Schubert: Symphonies Nos. 8 'Unfinished' & 9 'Great'

Editorial Reviews
Album Details
Berlin-born Bruno Walter (1876-1962) was a Pre-eminent Conductor in a Periot Rich in Musicians of Stature. He Worked with Mahler in Hamburg and Vienna and Became his Greatest Champion. Forced to Leave Vienna in 1938 He Made his Home in America. Walter's was a Contemplative and Lyrical Genius; In his Treatment Od the Orchestra He Obtained Exceptional Results Not Only by his Outstanding Gifs, but also by Regarding the Players as Friendly Collaborators. He is Now the Fouth Conductor (After Toscanini, Stokowski and Ansermet) to Be Feature on the Living Era Classics Series.

Customer Reviews:

Schubert 8 and 9th Symphonies - Bernstein, N.Y. Phil........2007-07-14

Bernstein and the Philharmonic play the 8th in full-blown Romantic pitch. An excellent choice. The Great
C-Major, however, is the jewel in this recording. I probably have more records of Bernstein leading the Philharmonic in my collection than any other interpreters of classical music. Many I like, and others I don't much care for. To me, the C-Major is the best Bernstein I've heard him conduct. I always cherished the old Furtwangler and Toscanni recordings, but Bernstein's hard driving approach and excellent EMI sound quality make this performance not only a bargain but at the top of anyone's list looking for the ultimate in Schubert performance.

Hal Denton, Cookeville, TN

Outstanding Schubert!..........2007-03-12

.
Usually I prefer Bohm and the BPO with Schubert: they bring a Brucknerian reading.

But I've just gotta say that Lenny and the NYP really had some chemistry going on with the realization of Schubert's two great symphonies: one might say they bring a Mahlerian reading to the scores.

Really good.
.

Magnificent! Who would have thought?.......2005-09-18

Even though critics never mention them, these readings of the Schubert 'Unfinished' and Sym. #9 could be anybody's first choice. I own a hundred Bernstein CDs and yet had passed this one over, thinking that the performances would be romantically exaggerated and out of style. In fact they are wonderful: propulsive, lyrical, and really focused on the musicality of Schubert. Good, clear recordings in the big NY Phil. style of those days, and except for a punchy ending to the first movement of the Ninth, I was carried along by the buoyancy and joy of Bernstein's approach in every bar.

Marvelous! .......2005-08-15

When I first heard (and learnt) of Schubert's symphonies,
that the man who had composed many of the best ensemble
pieces of all time had also composed as many symphonies as
Beethoven, I thought I should stick to his ensemble pieces
and not venture into his orchestra work, thinking that the
understatement and subtlety of his small ensemble composition
would not translate well for large ones. But when I first
listened to the first movement of his 8th, I knew the guy had
mastered the symphony also. His style is reminiscent of
(not surprisingly) Beethoven, mixing the Romantic with the
Classical.

Bernstein's interpretation is nothing but masterful, but in the first movement of the 8th, I would have liked it more if he had quickened the tempo/pace of the piece. The NY Phil. performs admirably under his baton.

The Great Indeed.......2000-10-25

This cd is absolutely necessary for anyone who wants a well-rounded cd collection. It is an impeccable recording (as are most Bernstein Century recordings) of two excellent pieces. The low strings have a unity that is entirely impressive, and the brass simply adds a flavor to the music that enthralls the listener. I obviously give this recording the highest recommendation.

Schubert: Symphonies Nos. 5, 8, 9; Mendelssohn: Symphonies Nos. 4 & 5

Average customer rating:

For a non-devotee, a pleasing collection
Toscanini conducts Schubert & Mendelssohn
Good, sometimes transcendant performances
Sparkling Schubert & Mendelssohn from Toscanini

Schubert: Symphonies Nos. 5, 8, 9; Mendelssohn: Symphonies Nos. 4 & 5

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JPCF
Release Date: 1999-08-10

Tracks:

Symphony No.5 In B-Flat Major, D.485: Allegro
Symphony No.5 In B-Flat Major, D.485: Andante Con Moto
Symphony No.5 In B-Flat Major, D.485: Menuetto: Allegro Molto - Trio
Symphony No.5 In B-Flat Major, D.485: Allegro Vivace
Symphony No.9 In C Major, D.944: The Great: Andante - Allegro Ma Non Troppo
Symphony No.9 In C Major, D.944: The Great: Andante Con Moto
Symphony No.9 In C Major, D.944: The Great: Scherzo: Allegro Vivace
Symphony No.9 In C Major, D.944: The Great: Finale: Allegro Vivace

Tracks:

Symphony No.8 In B Minor, D.759: Unfinished: Allegro Moderato
Symphony No.8 In B Minor, D.759: Unfinished: Andante Con Moto
Symphony No.4 In A Major, Op.90: Italian: Allegro Vivace
Symphony No.4 In A Major, Op.90: Italian: Andante Con Moto
Symphony No.4 In A Major, Op.90: Italian: Con Moto Moderato
Symphony No.4 In A Major, Op.90: Italian: Saltarello: Presto
Symphony No.5 In D Minor, Op.107: Reformation: Andante: Allegro Con Fuoco
Symphony No.5 In D Minor, Op.107: Reformation: Allegro Vivace
Symphony No.5 In D Minor, Op.107: Reformation: Andante
Symphony No.5 In D Minor, Op.107: Reformation: Chorale: A Mighty Fortress Is Our God

