Symphony No. 8
Tchaikovsky: Symphonies Nos. 1-6
Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes
Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra
Sibelius: Symphonies Nos. 1-7

ASIN: B00006YXOX
Release Date: 2003-04-08

Customer Reviews:

Jochum Set a Welcome Addition to My Collection.......2007-05-17

I was happy to acquire the Bruckner/Jochum cycle many years after having owned Bruckner's 7th & 8th on a 3-cassette(!) DG set during my college days. This was where I first heard these two symphonies and grew to love them. So there is some nostalgia here for me. Hearing these once again felt a little like a home-coming. Thanks to Amazon, I was able to acquire this set on an amazing deal.

I am not going to debate the other reviewers' opinions on the merits or shortcomings of this set versus others. I have the Solti/CSO set, the Inbal set with the original versions of several symphonies, as well as some of Barenboim's, Boulez's, Chailly's, and Karajan's, not to mention Klemperer's recording of the 6th, which continues to be re-issued. While some of the pure digital recordings may have sonics that surpass this set, the performances and the warmth of that late 50's/early 60's sound will surely prove enjoyable. (I am writing this not having heard all nine symphonies yet.)

The compact packaging of envelope-clad 9 CDs in a simple cardboard box (with a booklet) avoids the risk of hearing your CDs bouncing and scraping in the jewel box set upon shipment, so there is less anxiety about receiving a scratched CD and wondering whether it will play.

One of the features of this set that I appreciated was the booklet. It features Jochum's own essay on performing the symphonies, which I found insightful. Too seldom do the conductors these days take the time to document their intent and approach for us listeners. This essay reinforced for me that this really was a body of work, not just a collection of nine recorded symphonies. There is another essay, examining the symphonies from a musical historical perspective.

For listeners looking to take the plunge on a Bruckner set, but without a lot of cash, this set is a good value. For serious Bruckner fans, this is the first full cycle recorded, and has never been out of the DG catalog; that certainly says something about it. Bruckner was not so much in vogue in the late 50's/early 60's, or so I have read, so these recordings may have had a hand in the revival that has put more Bruckner performances in concert halls today.

First few are great, but..........2006-09-09

Bruckner is my favorite composer. I have multiple recordings of all of his symphonies, three of his 3rd, 4th, and 7th, and four of his 5th and 8th. If you are looking for one set of Bruckner's symphonies that will give you an idea of what each symphony has to offer, I would recommend Karajan's cycle (which I have), not this one. The strengths of this (Jochum's) set are the first three symphonies, which are played with amazing energy which I have yet to hear bested by any other recording - Karajan's certainly comes more than close enough to give you the full idea, though. The real weaknesses of this set are the poor recording quality (it was recorded in the 50s and 60s after all, so one cannot expect much in this department) and the later symphonies. Jochum's style with Bruckner is characterized by bombastic playing in the scherzos and such, and just yada-yadaing through the slower parts to get back to the bombastic stuff. This works spectacularly well in the earlier symphonies, but not so well in the later symphonies, as the highlights of the later symphonies are the slower parts, which Karajan does extremely well (many people, in fact, complain that Karajan's too focused on these aspects of classical music). As for the recording quality, if you are just ripping the music to mp3 files on your computer or mp3 player and playing it on the standard soundcard/headphones, the recording quality will probably be good enough (that's the way I listened to it when I first got it, and I was satisfied with the recording quality), but if you will be playing it on anything at all better than average, there is a good chance that these recordings will show their age. FWIW, as far as recordings of individual symphonies, these are the ones that, to me, are almost certainly about as good as it can get:

3- Tintner (this one sounds startlingly different from any other interpretation of this symphony, because it's Bruckner's first version, which was vastly different from the highly edited version most play)
5- Harnoncourt & the Vienna Philharmonic Orchestra
7- Karajan & the Vienna Philharmonic Orchestra
8- Karajan & the Vienna Philharmonic Orchestra
9- Harnoncourt & the Vienna Philharmonic Orchestra

A Classic.......2006-09-07

Bruckner's music has been a taste that I have been able to acquire only slowly over many decades. After initial enthusiasm for the 3rd, von Karajan's final 7th really opened my eyes for Anton's qualities. When the 8th, 5th and 4th joined the list, I thought it was high time for the complete set and an offer by an Amazon affiliate, who offered this box new for less than $30 delivered at home, sealed the deal.

