Bruckner: Symphonies 3 & 7

Editorial Reviews
Amazon.com essential recording
These two performances are taken from Eugen Jochum's second complete Bruckner cycle, which is slowly reappearing two symphonies at a time in budget- priced repackaging. The performances are almost uniformly wonderful (only the Eighth was disappointing this second time around, mostly for sonic reasons), and these are two of the best. The Seventh Symphony, in particular, has a luminous quality to the long string melodies and a glowing sound to the brass that gives the music that special, spiritual aspect unique to Bruckner. The famous Adagio second movement has never sounded more solemn or serene, with a stunning midmovement climax. A great bargain. --David Hurwitz

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

Sym No.9 in d: I. Feierlich, Misterioso
Sym No.9 in d: II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
Sym No.9 in d: III. Adagio - Langsam, Feierlich

Amazon.com

Here's a welcome box of all Bruckner's numbered symphonies led by a distinguished specialist renowned during his lifetime for his identification with the composer. Neatly laid out with each symphony on a disc of its own (no annoying midsymphony changeovers) and in top-quality late-1970s sound, this is an irresistible bargain for such superb performances. Jochum's Bruckner was spontaneous-sounding, with generally swift tempos tempered by flexible rhythms and slow movements that squeeze all the juice from this heartfelt music. The Dresden orchestra is a marvelous instrument for these works, with a beefy, warm sound and brass players that can whip up the excitement in the grand climaxes. Individual conductors, whether vintage greats like Furtwängler or more recent Brucknerians such as Wand on RCA and Tintner on Naxos, may equal or better Jochum in individual works, but taken as a complete traversal of these massive scores, Jochum's is second to none. --Dan Davis

Customer Reviews:

One of two Jochum sets of Bruckner.......2007-04-22

The other complete set of Eugen Jochum conducting Bruckner's symphonies, of course, is the series he recorded for DG in stereo between 1958 and 1967 with the Bavarian RSO or (in Symphonies 1, 4, and 7-9) the Berlin Philharmonic, following a number of recordings of individual symphonies he made in the pre-LP days. Although Jochum's basic conceptions remained consistent over the years, that earlier set finds Jochum more consistently alert and a shade more vibrant than in this valedictory go-round with the canonical Bruckner symphonies, taped in the late 1970s. By comparison, the overall impression here is of slightly lower voltage, although the flip side is that this cycle is also just that much more serene, and aptly so (Bruckner's music has been described as "blazing calm").

Even so, this boxed set has a lot to recommend it, whether or not in preference to the DG cycle. There is the burnished and responsive delivery of the great Dresden orchestra, perhaps the oldest in Europe. There is EMI's warm and atmospheric sound, which in this remastering is considerably better focused and more detailed than in the first CD incarnation of this cycle. This cycle's Seventh and Ninth Symphonies arguably make a deeper impression than their counterparts in the DG series--even if the DG cycle compensates with more successful readings of the Fourth and Eighth. Above all, there is Jochum's lifelong identification with Bruckner's music (but NOT, as another reviewer suggested, due to a personal relationship between the conductor and the composer, who had died six years before Jochum was born!). Personal preference will dictate whether you go for the DG or EMI cycle; either way, you will hear Bruckner via one of the last exponents of a more flexible, less "monumental" (and also less stolid) approach to this composer's music.

Bruckner by Jochum.......2005-10-03

These CDs contain performances of the nine Bruckner symphonies.
Of these 3,4,7,8,9 are remarkable, with 4, 8 and 9 being
masterpieces. The performances by Eugen Jocum and the Dresden
Staatskapelle orchsetra are well-designed, and played at tempi
that seem to represent the composer's intentions. The recording
quality is good, except for dynamics: the sound volume is
on the low side. One needs a high grade system for adequate
reproduction, especially given the wide dynamic range and
timbral subtlety characteristic of Bruckner.

The Best Complete Bruckner Symphonies.......2005-09-25

The reason that this is the best complete symphony recordings of Bruckner is that conductor Eugene Jochum had a close relationship with Bruckner himself and knew the music like the palm of his hand. despite any negative commentary or the fact the preferred editions are conducted by the eminent Herbert Von Karajan, this box set is by far the best. All the symphonie sound great, polished, romantic, idealized, spiritual, energetic, passionate and mysterious, especially the opening movement of the final 9th, which comes in both versions here. This is a true winner for a recording box set. Your other choice should be Karajan though. But Jochum masters the music with great affinity and brilliant technical musicianship. In this recording, particularly impressive are the 7-9th. The early symphonies are German-Romantic Wagner/Mahler style but entirely Bruckner's individualized style. It is music that is heavy, and not music for a beginner to hear. It is deep, highly emotional, music to meditate by. It's slow-moving, dream-like and powerful, horns and brasses sounding fatalistic at times, while the winds and strings evoking either intensity or quietness. Bruckner himself would love this set. He certainly approved of Jochum conducting.

A good, but not great, Bruckner cycle........2005-02-18

Ideally, I wanted to review the DG Jochum cycle, since I actually prefer that one, but it's NLA as of this posting, so I'll just make some comments about both cycles here.

Eugen Jochum may have been the greatest advocate of Bruckner, of the 20th Century. However, I have lived with this cycle, and especially the DG one, for many years now, and I have come to view his Bruckner interpretations as somewhat overrated, even in comparison with his "old school Bruckner" colleagues. Perhaps my opinion is a little skewed by overexposure, but I have other recordings I turn to more frequently that have not started to "wear" on me as much as some of Jochums. For one example, I am not, by any means, a "Karajan freak" (I have also come to view his last VPO Eighth, over which most people seem to be "ga ga," a bit overrated, as well) but I find his full DG cycle from the 70's and early 80's, for one, to be more consistently satisfying, with the exception of the first, fourth, and sixth, in all of which Jochum is clearly better, imo. I must say I do get tired of the cliches' about Karajan's performances being too "cool, polished, and sterile," and Haitink's being too "light," etc. These preconceptions, often based on preconcieved opinions about the conductors themselves, precludes people from really having to seriously consider their recordings, just as the opposite preconception that Jochum is THE Brucknerian of the century tends to make his recorded preformances somehow beyond reproach.