Customer Reviews:

For a non-devotee, a pleasing collection.......2005-12-07

The newly remastered sound in the Toscanini "Immortal" series has brought me back into the fold, but not nearly to the breathless extent as true devotees. To a younger generation it's hard to grasp the absolute worship of Toscanini during his lifetime, yet it can't be denied. Here we have performances of 5 symphonies conducted briskly enough that they fit on two CDs. Does this imply that some of the music is too rushed? To my ears, yes. The first movement of the Schubert "Unfinished" and the two middle movements of the Schubert Ninth fairly fly by, and I hear no compensating reason why. Yet the Mendelssohn "Reformation," so often a dull duty to sit through, greatly benefits from Toscanini's kick in the pants.

The NBC Sym. wasn't a virtuoso ensemble, and nothing here sounds extraordinarily well played--one must acknowledge that razor-sharp precision was a Toscanini goal, however. It's heard to good effect in the "Reformation," hwich also has good sonics. The rest are never less than clearly recorded, without much glare or edginess.

My personal favorites here are the three Schubert symphonies, but particularly the Ninth, which Toscanini takes fairly broadly through the first movement, too fast in the middle movements, and thrillingly fast in the finale. The Fifth is buoyant, although it could use a dose more charm. The Unfinished is played for outright drama, a valid approach even if it takes a moment to adjust to Toscanini's speed up. The Mendelssohn "Italian" is pushed and faceless (Or was I getting fatigued by too many quick laps aorund the track?); it also suffers from wiry-sounding strings.

All in all, I'm not sure this level of music-making would be considered extraordinary if we didn't know befoehand that the Maestro was presiding, but even for a non-devotee this is a satisfying collection in the best sonics ever.

Toscanini conducts Schubert & Mendelssohn.......2003-12-02

There's no question that Toscanini brought out nuances in the music of Franz Schubert and Felix Mendelssohn that other conductors have missed. This compilation is a clear, definitive demonstration of Toscanini's mastery of this music.

One of the bonuses of these digitally-remastered versions of the historic RCA Victor recordings is a clarity seldom heard in the peformances before. Too often these recordings suffered from either shrillness or artificial stereo enhancements. BMG has gone back to the original sources, the magnetic tapes, and carefully mastered them for optimal sound.

The performances are consistently outstanding. Schubert's fifth symphony is a light, lyrical work that is absolutely delightful in Toscanini's hands. It uses a fairly small orchestra and was recorded in Carnegie Hall on March 17, 1953, when RCA was achieving great results with its single-microphone "New Orthophonic" process.

The eighth symphony was recorded in Studio 8-H on March 12 and June 2, 1950, the final year that the NBC Symphony Orchestra performed there. Without a studio audience present, the studio had remarkably good sound and the RCA engineers achieved wonderful results, as this recording demonstrates. The performance is absolutely awesome, particularly in the almost eerie second movement. Toscanini clearly shows that Schubert achieved much in the two movements he completed before abandoning the symphony during its third movement.

The performances of Schubert's ninth symphony by Toscanini were generally exceptional. I've long admired the November 16, 1941, recording with the Philadelphia Orchestra and the February 9, 1953, recording with the NBC Symphony Orchestra. Toscanini maintains great intensity and excitement throughout the piece, clearly showing how Schubert was looking ahead to the development on romanticism.

Mendelssohn's fourth symphony, which the composer subtitled "Italian," is an absolute delight. It has seldom been played with such beauty, serenity, and dexterity as by the NBC Symphony in this February 1954 recording, one of the last great performances by the orchestra under Toscanini.

The fifth symphony, which celebrates the Reformation, is a work of great dignity and power. Toscanini skillfully grasped the drama of the music and builds the famous "A Mighty Fortress" chorale in an overwhelming manner. This Carnegie Hall recording from December 13, 1953, is one of Toscanini's best.

Good, sometimes transcendant performances.......2003-07-03

I have said several times elsewhere that these 24-bit remastered Toscanini CDs are among the best-sounding of all Toscanini reissues. I should also mention that, for the most part, the performances are also superb. This set is no exception. I am not totally convinced of his swift, taut reading of the "Unfinished" symphony's first movement, but the second movement has seldom been performed with such depth of feeling and delicate beauty. Likewise, his performance of the Mendelssohn "Italian" symphony seems to me a bit harsh in places, perhaps caused by the tenseness of the string players, but is overall a fine reading. On the other hand, Toscanini's vision of the Schubert 5th was decades ahead of its time, light and airy, much like the Fischer-Dieskau and Harnoncourt recordings.

The Schubert 9th here is NOT the later recording, but the 1948 performance, which is actually a shade better, closer in concept to the exciting Philadelphia Orchestra performance but without the tragically wrong-headed slowdown of the basses in the closing measures. In short, a slightly faster version than you may be used to, but quite valid in its own way. (Even the Austrians of the Vienna Philharmonic admitted that Toscanini's Schubert, though unconventional, was valid.)