While it may not be the ultimate word in Bruckner, this set is a clear first choice in a survey of Bruckner's numbered symphonies. The recordings may be dated and not up to today's highest standards, but they are highly acceptable. In all, a set for the ages.

Jochum's approach to Bruckner can be described as synthetic. He chooses a fluid approach to the tempos, he avoids harsh clashes of conflicting themes and advocates the composer through some of the weaker sections. Throughout these nine symphonies, the result of this approach varies from excellent to the every best. To me numbers 1,2,5,6 and 9 belong in the latter category, while 3,4,7 and 8 belong to the former.

There is little that I can add to the comments of other reviewers on Jochum at his best. Especially 5 and the lesser known 6 -I have no idea why this work is no more popular- get unsurpassed performances. When it comes to the others, slightly preferable versions may be available, both because of performance and choice of edition.

In the 3rd Jochum goes a little too far in smoothening the sharp edges. This was in line with the common perception at the time that the recording was made that the "Wagner" Symphony was ambitious, but ultimately flawed. To me Haitink's second recording with the VPO is to be preferred. In the "Romantic" fourth, things are a bit too mellow for my taste. Since this must be Bruckner's most recorded Symphony, many alternatives come to mind. In the 7th Jochum falls a little short of the landmark set by von Karajan in his final recording. The latter was helped by a superior recording and a VPO that set a new high mark for "string sound". In the 8th Jochum's choice of Nowak is a clear no, no. Interesting alternatives are the "cool" Boulez, who slowly builds up the work towards an earth shattering finale. There are strong recordings by Haitink and von Karajan. Moreover, there is the fellow Nowak by Guilini that is both infinitely long, out of any kind of proportion, yet at times breathtakingly beautiful.

Despite these minor criticisms I can give this set an easy full endorsement. While Bruckner may be a taste that takes some time to acquire, this medieval mystical Wagner worshipper deserves inclusion on any short list of great symphony composers.

A Hierarchy of Bruckner Symphony Cycles.......2006-07-16

I own the following Brucker cycles and will rank them according to my personal preference, best first:

1. Eugen Jochum, DG - This cycle is overall the best. Sound is better than claimed by professional critics.

2. Eugen Jochum, EMI/Brilliant Classics - A very close second.
Sound quality is oddly dry compared to other EMI recordings from the same time period...brass sounds great though.

3. Skrowaczewski, Oehms - Superb sound with swift tempi.

4. Tintner, Naxos - Sometimes too slow but a few great performances here. Uses unique editions of the score. Great sound.

There are other extremely fine perfomances by Bohm (3,4,8) and Klemperer (4,6) which deserve note but unfortunately they did not record complete cycles.

On this DG box set Jochum is in top form and like his EMI version leads the orchestra with a raw, old world style sound which has since been lost in many a professional orchestra. It is quite wonderful to hear. Soon this set might demand collector's market prices if it goes OOP so get it while ye may!!!

The very finest set Ever!!!.......2006-06-07

The DG set is crowned with the finest 9th ever put to disc...the recording is also very good through all the symphonies in spite of different recording venues.

Sadly, Jochum has been neglected by history...

We have come to a certain point where the entire Bruckner style is going to be lost with a blasty unorganic orchestral style so epitomized by the Tintner reading on Naxos..

As to interpretations the entire cycle is played very well..the early symphonies are all played and strongly thought out... without ever sounding hard or dull...the Jochum 3rd clearly outshines Tintner in matters of exression....ensemble in the brass is very good with super work from the timpanist in both ensembles...woodwinds are very fine and at times wonderfully caught by the DG engineers...

I am a very big proponent of the Jochum/Walter camp in these works...some rubato in certain moments is welcome...

George Tintner is so deadpan as to invoke sleep...but of course he did not have the Vienna or Berlin Philharmonic for his recordings...

So there you have a great conductor doing Bruckner superbly... get this over the Naxos set!!!