Based on Jochum's reputation, I eagerly awaited the DG cycle, back at a time in the late 80's when I was first getting into Bruckner when there were relatively few Bruckner recordings in print. Even on first listening, there were certain things about his interpretations that didn't sound right to me. Admittedly, at that time, I knew virtually nothing of the "old school," with its more flexible tempi, dynamics, and more dramatic approach, to Bruckner. Since then, I have become very well acquainted with recordings of the "old school" Bruckner conductors such as Schuricht (his 1943 Ninth is one of my ten favorites), Furtwangler (his 1944 Ninth might BE my favorite), Hausegger, Kabasta, Abendroth, Matacic; Walter and Horenstein's mono recordings, etc. etc...and I still don't find many of Jochum's interpretations to compare all that favorably.

One thing you can say with some degree of confidence about Jochum is that most of his interpretations are amazingly consistent over a half century of recordings. Compare his recordings of the Fourth and Seventh from the late 1930's to those from his later DG and EMI cycles, and they are remarkably similar, both in terms of timings, tempos, and phrasing. Two examples of "Jochumisms" that have come to grate on me a bit over time are: 1) As much as I love most of his Fourth, esp. the finale, which I think he "nails" better than any other conductor, I feel that he turns the andante quasi allegretto into an adagio (in general, I can never understand why many conductors insist upon turning this flowing movement into a dirge); 2) The slow tempo he chooses for the lovely "enchanted forest" motif (as I call it) that flows out of the beautiful intro of the Seventh, which ultimately steers the whole first movement toward a slow and stodgy tempo. Jochum's Seventh almost sounds like it starts out with two adagios. His first movement isn't excessively slow in terms of it's total timing (and I've noticed that many listeners pay too much attention to timings anyway), but in terms of it's lack of flexibility and flow: there are readings of this movement a minute of two longer (like Chailly, for example, although I think his Seventh is a bit overrated) that still have a better sense of ebb and flow to them. Some examples of sevenths I prefer to Jochum's are Sinopoli's; Karajan 70's DG; Inbal's; Wand's 70's Cologne recording; Furtwangler's 1951 BPO (Rome); Abendroth's 1956 recording; and Haitink's 70's recording.

Jochum's Fifth was one of the biggest disappointments of my Bruckner collection, esp. after all of the things I had heard about it's legendary status. Although I think his inner movements are just fine (except the slow movement of his 1938 Fifth, which I found a little too slow), I think he is too slow--and even more importantly not flexible enough--in the all important outer movements. But the "Jochumism" that grates on me the most, in ALL of his recordings, is his excessive stretching out of the coda of the finale, made even less convincing by the lack of a strong underpinning of timpani. Karajan (whose DG Fifth was my first, and is still my favorite, followed by Horenstein, Welser-Most, and Gielen) augmented this thrilling coda--Bruckner's best, even better than the Eighth's, if it's done properly--with an extra set of timpani, and very effectively. If any of you are rolling your eyes (esp. you "Karajan-bashers") at Karajan's use of extra timpani, remember that Jocum augmented the brass section for the famous chorale of the Fifth's finale...this is part of what the vanishing art of interpretation is all about. On the subject of timpani, one of the characteristics of the Bruckner "old school" was the ideal that the Bruckner orchestra started from the ground (bass) up, and needed a strong underpinning of timpani (too often missing in recent recordings), esp. in climactic moments: Furtwangler's recordings provided the best example of this; most of Jochum's recordings are surprisingly lacking in powerful timpani, and this is particularly exposed in his somewhat melodramatic lengthening of the Fifth's final coda.

In general, I find Jochum's Eighth and Ninth to be a bit terse, except for his readings of the third movement of the Ninth, which was consistently one of his best movements, esp. his Dresden recording. If his readings of 1-7--except, again, his 1,4, and 6, which I find generally excellent--tended to lack flexibility on the slow side, the outer movements of his Eighth and the first movement of his Ninths tended to lack flexibility on the fast side. One very notable exception, however, is his 1949 Hamburg Eighth, which is my very favorite Jochum recording, and perhaps one of my ten favorite Eighths overall. He gets everything right here, with a good amount of flexibility...which makes it even more puzzling to me that the outer movements of his later recordings of the Eighth were so terse by comparison.

As far as the merits of the DG cycle versus the EMI, again, there is very little to choose as far as interpretations: they are remarkably similar. The only difference that really jumped out at me was that the first movement of the Dresden Ninth was not only a little too terse, but strangely "herky jerky" in terms of some awkward tempo relations, which create more distraction than tension. Although I feel that the adagio of the Dresden Ninth is Jochum's most searching account of this movement, I still like the Ninth from the DG set a bit better.

In terms of recorded sound, again I'd have to give the nod to the DG cycle. The older DG recordings sound more natural to me, whereas the late analog EMI recordings are a bit too brightly lit, almost sounding like early digital in places. The seemingly endless permutations of packaging, repackaging, and recoupling of both of these cycles, and the individual recordings from them, has become a bit absurd, but at least it has made it very easy to pick up most of these recordings in used CD bins.

Outstanding set!.......2004-08-07

To win conducting Bruckner demands from a director several issues . You must have a first order orchestra ; second your rapport with the orchestra ; third Bruckner symphonies are a real challenge they are real difficult works because you have to maintain the sound all along the work ; fourth: the different mood changes and the running time of every symphony demands a serious analysis and commitment with the inspired and rapture melodic lines inmersed ; fifth : to underline and emphasize the sforzandos , the dramatic accents are almost an epic achievement ; sixth : since the undeniable influenc of Wagner in Bruckner you have to keep the balance and obviously to have studied Wagner in every work and consider the fact if Wagner would have lived twenty years more Would it sound in the brucknerian mood? and if all the previous factors were not enough , you have to consider the giant directors in Bruckner : Wilhelm Furtwangler , Hans Knappersbutch , Jasha Horenstein ,Carl Suricht , Horst Stein and obviously Eugene Jochum and the most remarkable Bruckner conductor in the actual times : Daniel Barenboim .
Jochum was a noble man and he had another important point to his favour : the orchestra : placed in the East Germany kept his sound due the isolation in the thirties forties and fifties . I underline this because the character and presence of similar orchestras as the Gewandhaus of Leipzig let obtain a pure sound ; and not a traditional vision .
This set is relevant in your collection because the standard level of every work is very high and often inspired . So it is easier for you to make a musical journey all the way.
I really recommend to you .

Average customer rating:

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

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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!!!