The Mendelssohn 5th Symphony, "Reformation," is quite simply one of the old man's greatest performances of any music. He actually conducts this symphony a little SLOWER than most conductors today, building the chorale theme in the last movement with inexorable drama and power. You simply must hear it to believe it!

Sparkling Schubert & Mendelssohn from Toscanini.......2001-07-23

For those accustomed to the Viennese whipped-cream & chocolate approach to Schubert, Toscanini's interpretations will come as a shock. Toscanini saw Schubert's symphonic works as rooted in Classical structure and compositional technique, coupled with Schubert's extraordinary melodic gifts, rather as works pointing to Schumann and the later Romantics.

This 1953 version of Schubert's Fifth Symphony is the only one made by Toscanini, who performed publicly it for the first time shortly before the recording session. Always concerned with instrumental balance, Toscanini pared down the string section so as not to overpower the woodwinds. The result is a leaner Schubert Fifth than in most recordings, with fleet playing from the strings and better intonation from the woodwinds than one usually hears from the NBC Symphony.

Toscanini's 1950 recording of the ubiquitous "Unfinished" Symphony is more turbulent than most versions, with the battle between the minor and major tonalities of the first movement clearly being won by the sides of darkness. Where the first movement is turmoil interrupted by occasional lyricism, the second movement is just the opposite, and Toscanini's approach to the work underscores that point.

The Ninth was Toscanini's favorite of Schubert's symphonies, judging from the number of times he performed it. His three recordings of the piece (1941, with the Philadelphia Orchestra, 1947 with the NBC Symphony, and this version from 1953), differ in tempo, approach to transitions, and balance between orchestral sections. Yet Toscanini's vision of the work remains essentially the same: Structural and harmonic clarity are paramount. Whereas most conductors use the work as an excuse for random, and radical, tempo changes, Toscanini's plays the work in a relatively straight line. This is especially noteworthy in the coda of the first movement, where Toscanini sustains the main tempo until the end.

Unlike the Schubert, these performances of the Mendelssohn Symphonies derive from concert broadcasts and rehearsals recorded during Toscanini's final season as a conductor. For the most part, however, the playing is as polished as in the Schubert. (One notable exception is near the beginning of Mendelssohn's "Reformation" Symphony, where there are a few incidents of poor woodwind intonation.) The Mendelssohn Symphonies are approached in much the same way as the Schubert, more "Classic" than "Romantic" (of course, neither composer would have been concerned with such musicological terminology). Nevertheless, in terms of symphonic music, Toscanini's interpretive approach pointed to the high Classical era of Mozart and Early Beethoven.

A note about the sound: Until recently, few conductors have been as poorly served by recording technology than was Arturo Toscanini. The first LP issues of his work, which even then sounded sub-par, were made worse in the mid-1960s with the introduction of fake-stereo reissues. The first CD issues in the mid-1980s were little better, with excess reverb and audible edits. The mammoth complete Toscanini reissue of the early 1990s treated the recordings with the respect they deserved, but the sound was still limited. As for this RE-reissue, the sonics are dramatically superior to all earlier issues. Utilizing the best technology now available, RCA has done the right thing by hiring a musician--conductor Ed Houser--rather than whiz-bang technicians to supervise the remastering. The NBC Symphony Orchestra now sounds better than ever before, with greater clarity, smoother strings, fuller winds, and less distortion during fortissimos. Even this version of Schubert's "Unfinished," which was recorded in NBC's cramped Studio 8-H, has a fullness and body, if not actual warmth, that has not been heard previously from this source.

Tracks:

Spoken Introduction By Georg Tintner
Allegro Moderato
Andante Con Moto
Andante - Andante Ma Non Troppo
Andante Con Moto
Scherzo: Allegro Vivace
Finale: Allegro Vivace

Customer Reviews:

Unimpressive..........2004-06-03

Surely the vaults must have better recording of this relationship then the one we have been served. For example Bohm in Berlin can be purchased at 6 dollars and ninety nine cents US and you will get not only a great orchestra but better recorded sound.

Something goes wrong with this performance into the development section..for some really strange reason the balances in the first movement seem very unusual, tonally the reading has no ambient sound and therefore the beautiful ring we come to expect on a professionally engineered record in not there!

As to tempi I find very little inspired with the handling of the themes...it is a bit like the orchetra is on beta blockers or maybe even worse sleeping....go to Solti in Vienna or even Herbert K with anyone....

Kerstez is still my favorite in this area of Romantic repetoire.

Provincial Performances.......2003-08-09

I was very disappointed in the first volume of Naxos's projected 12-volume 'Tintner Memorial Edition,' most of which will be recorded with Symphony Nova Scotia, the last group he conducted before his death in 1999. That volume contained three late Mozart symphonies and although the interpretations were fairly mainstream and even expert in conception, Tintner was let down by the provincial playing of his orchestra. I indicated in my review of that issue that I would be eager to hear subsequent releases in the series, hoping that the quality would improve. Alas, this second volume--live performances of the two pieces from 1990 and 1988 respectively--is no better than the first.