Anton Bruckner: Symphony No.5 in B flat major - Georg Tintner

Average customer rating:

Somewhat lethargic in places!
Hills are moved instead of mountains.
Tempo problems.
Tempo problems.
Solid, But Lacks Drama and Bite

Anton Bruckner: Symphony No.5 in B flat major - Georg Tintner
Anton Bruckner , Georg Tintner , and Royal Scottish National Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Anton Bruckner: Symphony No. 1 in C minor (Unrevised Linz Version, 1866, prepared by William Carragan from the critical report of Robert Haas) / Adagio (1876) to Symphony No. 3 in D minor - Georg Tintner
Bruckner: Symphony No. 8 (1887 version, ed. Nowak) / Symphony No. 0 "Die Nullte"

ASIN: B00000148X
Release Date: 1997-08-05

Tracks:

Symphony No. 5 In B Flat Major: Adagio - Allegro
Symphony No. 5 In B Flat Major: Adagio
Symphony No. 5 In B Flat Major: Scherzo: Molto Vivace
Symphony No. 5 In B Flat Major: Finale: Adagio - Allegro Moderato

Customer Reviews:

Somewhat lethargic in places!.......2005-02-07

I find here the approach almost too literal. The orchestra brass are no where near the quality of the Berlin version or the Bavarian Radio version under Jochum. I also find the recorded sound too thin and recessed ....important subjects and repeated motifs are lost in the mix and therefore I find this to be quite far behind the searingly intense approach from conductors like Kempe and Jochum.

Hills are moved instead of mountains........2003-09-16

From the beginning, I feel there are a number of things lacking in Tintner's Bruckner Fifth. This impression strengthens as the entire work unfolds. My biggest quip is that there is virtually no sense of commanding power and presence, which is a necessary commodity of Bruckner's symphonic style. I also find Tintner's approach both a little too extroverted and superficial for the way I prefer Bruckner. There isn't enough probing, of getting into the music; therefore, I don't feel drawn into it myself. Momentousness, grandeur, humility, joy---all are not in much evidence. A vanilla Bruckner ! To get satisfaction I have to go with Jochum and the Amsterdam Concertgebouw or Bavarian Radio Symphony, Knappertsbusch with the Vienna or Munich Philharmonic and Schuricht with the Vienna Philharmonic. Each of these conductors reveals an exuberant, involving quality replete with a sense of sweep and scale.

Next, a truly big brass sound is not captured on this recording. I can't say that I'm sure of the reason why. It might be the recording venue or hall or the sound engineers. Perhaps there is an absence of real weight in the Scottish National Orchestra's horn section. Incidentally, though the orchestra's fundamental execution is fine, there are peak moments when the horns sound as if they are blasting rather than blazing. It seems that too much of the leading edge of the brass is emphasized. Where is resonance or reverberation ? A majestic attribute is not one of the salient features of this interpretation.

Finally, my ears search occasionally for more of what some might call an Austrian peasant flavor. I don't know if this is a proper or appropriate expression. I believe I am listening for more of a rustic quality, which I feel eludes Tintner. It's the absence of this aspect combined with a less than imposing AND probing Brucknerian characterization that leaves me somewhat unfulfilled. There is considerably more to this composer than Tintner offers here.

Tempo problems........2003-08-09

In the development section of the First Movement, Tintner noticed that the Allegro is twice interupted by Adagio quotations from the introduction. He pondered whether it should be played 'Adagio' as the quotes, or move on ahead and sustain the 'Allegro'. So he still conducts it 'Allegro' he claimed.

The tempos and fluctuations that Maestro Tintner employed puzzled me. The adagio is rather quite "poco" and then it presumed with "Moderato" all the way until the Coda (the only fast ones were the fanfare themes). Maybe with Maestro Celibidache, it might work, but the Royal Scottish Orchestra lacked depth in their basses, especially lower brasses and lower strings. The Adagio is like eating waffles without any toppings whatsoever because the strings really sounded shallow. The finale is the only redeeming feature of this recording, but alas, when it comes to the Coda, it's hundred miles more ponderous than Furtwangler's 1951 Salzburg recording. The national symphony orchestra of Ireland is a much better Bruckner orchestra and rivals the likes of Berliner Philharmoniker or Staatskapelle Dresden and I wished the late Maestro is still alive and well to consider recording this Fifth again.