Average customer rating:

Some of the best Bruckner on disc
Solti's Sine Qua Non of Brucker Ninths
It's that superb brass
Bruckner will not get any better than this!
4.5 stars- A great and vividly recorded Bruckner boxed set

Anton Bruckner: The Symphonies

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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ASIN: B0000042ED
Release Date: 1996-07-08

Tracks:

I. Allegro
II. Andante
III. Scherzo: Presto
IV. Finale: Moderato

Tracks:

I. Allegro
II. Adagio
III. Scherzo: Schnell - Trio: Langsamer
IV. Finale: Bewegt, Feurig

Tracks:

I. Moderato
II. Andante: Feierlich, Etwas Bewegt
III. Scherzo: Massig Schnell
IV. Finale: Mehr Schnell
I. Adagio - Allegro

Tracks:

II. Adagio, Sehr Langsam
III. Scherzo: Molto Vivace (Schnell)
IV. Finale: Adagio - Allegro Moderato

Tracks:

I. Gemassigt, Mehr Bewegt, Misterioso
II. Andante: Bewegt, Feierlich, Quasi Adagio
III. Scherzo: Ziemlich Schnell
IV. Finale: Allegro

Tracks:

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

Tracks:

I. Majestoso
II. Adagio: Sehr Feierlich
III. Scherzo: Nicht Schnell - Trio: Langsam
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Adagio: Sehr Feierlich Und Sehr Langsam
III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Scherzo: Allegro Moderato - Trio: Langsam
III. Adagio: Feierlich Langsam, Doch Nicht Schleppend
IV. Finale: Feierlich, Nicht Schnell

Tracks:

I. Feierlich, Misterioso
II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
III. Adagio: Langsam, Feierlich

Customer Reviews:

Some of the best Bruckner on disc.......2007-05-31

Anton Bruckner was as organist all his life. He so loved the instrument that he actually requested to be buried under the instrument on which he served the longest tenure. No better description can be given to his music other than "organ-like". Listen to the symphonies and youll understand why. These works, espeically the later ones (4-9) contain some of the most emotionally charged, thrilling, sonic passages you will ever hear an orchestra play. Fast changes from loud to soft, thick orchestrations and beautiful chords and harmonies make these symphonies the epitome of romanticism. Bruckner was writing music that was well advanced for his time (the adagio of the 7th symphony is a music theory student's nightmare!), many would have considered his pieces "daring" or "strange" when they were written. The CSO and Solti definately capture the essence of these pieces, and with one of the world's greatest brass sections playing some of the most brass-heavy symphonies, how could you go wrong?

Solti's Sine Qua Non of Brucker Ninths.......2006-05-18

Let me state very succinctly and unequivocally that there is no other Bruckner 9th on earth I can listen to with such rapt, undiminished joy as Solti's.

The overpowering (almost terrifying) coda of the first movement hits the listener like some inexorable, demonic force of Nature, thanks exclusively to Solti's stealth-like tempo and slow-mounting crescendo, where the CSO's thundering brass suddenly takes on a life and will of its own. Once you experience (and survive) the impact of this near-cosmic cataclysm -- sorry, I tend to wax hyperbolical with this particular work -- no other recording will ever satisfy. (Psst! -- and just wait until God Himself throws open the Celestial Gates (TWICE!) in the third movement.)

Although Solti is by no means my favorite Bruckner conductor -- consider Knappertsbusch's underrated, yet unparalleled, SCHALK VERSION! for the Fifth; Haitink and the Concertgebouw for the Third; Anton Nanut and the Ljubljana for the Eighth; Erich Leinsdorf and the Boston Symphony (LP only) for the Fourth; Sawallisch and the Bavarian State Orchestra for the Sixth -- I nonetheless award 5 generous stars to this boxed edition, only because life, for this listener, would lose all sense and meaning without Solti's brilliant, never-to-be-equalled interpretation of the heaven-inspired Bruckner Ninth.

By the way, his beguiling (read absolutely perfect!) phrasing of the long melody line at the opening of the Seventh is quite frankly to die for. Though why he chose such a comparatively "sluggish" tempo for the energetic Scherzo is beyond my comprehension.

[..]

It's that superb brass.......2006-01-23

'Bruckner is brass' or at least the brass is much more involved. To hear a good Bruckner the brassplayers of the orchestra needs to be outstanding. Unfortunately many brass sections of top orchestras do not have quality brass. That's different with the Chicago SO under Solti where all brass player were superb (and maybe they still have such brassplayers)

The top European orchestras do not have that extra quality brass one would expect. The Berliner Philharmoniker and the Wiener Philharmoniker even today use trumpets with rotary-valves... I even heard a top British Orchestra with a lead trumpet player using that 'weird' brassband vibrato.

Further the Tuba players in Europe usually are just not good enough and lack tone and power in the low register of the instrument. But here with Solti and the Chicago SO one can enjoy the beauty of Bruckner with bass playing as it should be. Even the famous recordings by Wand are not my choice.

The fact that Solti is directing must be considered as well as he is also extremely convincing directing Wagner, so he does understand (or at least that's my view) the way brass should sound.

If you are looking for a box that you will play over and over again, this is the one and at a fair price.

Bruckner will not get any better than this!.......2006-01-04

Usually when I encounter box sets of classical music ( with the exception of operas and the like) I'm a little wary of it. Many of them, like this recording, span many years and often there are 2-3 years between recordings.

Even though that is true of this set, it sounds like it was recorded successively. With the exception of the 6th which was recorded on analog, there is no discrepancy in either the performances or the quality of the recordings and even the 6th is very well recorded and extremely vivid, I would argue one of the most vivid. The years of the recordings span from 1979 ( the 6th) to 1995 ( no. 0).

It would take much too long to do a review for every single recording so I will just give some highlights.

Of the recording of the 3rd, Penguine guide referred to it as "the one failure, relatively crude and coarse." I don't agree, if anything, it seemed to me that this recording was not only on par with the others, but that the CSO was equally on top of their game with this one as with the others. I found it very moving, clear, precise and powerful.

Moving onto the recording of the 4th I will say the same thing: very moving, clear, precise and powerful. What struck me about this recording was the tension maintained in the outer movements. Often with Bruckner symphonies, tension can easily be lost because of the length. Here the Chicago Symphony nicely maintains the energy with much thanks to their outstanding team of brass players. The gem of this recording, in my opinion and as much as I love the 1st and 4th movements, is the Scherzo. I love Bruckner Scherzi anyway but the Chicago Symphony does a bang-up job on this one. This track can be characterized as simply authoritative, powerful and overwheliming in the best way possible. In the first minute or so, Solti uses the powerful brass to gain thrust and to propel the entire orchestra into the statement of the main theme with the trombones and echoed by the trumpets.