One problem, of course, is that the contents of the CD--Schubert's Unfinished Symphony (No. 8) and the Great C-Major Symphony (No. 9)--have been recorded innumerable times in the past and often extremely well. There are too many fine available recordings to enumerate them, although I would single out the incandescent performance of the C-Major Symphony by the Vienna Philharmonic under Georg Solti, whom some might think an unlikely Schubert interpreter. It is coupled with a fine Wagner 'Siegfried Idyll' on Polygram ...P>The problems here are the same as in the previous issue. There's no simpler way to say it: at the time of these recordings this orchestra was third-rate. The horns and brass in particular are often out of tune and their style is, in a word, coarse. The strings and winds, although better, have problems with articulation, tuning, phrasing and ensemble. The horrendously difficult (and tiring) violin triplets in the fourth movement of the 9th are either rushed or crushed much of the time, although fortunately they are often covered by the playing of the winds and brass. At the beginning of the Unfinished (after the monitory low string motto) the rushing sotto voce strings bode well for four measures before the wind theme enters out of tune. Oh my. And although there are some patches of lovely playing, just as in the Mozart disc, there are so many unforeseen bits of unruly playing as to make these performances unacceptable.

The first band on the CD contains four minutes of charming comments by Maestro Tintner about Schubert. This is not enough to make purchase of this disc worthwhile, even at its budget price.

TT=79.41

Tracks:

I. Allegro Moderato - Vienna Philharmonic Orchestra
II. Andante Con Moto - Vienna Philharmonic Orchestra
I. Andante-Allegro Ma Non Troppo - London Symphony Orchestra
II. Andante Con Moto - London Symphony Orchestra
III. Scherzo: Allegro Vivace-Trio-Scherzo Da Capo - London Symphony Orchestra
IV. Finale: Allegro Vivace - London Symphony Orchestra

Album Details

Berlin-born Bruno Walter (1876-1962) was a Pre-eminent Conductor in a Periot Rich in Musicians of Stature. He Worked with Mahler in Hamburg and Vienna and Became his Greatest Champion. Forced to Leave Vienna in 1938 He Made his Home in America. Walter's was a Contemplative and Lyrical Genius; In his Treatment Od the Orchestra He Obtained Exceptional Results Not Only by his Outstanding Gifs, but also by Regarding the Players as Friendly Collaborators. He is Now the Fouth Conductor (After Toscanini, Stokowski and Ansermet) to Be Feature on the Living Era Classics Series.

Schubert: Symphonies Nos. 6 & 8 ("Unfinished"); Haydn: Piano Concerto in D

Average customer rating:

More Wonderful Wand

Schubert: Symphonies Nos. 6 & 8 ("Unfinished"); Haydn: Piano Concerto in D

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002O38US
Release Date: 2004-12-14

Customer Reviews:

More Wonderful Wand.......2005-05-06

While I'm not currently buying Testament titles at the same rate I was a few years back, I simply could not pass up this one featuring the legendary conductor Gunter Wand. (The fact that I found it for $5 in a Boston used CD store might have contributed slightly to my decision.) This CD features Wand performing Schubert's 6th and 8th Symphonies (in stereo from 1962 and 1958 respectively) and Haydn's Piano Concerto in D (with Heinz Schroter in mono from 1956) with his beloved Gurzenich Orchestra of Cologne. Those familiar with my other Wand Testament reviews on Amazon, or those who know Wand's bio, will already know this, but popularity found Wand late in life. One of the reasons may be traced back to a career decision made in the early 1950s. Wand was given the opportunity by Walter Legge to join the great roster of conductors at EMI and make a few recordings, or record a larger body of work with the French subscription music club, Club Francaise du Disque. Wand, always one to put the music first, chose the latter, and as a result we have this beautiful archive of recordings, beginning to be lovingly reissued by Testament. And it is a "testament" to that company's dedication to classical music today that allows us to hear all these gems of the past -- thank you!

Average customer rating:

A mellifluous Schubert cycle, but lacking in adventure

Schubert: Symphonies Nos. 1-6, 8 & 9

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Mendelssohn-Bartholdy: The String Symphonies

ASIN: B0001TSWPK
Release Date: 2004-11-09

Tracks:

Adagio; Allegro Vivace
Andante
Allegro
Allegro Vivace
Adagio Maestoso; Allegro Con Brio
Allegretto
Menuetto Vivace; Trio
Presto Vivace
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Tracks:

Largo; Allegro Vivace
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Allegro
Andante Con Moto
Menuetto: Allegro Molto
Allegro Vivace
Adagio; Allegretto
Andante
Scherzo: Presto
Allegro Moderato

Tracks:

Andante; Allegro Ma Non Troppo
Andante Con Moto
Scherzo: Allegro Vivace; Trio
Finale: Allegro Vivace

Customer Reviews:

A mellifluous Schubert cycle, but lacking in adventure .......2006-05-20

Until fairly recently Schubert's symhonic output was largely unrecognized except for three works, the Mozartean #5, the passionate "Unfinished," and the sunny, expansive Ninth. Great conductors restricted themselves to thise three works, with the exception of Beecham, who championed Sym. #3, #4, and #6 with great effectiveness. Colin Davis is his successor in Britain as the acknowledged Grand Old Man of Music, but I'm not sure his Schubert is a real advance over the past.