Tempo problems........2003-08-09

Solid, But Lacks Drama and Bite.......2002-04-30

This effort at the Bruckner 5th was solid, but lacks passion and drama. Usually, the tension and suspense should build throughout a good Bruckner symphony until the finale. Here, the movements seem like separate pieces put together. It struck me as a collection of symphonic poems rather than a symphony. This was a disappointment to me.

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FABULOUS SELECTION OF CLASSICAL MUSIC

Classics for Relaxation and Meditation

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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Meditation: Classical Relaxation (Box Set)
Most Relaxing Classical Piano Music in the Universe
Bach for Relaxation
Rachmaninoff for Relaxation
Chopin For Relaxation

ASIN: B000000LOH
Release Date: 1995-04-16

Tracks:

BWV 992: Jeusus Is Always My Gladness
Concerto In B Flat Major: Adagio
Organ Concerto In G Major: Largo
Moonlight Sonata In C Sharp Minor Op. 27-2: Quasi Una Fantasia (Adagio Sostenuto)
Mass In E Minor: Kyre Eleyson
Piano Concerto No. 26 In D Minor K537: Larghetto
Symphony No. 8 In Minor D 759: Andante Con Moto
Fantasy Op. 73: Tender And With Expression
The Moldau: Sympohic Poem
Valse Triste: Op. 44, 1 From 'Kuolema'
Oboe Concerto In C Major K314: Adagio - Mozart
Piano Concerto No. 21 In C Major K467 'Elvira Madigan': Andante

Tracks:

Souvenir De Florence In D Minor Op. 70: Adagio Cantibile - Tchaikovsky
Raindrop Prelude In D Flat Major Op. 28 - 15
Symphony No. 4 In A Major Op. 90 'Italian': Andante con molto
Love Dream No. 3 In A Flat Major Op. 62
Lullaby - Berceuse Op. 105
Berceuse: Lullaby Op. 57 - Chopin
Wind Quartet In E Flat Major Op. 88-2: Andante grazioso
Cello Concerto In G Major: Romance
Concerto For Flute, Harp And Orchestra In C Major K299: Andantino - Mozart
Sonata In C Minor Op. 13 'Pathetique': Adagio cantabile - Beethoven
Divertimento No. 1 In B Flat Major 'Chorale St. Antoni': Andante - Haydn _

Tracks:

Stabat Mater Op.58: Virgo Virginium Praeclara - Dvorak
Divertimento No. 1 In B Flat Major: Chorale - Haydn _
Consolation In E Major - Liszt
Symphony No. 5 In D Major, Op.107 'Reformation': Finale
Execution Transcendante: Evening Harmony - Liszt
Overture In D Major: Air BWV 1068 - Bach
Orfeo ed Euridice: Dance Of The Blessed Spirits - Gluck
Piano Concerto No. 1 in C major Op. 15: Largo - Beethoven
String Quartet No. 62 In C Major, Op.76, 3 'Emperor': Adagiop cantabile - Haydn _

Customer Reviews:

FABULOUS SELECTION OF CLASSICAL MUSIC.......2001-05-16

Whether or not you are a fan of classical music, the truth is that everyone enjoys a few hours of peace and relaxation. This CD provides a wide selection of music from famous composers like Mozart to lesser known classical composers, which makes it the perfect CD to play on your stereo during those rare moments of peace. Play it while reading a favorite novel, or just simply sit down and meditate with the help of this classical CD. Beethoven's widely popular "Moonlight Sonata" for the piano and Chopin's extraordinary "Raindrop" are just two examples of musical pieces that will not only calm but enrich your life. With a total of three discs included at a phenomenal value, this is one CD that you cannot afford to pass up.

Track Listings:

Track Listings

track listings

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Stanford: Symphony No. 2 in D minor; Clarinet Concerto

Santa Barbara [Import]

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See You As I Do [Import]

Scores: Songs From Copacabana and Harmony [Enhanced]

Ravel for Dummies

Songbook: The Singles, Vol. 1 [Explicit Lyrics] [Limited Edition] [Import]

Partitas [Import]

Rosslyn [Import]

No Me Compares

Para Gozar Borinquen [Import]

Those Who Are About to Die Salute You

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