I have already mentioned how pleased I am with the sixth. It is remarkable that it was recorded on analog. It sounds so amazingly vivid. Of course, the brass is nicely ensnared but the sharpness of the timpani deserves attention as well. Besides the excruciatingly exciting outer movements, the quality of the adagio is enough to leave with breathless at the end. When the orchestra finishes it, the listener gets the overwhelming sense of tranquility - very well done. That is the way to do Bruckner adagios.

The recording of the 8th was made while on tour in St. Petersburg Russia in 1990. Another triumph in my opinion. The real tokens of this recording are the adagio and finale. Again, as in the recording of the 6th, this adagio is enough to leave the listener suspended in calmness. I especially like the way the bring out the religious quality of Bruckner's music ( the same could be said of all the recordings of this set) by emphasis on certain tonalities and harmonies which can easily be passed up by the unwary conductor. The finale is of comparable quality. I have never heard a recording of this piece that has as strong a brass soli as is heard at the beginning of this one - utterly amazing. The sound never, ever wavers. It is simply solid tone throughout and sustained even in moving to the next note. Here again, the listener is confronted with the chorale-like chords that make Bruckner's music so remeniscient of religious music. With many thanks to the CSO brass section, one can hear the beginning of this played on the organ, Bruckner's main instrument. Also, I love the end where the motif of the first movement is triumphantly belted out by the trombones. These guys have such a presence and it really helps to bring the symphony full circle.

Finally, the 9th. I love the 9th symphony anyway. I love the construction of it. I love the use of chords and harmonies that seem distant to the tonic but then find themselves alluding to the tonic. Everything about it I love. And the CSO does it well. Awesome maestoso brass make up the first movement along with a breath-taking coda just overflowing with snipets of chorales first heard in the woodwinds then carried on by sustained brass. This is a first movement that is centered, precise, focused and musical above all. Which brings me to the scherzo. Again, with many thanks to the brass section, the scherzo takes on a veritable demonic quality - very menacing indeed. I believe this is probably Bruckner's most violent scherzo. You can certainly hear it in this recording the way the orchestra pounds away at the double eigth plus quarters motiv practically relentlessly. In matter of fact, the whole scherzo pounds...it is absolutely relentless and I like the fact that the CSO brings out the obvious anger found in it.

Finally, some very trivial negative things. I don't like how London splits up the 5th. They put the 1st movement on one disc and leave the remaining movements on another. There is great chorale-like brass playing on this recording. Another great recording like the other and very powerful indeed. I just prefer to enjoy it all on one disc.

To me, the 7th is the only odd ball in the bunch, and even then, it is a fabulous recording. In referring to the Penguin guide again, they cite that this recording lacks tension in the outer movements. I agree, the brass just doesn't seem to all there, most of the time, and the strings take on a not-so-likable thin palor. The outer movements could be more tight and precise but how they are at the moment is just fine with me. There are some real good moments on this disc. The interpretation of the adagio is absolutely gorgeous. The sonority of the Wagner tubas is perfect, the climax is devastatingly spine-tingling. All in all, perfect and again, it ends with that indispensable sense of irrevocable tranquility. The scherzo is just as you would expect it to be - ferrocious. There are some real tempests present in this interpretation. The dialog between the trumpets and trombones at the full tutti sections gives me goosebumps every time. Finally, even the outer movements lack tension, there is still a good deal of powerful and precision in the rhythmic tuttis...frankily, unlike the first movement ( which still has beauty and grandeur, don't get me wrong), the only part where I'm not convinced is the coda. I wish it was just a tad more powerful.

I have to admit, however, that I'm extremely biased for 2 reasons - one, i'm aspiring orchestral trombone player myself so I look for recordings that have a great deal of brass pressence to them and two, I find that the Chicago Symphony obliges me greatly in that area. All the recordings I get now are with the CSO if I can help it. I absolutely love them. In opinion, they're the best orchestra out there. They are my favorite. And Jay Friedman, principal trombone, is my hero. So while my review of this set might now seem as petty hero worship and one deluded and clouded by admiration, I advise to see for yourself. As with Mahler, I don't think you should listen to Bruckner without a great deal of power and brass...

4.5 stars- A great and vividly recorded Bruckner boxed set.......2005-07-29

I have heard, I think, all of this Bruckner boxed set, when I checked it out at the library. I think the 3rd symphony is probably my least favorite of the nine. I do own the single disc of the seventh symphony. This Seventh is very powerful indeed! I don't think he misses too much of Bruckner's spirituality in this particular reading. I think he does go for the power and impact aspect of the score. I have many versions of Bruckner's Seventh, but this was my first Bruckner purchase, that I doubt I will ever sell. His timing of the adagio of the Seventh is perfect in my opinion. It does clock in at 25:11, which many would think is too long, but that pace is just right. The vividness and brilliance of these recordings (especially the Seventh of which I'm more familiar) is breathtaking. Don't ever let anyone tell you that this isn't a great Seventh!!! I do prefer Jochum for the adagio of the Seventh, as far as the aspect of spirituality goes, but no one is as bracing and as powerful as Solti is. The brass cuts through superbly from this great Chicago Orchestra. It's good to have a great boxed set with demonstration sound that this superb set deliver's. If I remember right, the 6th,8th,4th,and 9th come off very well also. If nothing else (although the performances and interpretation are superb also) get this set for the incredible sound quality. ENJOY!!!

Orchestral Excerpts for Bass Trombone, Tenore Tuba, Bass Trumpet

Average customer rating:

Good, but not the best methods for bass trombonists
Mulcahy Rocks, Reynolds is Hilarious!
Very Helpful
A perfecrt resource...almost!