All these readings are well played and recorded, and there are flashes of spirited interpretation, such as the opening movement of Sym. #3, which is forceful but without the toughness and edge that Carlos Kleiber brought to it. In general the best word for Davis's approach is poised, and the worst is meek. This is the mellifluous Schubert of old, the simple schoolteacher who hapened to be a melodic genius. One misses the brave thrust of Harnoncourt's readings with the Concertgebouw (Teldec), which inject a good deal of Beethoven into the mix.

If you are a traditionalist, Davis's cycle will be very satisfying--by comparison, Karajan's big-band approach with the Berlin Phil. (EMI) feels inflated and self-important. Too bad that Davis lets us down in the late masterpieces, the 'Unfinished' and the C major 'Great,' where his pleasant straightforwardness doesn't come close to doing justice to Schubert's genius. The rest of the symphonies come off sunny and bright without apology.

Franz Schubert: Symphonies Nos. 1, 3 and 8 ''Unfinished''

Average customer rating:

this is NOT SACD

Franz Schubert: Symphonies Nos. 1, 3 and 8 ''Unfinished''

Manufacturer: Tudor
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

this is NOT SACD.......2006-08-29

I attempted to order the SACD version of this CD from three (3!) internet vendors; each of them claimed it was SACD and each of them sent me the PCM version. There is an SACD version (I saw the cover on ClassicsTodayFrance) but there is no cover shown here--wonder why? I gave up on the last one (from CDZone) and played it; sure enough, the bass is tubby, the strings fuzzy, and the tutti wash out--hey, Tudor is not an engineering genius anyway. Pity, because the performances are OK. But not as good as syms 2/4 which are actually SACD--even on Amazon. By the bye, when I complained to these retail whizzes, the answer was (more or less) "hey, we have a lot of CDs; can't keep track of all of them." The best response was from Caiman when I tried to check before I ordered from them: "we are not in position to check the details of inventory items." I wonder who is?

Schubert: Symphonies Nos 5, 8 & 9 /OAE * Mackerras

Average customer rating:

Very interesting for the period flavor, but not supreme interpretations
FINISHED MASTERPIECES
Mackerras' Splendid Views Of Schubert's Late Symphonies

Schubert: Symphonies Nos 5, 8 & 9 /OAE * Mackerras

Manufacturer: Virgin Veritas
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TQQV
Release Date: 2000-10-10

Tracks:

Symphony No. 5 In B-flat Major: I. Allegro
Symphony No. 5 In B-flat Major: II. Andante con moto
Symphony No. 5 In B-flat Major: III. Menuetto: Allegro molto
Symphony No. 5 In B-flat Major: IV. Finale: Allegro vivace
Symphony No. 8 In B Minor: I. Allegro moderato
Symphony No. 8 In B Minor: II. Andante con moto
Symphony No. 8 In B Minor: III. Allegro
Symphony No. 8 In B Minor: IV. Allegro molto moderato
Rosamunde, Incidental Music: Ballet Music No. 2

Tracks:

Symphony No. 9 In C Major: I. Andante - Allegro non troppo
Symphony No. 9 In C Major: II. Andante con moto
Symphony No. 9 In C Major: III. Scherzo (Allegro vivace) & Trio
Symphony No. 9 In C Major: IV. Finale (Allegro vivace)

Customer Reviews:

Very interesting for the period flavor, but not supreme interpretations.......2006-06-11

In the Eighties, when these recordings were made, it was a relief to hear a period orchestra that could play entirely in tune. Under Mackerras's baton the Orchestra of the Age of Enlightenment dooes better than that--these performances have style and panache. The zing in the violin sound doesn't always sit well with me, and the violas and cellos are buzzy, but the wind sonority is tangy and interesting. The biggest plus, of course, is that Virgin's Veritas line gives us two full CDs for the budget price of one.

I'd rate the Sym. #5 as the best performance here--Mackerras is genial and relaxed, leaving himself enough room to make some nice points in phrasing and shaping the melodic line. Tempos aren't rushed but very well judged. The "Unfinished" has been interpreted by too many great conductors for Mackerras's straightforward reading, which punches at dynamics too much and avoids poetry too often, to be a complete winner. But as a period performance it fits the bill. As does the "Great" C major, which here is generally brisk--Mackerras takes th introduction to the first movement in alle breve, or cut time, as many period conductors like to do. The very long Andante goes by quicker than usual but moves at a dog trot. The finale is not played so hectically that the string players can't keep up, a flaw in many recordings.

All in all, it would be hard to imagine a cheaper way to acquaint oneself with Schubert at his greatest in period style.

FINISHED MASTERPIECES.......2003-07-15

To get this much good-to-great music in high-quality sound for a low price could be called an outstanding bargain. When in addition the performances vary from very good to absolutely superlative, we are out of the mundane world of bargains altogether.