Orchestral Excerpts for Bass Trombone, Tenore Tuba, Bass Trumpet

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

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Orchestral Excerpts for Tuba
Orchestral Excerpts for Trombone
Orchestral Excerpts For Trumpet
Charles Vernon, Bass Trombone
Orchestral Excerpts For Horn

ASIN: B0000038JV
Release Date: 1995-07-18

Tracks:

Bass Trbn: Sarabande in c - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Till Eulenspeigel, Zarathustra, Ein Heldenleben - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Miraculous Mandarin/Sym No.9/Vn Con - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Hungarian March, Rome And Juliet - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.1 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.7/Sym in d - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: The Creation/Hary Janos - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Syms No.5, 6, 7, 9 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Pictures/Romeo And Juliet/Pines Of Rome/Gazza Ladra - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.3 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Sym No.5 - Jeffrey Reynolds/Los Angeles Phil
Bass Trbn: Lohengrin, Ride Of Valkyries - Jeffrey Reynolds/Los Angeles Phil
Bass Tpt: Intro - Michael Mulcahy/Chicago Sym
Bass Tpt: Das Rheingold - Michael Mulcahy/Chicago Sym
Bass Tpt: Die Walkure - Michael Mulcahy/Chicago Sym
Bass Tpt: Siegfried - Michael Mulcahy/Chicago Sym
Bass Tpt: Die Gotterdammerung - Michael Mulcahy/Chicago Sym
Tenor Tuba: Bydlo - Michael Mulcahy/Chicago Sym
Tenor Tuba: Sym No.7 - Michael Mulcahy/Chicago Sym
Tenor Tuba: Don Quixote - Michael Mulcahy/Chicago Sym
Tenor Tuba: Ein Heldenleben - Michael Mulcahy/Chicago Sym
Tenor Tuba: The Planets - Michael Mulcahy/Chicago Sym

Customer Reviews:

Good, but not the best methods for bass trombonists.......2007-07-05

After listening to the excerpts, I recognized Jeffrey Reynolds' perspective. He is an experienced player, but some of his advice is not as practical as it seems. For the Franck excerpt, common orchestral practice is to play the f-sharp as written: it is an applicable range study and should be kept intact. The Schumann excerpt is not played as written also, and should be taken literally in the context that it was written. Mr. Reynolds' approach to Wagner is interesting, especially to Die Walkure. It's not for everyone, but it may be beneficial to some. The Kodaly is well presented, as well as the Mahler, Berg, and Strauss excerpts. All things considered, it is a decent aide for study, but should not be seen as a "this is how it must be done" collection of excerpts.

Mulcahy Rocks, Reynolds is Hilarious!.......2006-10-26

Okay, for anyone seriously interested in what NOT to do in an audition, make sure to listen to Reynolds on this disc. There's a reason this CD is infamous, and he's the reason. Even his advice is pretty awful. Take part of the D Major down an octave because the commitee won't notice? Hah! That kills me every time.

Mulcahy rocks on this, though. Just listen to the VAlhalla theme and tell me he's not a monster.

Then, go back and listen to Reynolds play Ein Heldenleben with 'oblique intonation' and 'questionable sound' and roll on the floor for a while.

Very Helpful.......2006-05-27

This CD was very helpful for me, a student bass trombonist. The CD enables you to not only hear the exerpt, but also listen to what the performer says about it and how it should be played. Mr. Reynolds, as well as Mr. Mulcahy played the exerpts beautifully.

A perfecrt resource...almost!.......2000-08-02

The Orchestra Pro series are a very useful tool to student musicians trying to get a grasp on how the major symphonic excerpts should be played. More useful, however is the spoken commentary, which resembles a one on one lesson with the performer. The bass trumpet and tenor tuba excerpts are played beautifully by Mulcahy. The bass trombone playing or Reynolds often leaves the listener wondering if he could not have done a slightly better job on some of the excerpts. All in all this CD is a great resource for those trying to get their foot in the door of the orchestral music scene.

Average customer rating:

Maybe the best Bruckner 8 ...

Bruckner: Symphonies Nos. 3 & 8
Anton Bruckner , and Bernard Haitink
Manufacturer: Decca/Universal
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Bruckner: Symphonies Nos. 4 & 5
Bruckner: Symphonies Nos. 1 & 9
Bruckner: Symphony No. 6; Weber: Overtures [Australia]
Bruckner: Symphony No. 7
Bruckner: Symphonie No. 9

ASIN: B000069KIV
Release Date: 2002-05-31

Tracks:

Germabigt, Mehr Bewegt, Misterioso
Adagio
Scherzo
Finale
Allegro Moderato
Scherzo: Allegro Moderato
Adagio
Finale

Customer Reviews:

Maybe the best Bruckner 8 ..........2006-04-18

... at least to my taste, but it is certainly a worthy contender to those recordings which are generally considered to be the very best, for example Karajan, Giulini, Wand or Boulez (and many others).
Firstly, I would like to apologize for incompleteness of this review, because I would only like to say my thoughts on the recording of the Eighth Symphony - it used to be available by itself, but now only as a budget twofer, where you also get the Third Symphony (a wonderful recording as well, by the way).
The recorded sound for the Eighth is maybe typically 'Philips' with a warmly sympathetic but natural, not too expansive, crystal clear soundpicture, with just enough 'air' around the different instrument groups. The instruments are fairly directly recorded, but just right for being able to relish in that very typical disciplined, gorgeous and crisp sound of the Vienna Philharmonic, which on this specific recording is captured simply greatly.
Haitink takes ample time to let the music unfold in all its splendor, but at the same time there is a superb grip - at least to my amateur ears - on the structure. Well, one could only expect as much, with a conductor who had up to then been studying and performing this music for about thirty years!
If you also love this recording by Bernard Haitink, I would also like to recommend you listen to Haitinks earlier, 1981 (digital) recording of the same work with the Concertgebouw Orchestra. (Speeds for the four parts in this 1981 recording are: 16:03 / 16:11 / 29:14 / 23:53, making this 1981 recording just slighly slower overall, but only because of the especially expansive adagio.) This magnificent 1981 recording (Haas-edition as well) stands between his first studio recording (1969) and his third studio recording, under review here. This 1981 'Eighth' is taken rather 'spacious' and 'wide', very noble, with grand over-arching legato. The playing of the Concertgebouworkest is as mellifluous as ever. The same holds true for the recording under review here, but here, as a plus, the conducting is even more disciplined and the playing even more 'poised' - with a little more 'bite', maybe, but this may be result of the character (?) of the orchestra itself. Combined with a somewhat more direct recording of instruments, this makes this Vienna Philharmonic-recording IMHO well-nigh-perfect to the ears of this particular listener.

So this (Vienna) recording offers us the best of both worlds, or three worlds actually, recapitulating: firstly, gorgeous playing and recorded sound (some of the best I have ever heard in this format); secondly, the music is allowed to bloom in moderately expansive speeds; and thirdly, a clear sense of structure, especially in the Adagio (27:26 min). All three make this a truly gripping acount of Bruckner's masterpiece.