To start somewhere, this is in some ways the best Great C Major I have ever heard. The accounts of the 5th symphony and the Rosamunde ballet music will also stand comparison with the very best. Beecham was unique for sure in the 5th, but neither that nor anything in Rosamunde is the greatest Schubert. The Great C Major is, for me, his ultimate masterpiece: its second movement is, for me, the most sublime slow movement in all symphonic literature, and here Mackerras simply surpasses everyone else I know - and then does the same again in the Scherzo & Trio. His handling of the outer movements seems to me more a matter of personal taste. You will get an idea what to expect after a few words on the Finished Symphony in B minor.

Mackerras takes a straightforward approach to the familiar Allegro and Andante, as indeed to everything else on these two discs. Tempi are not too slow, the expression is natural and unaffected, the playing is magnificent. It is all a beautiful fusion of scholarly care and a deep feeling for the uniqueness of the inspiration. At this level of interpretation, preferences are a matter of temperament, but if you buy these two discs for these two movements alone you will not have made a mistake. However you will also find here a reconstruction of the Scherzo & Trio from Schubert's sketches by Brian Newbould plus the dear old B minor entr'acte from Rosamunde doing a turn as the 'finale'. The Scherzo material is promising, but one suspects that the composer knew that it would need supplementing to bring it up to the level of its great companions. As for the B minor entr'acte, it does not sound to me like a finale to anything, whatever Grove and the unnamed modern scholars may think. I am happy to have it just for itself.

The C major starts fast, the speed exactly half that of the Allegro ma non Troppo, so that there is no speeding up in the transition. Mackerras does not slow down for the second subject, he makes the exposition repeat, and he takes the final statement of the opening theme at the speed of the Piu Allegro coda, i.e. rather fast just like at the start. In the early 1950's I heard a version of this symphony by Krips with the Concertgebouw that came nearer than any other -- before Mackerras -- to my idea of it. This was despite a flaccid Scherzo and an irritating way of anticipating the beat in the two Andantes. Krips took the opening Andante slowly, speeded up for the Allegro, omitted the repeat, did not slow down for the second subject but broadened his speed markedly for the final appearance of the opening theme. Recent practice is more in line with Mackerras - but do you believe that unifying the tempo is something vital or, as I think, of no relevance whatsoever? How fast the opening Andante should be is an issue indeed, and I still prefer the more measured tempo from Krips. Tying its speed to the Allegro leaves me indifferent, and I have yet to be convinced that Mackerras is not simply too fast in his final presentation of the opening theme.

The second and third movements are just perfect. After all these years Mackerras gives the first account of the Scherzo & Trio that has satisfied me, and especial mention must be made of the glorious hurdy-gurdy tone of the woodwind in the Trio. The last movement depends utterly on that stupendous tune - if there is a greatest tune in all the world, surely this is it. But it does not need over-playing as by Furtwangler or Toscanini, nor over-phrasing as by Boult. Mackerras, like Krips, underplays it beautifully. The other thing it does not need is repeating, and unfortunately at the time of this recording the 'Repeats-Are-Compulsory' reign of terror was at its height. And that is the solitary fault I have to find with Mackerras in this finale.

The sound of the period instruments is gorgeous. Normally you will not find me frantic to hear Authentic-As-Never-Before Messiahs; and I positively flinch at any threat of fortepianos. But when scholarship and musicianship combine as here, I am convinced. The orchestral balance is natural too - the thrill I get from Krips's tramping 2-bar polka rhythm in the first movement development or his hushed but oddly prominent accompaniment to the tune in the finale is probably an illicit pleasure connived at by the recording engineers in a way that would not be tolerated today. Technically Mackerras is a far better conductor than Krips, and I now have a better idea of how my favourite symphony bar none ought to sound.

Mackerras' Splendid Views Of Schubert's Late Symphonies.......2001-12-12

These early digital recordings of Sir Charles Mackerras conducting the Orchestra of the Age of Enlightenment in several of Scubert's late symphonies were among the earliest period instrument digital recordings. They remain fresh, invigorating interpretations of Schubert's symphonic music. Mackerras and his ensemble offer exquisite, exciting versions of Schubert's 8th and 9th symphonies which rank alongside the best I have heard from the likes of Abbado, Blomstedt, and Harnoncourt, among others. Anyone interested in hearing Schubert's later symphonies played by a period instrument ensemble should definitely acquire this recording. The sound quality is vibrantly warm, as well as well balanced. At this price, this two CD compilation is definitely a steal.

Average customer rating:

Celibidache's most 'normal' Bruckner is full of inspiration
Celibidache: Great Bruckner conductor, or cult figure?
Karaoke with Celi

Bruckner: Symphonies Nos. 3-5, 7-9

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B0002IRY0O
Release Date: 2004-11-09

Customer Reviews:

Celibidache's most 'normal' Bruckner is full of inspiration.......2006-09-02

If you are used to thinking of Celibidache as an enigmatic, glacially slow conductor, this box of Bruckner performances from DG will be an eye-opener. It dates from the Seventies, before the maestro's more eccentric inclinations set in completely--his tempos are anywhere from 2 to almost 10 min. faster in various movements. (In some places, such as the finael of Sym. #7, the tempo may actually be faster than the norm.) The Stockholm and Stuttgart orchestras aren't as proficient as his own Munich ensemble, but they sound fine, as does DG's good FM radio sound.