Haitink really seems to love Bruckner and he truly makes this music sing in the most eloquent and naturally flowing way; sensitive to every nuance and with feeling, but at the same time nicely disciplined. This is as true for this Concertgebouw recording as for this (14 year) later, even more superb recording with the Vienna Philharmonic. Anyhow, this recording (like the Concertgebouw recording), which displays this music with such caressing, warm sympathy and with such nobility, is IMHO essential hearing.

Average customer rating:

A must for Bruno Walter fans!
Essential recordings
Over-priced, under-powered, and incomplete
Great Presentation for Great Performances

Famous Mahler & Bruckner Symphonies

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphonies 1-10; Das Lied von der Erde
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ASIN: B0002CHK9A
Release Date: 2004-06-29

Tracks:

I. Langsam. Schleppend. Wie Ein Naturlaut. Im Anfang Sehr Gemachlich
II. Kraftig Bewegt, Doch Nicht Zu Schnell
III. Feierlich Und Gemessen, Ohne Zu Schleppen
IV. Sturmisch Bewegt - Energisch

Tracks:

I. Allegro Maestoso - Westminster Choir
II. Andante Moderato - Westminster Choir
III. (Scherzo). In Ruhig Fliessender Bewegung - Westminster Choir
IV. 'Urlicht.' Sehr Feierlich, Aber Schlicht - Westminster Choir
V. In Tempo Des Scherzos. Wild Herausfahrend - Westminster Choir

Tracks:

I. Bedachtig. Nicht Eilen - Desi Halban
II. In Gemachlicher Bewegung. Ohne Hast - Desi Halban
III. Ruhevoll - Desi Halban
IV. Sehr Behaglich - Desi Halban

Tracks:

I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt
II. Sturmisch Bewegt. Mit Grosster Vehemenz
III. Scherzo. Kraftig, Nicht Zu Schnell
IV. Adagietto. Sehr Langsam
V. Rondo-Finale. Allegro

Tracks:

Errinerung
Scheiden Und Meiden
Nicht Wiedersehen!
Ich Ging Mit Lust Durch Einen Grunen Wald
Ablosung Im Sommer
Hans Und Grethe
Starke Einbildungskraft
Starke Einbildungskraft
Wenn Mein Schatz Hochzeit Macht - Mildred Miller
Ging Heut Morgen Ubers Feld - Mildred Miller
Ich Hab Ein Gluhend Messer - Mildred Miller
Die Zwei Blauen Augen Von Meinem Schatz - Mildred Miller

Tracks:

I. Andante Comodo
II. In Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb
III. Rondo-Burleske. Allegro Assai. Sehr Trotzig

Tracks:

IV. Adagio. Sehr Langsam Und Noch Zuruckhaltend
A Working Portrait
A Talking Portrait

Tracks:

I. Das Trinklied Vom Jammer Der Erde. Allegro Pesante - Ernst Haefliger
II. Der Einsame In Herbst. Etwas Schleichend. Ermudet - Ernst Haefliger
III. Von Der Jugend. Behaglich Heiter - Ernst Haefliger
IV. Von Der Schonheit. Comodo. Dolcissimo - Ernst Haefliger
V. Der Trunkene Im Fruhling. Allegro - Ernst Haefliger
VI. Der Abschied. Schwer - Ernst Haefliger

Tracks:

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

Tracks:

Overture & Bacchanale (Venusburg Music) - The Occidental College Concert Choir
Prelude To Act I
Overture
Prelude To Act I
Good Friday Music (Karfreitagszauber)

Tracks:

I. Allegro Moderato
II. Adagio. Sehr Feierlich Und Sehr Langsam
III. Scherzo. Sehr Schnell
IV. Finale. Bewegt, Doch Nicht Schnell

Tracks:

Overture To Act I
Siegfried
Bruno Walter Rehearses The Siegfried

Tracks:

I. Feierlich, Misterioso
II. Scherzo: Bewegt, Lebhaft - Trio. Schnell
III. Adagio. Langsam, Feierlich
I. Te Deum. Allegro Moderato
II. Te Ergo. Moderato
III. Aeterna Fac. Allegro. Moderato. Feierlich, Mit Kraft
IV. Salvum Fac. Moderato
Per Singulos Dies Benedicimus Te. Allegro Moderato
V. In Te, Domine, Speravi. MaBig Bewegt
In Te, Domine, Speravi. Fuge. Im Gleichen GemaBigten Tempo - Alla Breve

Customer Reviews:

A must for Bruno Walter fans!.......2007-06-30

Sony's "Original jacket edition" of Bruno Walter's recordings of Mahler, Bruckner and Wagner is a must for his fans. Walter (1876-1962) recorded many works in stereo for Columbia records in the 1957-61 time frame, some of which are included here: Mahler Symphonies 1, 2, 9; Bruckner Symphonies 4, 7, 9; Mahler's song cycle "Das lied von der erde" ; and Wagner Overtures and Preludes, Siegfried Idyll, and rehearsal of Siegfried Idyll. Walter conducts the New York Philharmonic in Mahler 2, Das Lied...; and the Columbia Symphony (Los Angeles, California) in Mahler 1 and 9; the Bruckner items and Wagner Overtures and preludes. Also included in this collection are Walter's earlier New York Philharmonic (mono) recordings of Mahler's Symphony 4 (1945) and Symphony 5 (1947) + lieder with Desi Halban, accompanied by Walter at the piano.
This is the only current release of Walter's Wagner Overtures and Preludes, which sound terrific: I bought this for those items alone.

Walter studied with Gustav Mahler (1860-1911) and knew him well from 1894 until Mahler's untimely death in 1911. Walter was age 18-35 at the time, and though not considered the only authoritative voice of interpretation of Mahler's orchestral works by everyone, he knew the Mahler personally, which says ALOT to me!

Sound in all the stereo recordings is excellent, and very good in the mono
Mahler 4 and 5. Walter's sense of line and climax are un-erring, and I always feel great after listening to these recordings. They have a "This is the way it should be" feel about them.

The CD jackets are mini reproductions of the original LP covers, and add a nice feel to the collection. There is ALOT of music here for the money, even if buying this means duplicating some of Walter's recordings from his earlier Odyssey and Bruno Walter Edition (Sony Classical) releases. Highly recommended.

Essential recordings.......2007-03-11

This somewhat over-priced but essential box contains a collection of Bruno Walter's Columbia recordings of Gustav Mahler's symphonies, nos. 1 (stereo), 2 (stereo), 4 (mono), 5 (mono), 9 (stereo), and Das Lied von der Erde (stereo). In addtion, we find a sample of Walter's Mahler symphony 9 rehearsal, a short Walter-Michaelis discussion on Mahler, and a selection of Mahler's Lieder und Gesänge aus der Jugendzeit (mono) with Walter at the piano, next to Desi Halban.

It collects also Walter's recordings of some of the Bruckner symphonies, nos. 4, 7, 9, and the Te Deum (all in stereo).

Finally, there are also some of Walter's recordings of Wagner music included - some overtures and introductions, the Good Friday Music from Parsifal, and a wonderful Siegfried Idyll (all in stereo).

All this stuff has already been available in separate sets, but some of them are out of print.

There is a much cheaper way to get the Mahler recordings: they have, with the exception of Das Lied von der Erde, been released in a bargain "Columbia Legends" box ($37.99). But the Das Lied von der Erde - the present box include the excellent Columbia stereo version with Haefliger and Miller - is out of print in the US and Europe. It is, however, available in Japan for 1.895 yen, so check amazon.jp if you look for that recording only.

Perhaps not a must for every serious collector, then, considering the high price. But all the recordings are essential, and the use of the original LP-covers is attractive (I have always considered the plastic CD-cases as a complete mistake: they take too much shelf space), even if the box that collects them is one half inch too thick. You get Walter's groundbreaking mono recordings of Mahler's fourth and fifth, in fine transfers and original covers, coupled with his excellent stereo recordings from the early sixties, all of which still must be seen as reference recordings. This holds for the Bruckner recordings as well. This box is presently the easiest and shelf-space saving way to get them all. So I recommend buying it used, at a more reasonable price.

Over-priced, under-powered, and incomplete.......2005-11-26

Sony Music USA must be dedicated to the notion that in a crisis -- and classical CD sales are in a crisis, as their numbers (and the available retail outlets in which to sell them) spiral downward -- one shouldn't just stand there, but DO something. In this instance, with The Original Jackets Collection: Bruno Walter/Famous Mahler and Bruckner Symphonies, they've tried to do something, sort of. But as is usually the case with Sony Music in America, they've done it half-assed. The whole "original jackets" concept seems to be an effort to emulate what several Japanese labels have done with considerable success, reselling long-established classic recordings by artists ranging from Erroll Garner to Elvis Presley in miniature LP sleeve packaging, usually with state-of-the-art digital sound (20 bit/K2 and 24-bit mastering are the twin standards in Japan); Sony-Japan has done it with considerable success on artists such as Miles Davis and Al Kooper. So the US "original jackets" series was co-opting a Japanese success, but not really -- the series is totally inconsistent when it comes to upgrading sound, which is a major part of the allure of the Japanese mini-LPs; the Szell Beethoven entry was upgraded from the previously existing CD issues in the US, for example, but the Bernstein entry uses the same masters that one can get on the existing US CDs; and the same goes for the Walter set. To top it off, Sony-Japan includes a mini-inner sleeve to protect its discs with each mini-LP, whereas Sony's US division apparently likes the idea of discs rolling out of the double-LP mini-jackets and otherwise getting scratched and damaged -- but they still charge a premium price per disc on these releases.
And the Walter box, in addition to simply re-packaging the same masters that have been available for a lot less money since 1996, isn't even complete when it comes to the conductor's Mahler recordings for the label -- where is his 1955 mono Mahler Symphony No. 1 with the New York Philharmonic? There are other mono and stereo recordings in here with the Philharmonic as well as the Columbia Symphony Orchestra, and a perfectly good master of the "missing" performance exists, as it was used in the Masterworks Heritage CD release (which also used the mini-LP concept, a little differently) about eight years ago. Additionally, at least one of the performances here, of the Bruckner 9th, has been upgraded in a separate release, using Sony's DSD technology -- why not at least include that, and why not upgrade the entire body of music, if they expect us to buy it anew? That's how it's done in Japan, whence this whole idea originated. In fact, since Sony is bent on trying to sell Super-Audio CD technology, why not bump these up to that technology as hybrid discs? The answer is that they did it on the cheap. It's a handsome looking box, to be sure, and some of the old cover art was worth reviving (and others, such as for the Mahler 5th, much less so), but it's not worth the $150 list price by a long shot, which was why this listener traded for a used copy.

Great Presentation for Great Performances.......2004-08-10

First off, avid collectors may already have many of these Bruno Walter recordings in their possession so take note of what you have and see if you want to duplicate your collection....I for one had no problem doing so because I felt that the early Sony transfers of many of these great performances were not up to par as the sound quality is greatly improved in these performances to make it a worthwhile investment for me....mind you, these recordings are mono and early stereo, so we are not talking about high fidelity here, but the older performances are not hampered by the sound quality... Bruno Walter, who knew Gustav Mahler personally, provides some of the finest accounts of Mahler's symphonies...Walter concentrated his conducting on the symphonies presented here, as he was not one to perform the 3rd, 6th, 7th and 8th, frequently, if at all...but what you are getting will demonstrate the clean lines, and sensible tempi that many later day conductors ignored...Das Lied Von Der Erde is an excellent account, and it is a treat to have Walter as an accompianist at the piano for a selction of Mahler' songs....Walter's granatic Bruckner is also included and it was a clever move by the producers of this set to include the Te Deum on the same disc as the Symphony #9... Bruckner was never able to complete the fourth movement of his 9th Symphony and so he had authorized the use of his Te Deum to serve as a final movement to the work...Now most people will agree that the 3 movement unfinished symphony is excellent in it's own right, and there was really no need to go beyond the fantastic and heavenly Adagio that closes the work, but having the Te Deum follow, allows you to experience what Bruckner consented to as an alternative...hey, you can always exclude the track if you so desire....the addition of the Te Deum to this collection shows that record producers do listen to criticism....when the first releases of the ORIGINAL JACKET series came out, they adhered to the concept to the letter, which resulted in most of the CD's being very short in playing time..this was roundly booed by some circles who felt that the editions were too expensive, for reissues, to begin with, and the short playing times made the matter worse...afterall, an LP can only hold about an hour of music, so the duplicate CD's were lacking at least 25-30 minutes of music...this reissue of Bruno Walter's Mahler and Bruckner recordings therefore provides a number of bonus tracks of Richard Wagner's music, including a 45 minute rehearsal of Bruno Walter performing the Siegfried Idyll (he speaks in English)....Of course the Original LP Jackets are great to see again and re-reading the liner notes (though not easy with the small print) was informative....one forgets how a single symphony could take 2 lps to house when we are so used to having everything on 1 cd... A note of caution!...the CD's stored in the 2 album sets are very loosely held within the cardboard case..if you are not careful, the cd's can roll out of the album case and find themselves landing in the kitty litter, boiling soup, or toilet, so keep this in mind when you handle the albums... So, should you buy this set?...If you have these performances in your collection then the obvious answer is no, unless you are like me, someone who likes to renew the packaging and sound quality of what I have, and sell off any dupes...If you are new to the Walter experience regarding Mahler, Bruckner, and Wagner, and you are not concerned about the price, then by all means you will not be disappointed by this set, as it will sit comfortably, as an alternate, next to the ultra passionate Bernstein's Mahler and other worldly experience of Giulini's Bruckner....if you are concerned about the price, you can avoid what some may call the "bells and whistles" of an overpriced set, and seek out these same performances separately for less money....Recommended as a specialty item but higly recommended none the less!