Measuring Celi by the metronome isn't fair. The real question is what he offers musically, and there's no doubt that he is closely attuned to Bruckner. Long passages of sound are carved like marble; the atomosphere is full of mystery and poetry; sonorities are built on a massive scale and then alternate with intervals of lovely serenity. This is music made alive on the page. Compared to Karajan, another great Brucknerian, Celibidache is more organic and relaxed. One can quibble with things here and there, but then an entire stretch of music, such as the opening of Sym. #3, will emerge as a magnificent whole.

I'm not sure I can erect an altar to Celibidache's entire career, but these Bruckner recordings seem great to me.

Celibidache: Great Bruckner conductor, or cult figure?.......2005-02-19

The first time I ever heard the name Celibidache was back in the late '80's when he was on tour with the Munich Philharmonic. The word among my Bruckner fan friends was that he was on the road with a Bruckner Fourth like no other. Hmmmm...how different could it be? I didn't get to go to the performance while he was in town, but word was that it was one of those things you either loved or hated.

The next time I encountered him was while sitting around one night with some Bruckner (and Furtwangler) fans watching "music videos"...but not exactly the MTV or VH1 kind. I saw two videos of Celibidache. The first clip was of a dashing young matinee-idol looking Celibidache, with a wild swath of hair hanging down on his forehead, conducting the BPO in a fiery reading of Beethoven's Egmont Overture. In the second video, shot about two generations after the first, a kindly, grandfatherly looking, Celibidache, in a cozy sweater, conducted a superbly controlled Munich Philharmonic from a stool, in an impossibly expansive and majestic reading of the first movement of the Bruckner Eighth (this was from the Sony release of the entire Eighth). The latter performance was so slow, when compared with any other recording you've ever heard, that it had no business sounding so good, but somehow it did.

The Celibidache phenomenon, and his superbly drilled Munich Philharmonic, must've created a bit of a stir, for, on the heels of Sony's video releases of Celibidache's performances of Bruckner's Symphonies #6-8, EMI embarked on a project of releasing recordings of Bruckner's Symphonies #3-9, as well as recordings of works by other composers. These recordings were released in 1999, three years after the conductor's death. At that time I was what you could call a "Bruckner Ninth completist," and I already owned one of his recordings of the Bruckner Ninth: one of those "quirky Italian" labels that speicalizes in poorly packaged--and often premium-priced--pressings of "historical recordings" had released a few Celibidache live recordings of Bruckner symphonies from the '70's and '80's (it's pretty common knowledge that the enigmatic conductor, like Furtwangler whom he had succeeded as director of the BPO in 1945, hated making studio recordings).

This two-disc set turned out to be a good indicator of the enigma that was Celibidache. The second disc was a recording of the Ninth Symphony with the MPO from 1981. It was a very good performance, and I felt fortunate to have it in my collection, because it was also a good quality live recording; and it was with Munich (most of his live recordings from that period were with the RSO Stuttgart, a good orchestra but not as good as the MPO). The Ninth was a bit on the slow side, and there were moments when I was a bit too aware of the conductor caressing a phrase, but overall it was a worthy addition to the collection.

The accompanying recording of the Fourth with the RSO Stuttgart from 1973 was another story. Everything was fine through the first three (and three-quarters) movements. It was a spacious account of the fourth, but no slower than, say, Bohm's 1973 VPO recording. But, then, toward the end of the finale something happened: a very self-conscious slowing down of the coda--which is plenty majestic enough w/o an unnatural slowing down. This slowing progressed until the beat was subdivided, the violins sounded like they were literally "sawing away" on their ostinatos, and the orchestra almost ground to a screeching halt before the final chord mercifully stopped sounding. At that point, I almost made a frisbee out of the disc, but I decided it still made a good conversation piece (or at least a coaster). It was the most bizarre thing I had ever heard in a recording of "classical" music. In retrospect, the interesting thing is that such extremely protracted tempos are more often associated with the performances of his last fifteen years, but this recording was made 23 years before his death: it somewhat staggers the Brucknerian imagination to think that 20 years later he made a recording of the Fourth with Munich in which the Finale was actually more than five minutes longer, actually breaking the half-hour mark, presumably for the first and last time in the annals of this work.

[I've been trying to write shorter reviews, but apparently that's not going to happen here.]

When the EMI recordings came out, I was much too curious about the Eighth and Ninth to allow the bizarre timings to scare me away: when I first picked up the Eighth, I thought that the timings of the last two movements--35:04 and 32:08, respectively--must've been misprints...the finale was actually more than 12 minutes--or 60%--longer than Jochum's terse 1964 BPO recording! But I still found things to admire in these recordings, none the least of which was the superbly controlled and patient playing of the orchestra, all of whom I thought must've been practically "Zen masters" (and endurance athletes), to play a Bruckner Eighth that was longer than many recordings of the six-movement Mahler Third!

[Really, my intent is NOT to write a review that is the verbal equivalent of a late Celibidache Bruckner recording!]

So, when DG came out with their Celibidache recordings of Bruckner's Symphonies #3-5&7-9, at first released in two absurdly expensive boxed sets--and the people who purchased those have every right to be perturbed at DG eventually releasing them in a much more reasonably-priced single box--I looked at the set with a certain suspicious curiousity. Could these be anything more than shabby old radio recordings, released to "coat-tail" the EMI and Sony releases, and the conductor's death?

Well, the answer is a defininte, yes, they are much more than that. Any set of Celibidache Bruckner recordings is bound to be a bit of a "mixed bag," and, as the other reviewer pointed out, this set is...but there is much more to admire and enjoy here than I expected. I smiled at the other reviewer's apt comment about the "Karaoke Third;" and while the Fourth is not as annoying as the Third, in this respect, their is still more "Sing along with Serge" than I can take, esp. in the finale. It is one of my pet peeves when conductors hum and stomp their way through a performance (you can probably imagine that I don't much care for Glenn Gould's recordings): one of the Bruckner Ninths that I dumped from my "completist days" was by a conductor named Vladimir Delman, who didn't shut up for more than five seconds during the entire recording (and it wasn't even a very good Ninth even w/o the vocal accompaniment)!
In the case of this Celibidache Fourth, it's too bad about the vocalizing, because the tempo of the finale's coda is much more tolerable than the '73 Stuttgart one I described above.

But, fear not, for the Fifth, Seventh, Eighth, and Ninth, are all very good, and the recording quality exceeded my expectations, including strong, clear horns, so important in Bruckner; and a full, warm, bass resonance. Also, Celibidache is definitely a conductor who understands the importance of good strong timpani in Bruckner, and the timpani are very well recorded throughout this set, nearly as thunderous as Karajan's, in the finale of the Fifth (HvK used an extra set of timpani in the Fifth). Yes, the tempos are on the slow side, but during this period--which I'm now thinking was a vintage period for Celibidache's Bruckner--they had not become too extreme yet. He manages to pull off the most spacious Fifth Symphony slow movement I've ever heard, with surprising success (even if this almost climax-less movement begins to get a bit monotonous, by the end; but then again, brisker readings of this movement can get a bit tedious, too).

This was the first Celibidache Bruckner Seventh I've ever heard, and it was a very pleasant surprise, with a beautiful, but not excessively slow, adagio; and a nice, flowing, first movement. It was a pleasant surprise to hear him use a nice flowing tempo for the lovely "enchanted forest" theme (as I call it) that flows out of the majestic intro, and launches the movement proper.

The Eighth was also very satisfying, and certainly no slower than Gunter Wand's final--and excellent--recording of the work; or Karajan's 1957 recording, for that matter.

I still prefer Celibidache's aforementioned 1981 MPO recording of the Ninth, which is noticeably more expanisve in the outer movements than the recording included in the DG set; but both performances are evidence that Celibidache was very much in touch with the rarefied spiritual world of this (my favorite) symphony.

If you are a Bruckner fanatic (or a "Brucknerd," as I have sometimes called us), esp. one who likes Celibidache, who has been putting off buying this set, you need hesitate no more. Was Celibidache one of the Great Bruckner Conductors, or just an enigmatic pheonom with a cult following? I feel that this set reveals him as a great Bruckner conductor, even if like many of us, he went on to get a bit "eccentric" in his later years.

Karaoke with Celi.......2005-01-21

This set is a mixed bag. It contains Celibidache's live Bruckner recordings with SWR Stuttgart Radio Symphony Orchestra (symphonies 3,5,7, 8 and 9) and Swedish Radio Symphony Orchestra (the 4th). As is well known, Celi hated studio recordings.

Celi was a great Bruckner conductor, no doubt about that, although he earned this reputation late in his career. But it is indeed painful to hear his karaoke behavior: Celi yells often loudly while conducting, frequently just before a climax, sometimes even with more lungpower than the brass, it seems. Worse than having a coughing audience, I think! This is especially the case in the third symphony, but his characteristic shouts are audible elsewhere too. But don't get me wrong: the interpretations are very fine. And the third, fourth and seventh are among the best available.

Thus these recordings are welcome additions to the Bruckner catalogue. Comparing this bargain DG collector's edition set with the very expensive EMI set, where Celi is conducting Munich Philharmonic, the speeds are swifter. This is especially the case with the eight symphony, which Celi takes extremely slow in Munich. Here are the differences for each movement:

EMI: 20'56 ; 16'05 ; 35'04 ; 32'08

DG : 16'16 ; 13'52 ; 27'08 ; 26'04

I think the earlier DG account in the present set is preferable. The Munich take is too slow, even if the attention to detail is remarkable. Similar judgements are applicable for the rest of the set as well, though the time differences are less dramatic. For example, the account of the fourth is ten minutes faster here. Comparing with Jochum, however, all Celi's speeds are very slow throughout the whole set.

SWR Stuttgart Radio Symphony Orchestra and Swedish Radio Symphony Orchestra are not famous for their Bruckner playing. In this respect, they do not outshine, say, Bavarian Radio Symphony Orchestra, Staatskapelle Dresden, and Concertgebouw. But minor orchestras can surprise with a good conductor, as they do here.

Sound is good but not in upper demonstration class.