Average customer rating:

A very solid, enjoyable Bruckner Cycle
HAITINK'S EARLY BRUCKNER CYCLE
Literal, often gentle Bruckner without complications
Shipshape, predictable and reliable
unbelieveable recordings of the complete Bruckner Symphonies

Bruckner: The Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: The Symphonies
Anton Bruckner: The Symphonies
Brahms: Works for Solo Piano
Brahms: The Symphonies
Brahms: Chamber Music (Complete) (Box Set)

ASIN: B0009A41VU
Release Date: 2005-10-11

Customer Reviews:

A very solid, enjoyable Bruckner Cycle.......2007-07-21

This is one of my 3 complete Bruckner Cycles (Jochum 50s/60s Deutsche Gramophon on CDs & Barenboim Chicago Symphony 1973 to 1981 Deutsche Gramophon on LPs are the other two). I am happy with all three sets and the renditions by each conductor/orchestra are different enough to be distinguishable and stand out from each other.

Some of the comments here at Amazon, while giving this set 4 stars, knock Haitink in a left handed way. This has WAY more to do with that fact that Haitink's initials are not HVK and very little if anything to do with the music and the performances. This set will give the performances by HVK a run for their money. You can enjoy them while not committing idolatry at the HVK shrine as some are apt to do.

Some of the reasons for buying this box set are: convenience, cost savings, quality and consistency in performance, and uniformity in the engineer recording aspects. That means we may not get the all time great recordings of each symphony with the box set. We are instead hoping to get solid, above average recordings all bundled together in one Nifty Neat O box. Haitink and the Concertgebouw Orchestra are definitely Nifty!

I gave 4 stars because this box set offers solid performances of each symphony, the sound engineers did a quality job, and the orchestra is much better than above average. I really love the adagios from symphony's 7 & 8. Sure, there are better performances available individually of each of the symphonies. But your ears will not get triple eardrum cancer from listening.

The first time I heard these discs was after I cracked open the shrink wrap and plopped them into my CD player. I have no regrets after purchase and have not been disappointed with any of the discs.

HAITINK'S EARLY BRUCKNER CYCLE.......2006-06-27

This was my first Bruckner cycle (in its earlier black-box incarnation), and the date was October 11, 1996. Only while writing the check for it, did I remember that this day was the centennial of Bruckner's death. Say what you want, but it was a happy omen.

Back in college I had listened to some of these performances on LP, and wanted to get back to them. The first thing to emerge was how much better these CDs sound than those wretched, domestic 1960s Philips LPs. It was clear that until now, I hadn't really HEARD these performances...The Philips engineers (including the late Jaap von Ginneken) KNEW WHAT THEY WERE DOING. Thanks to their craftsmanship, we can relish the distinctive "tang" of the post-war Concertgebouw- that is, before the onset of the Post-Jet, Post-Karajan "International" Sound.

It goes without saying that only the mediocre are equally good at everything- or even all the works within a given cycle. Haitink does better with some of these symphonies than others. Still, a newcomer to Bruckner could hardly go wrong with any of these performances, except maybe the 8th (more on that later). They are all FRESH- even the least successful of them. This is because Bernard Haitink & Philips wisely chose not to plow through the whole cycle within a year or so: they took their time- 9 years, in fact (1963-72).

The "0" Symphony (June 1966) receives a truly sympathetic performance and recording. The Concertgebouw's woodwinds make a bittersweet feast of the more plaintive passages in the 2nd movement. And Haitink wisely plays the very opening "straight ahead," not trying to make the "nebulae" motifs as doom-laden or dramatic a Brucknerian "fingerprint" as they would become in the later symphonies. Still, everything comes off- in a work that often "goes for nothing." (Bruckner's VERY first Symphony, the F Minor "00," another work which often "goes for nothing," is not included in this box. Still, any true Brucknerian should have it, and the 1992 Inbal/Teldec does nicely.)

The 1st (May 1972), actually the last to be recorded, is rather aggressive (i.e., in a good way), brimming with daring and "intestinal fortitude." This is hardly the "unimaginative" performance of which Haitink has too often (i.e., wrongly) been accused. I can't think of a greater 1st- although Jochum's 1968 Berlin 1st perhaps "ties" with it.

The May 1969 2nd (Haas edition) may be the greatest performance in the box- and for my money the best 2nd ever recorded. In THE ESSENCE OF BRUCKNER, Robert Simpson points out the deleted 1872 passages which Haas restored to Bruckner's 1877 revision; he approves of all but one, in the second movment: the "repeat" of a solo-horn-and-woodwind passage, ending with a lone, climbing bassoon line. This performance is absolutely complete, but I think you'll find that it's not a moment too long. Haitink and the Concertgebouw bring out such a subtle, "tangy" sheen in the strings, project such a purity of spirit, that they all seem to be possessed by the ghost of Eduard Van Beinum (who never recorded a Bruckner 2nd). In spite of characteristic "fingerpints" in the "00," "0," and the 1st, it was only in the 2nd that Bruckner really began to evolve his own kind of structure. (You might say that this stretch of symphonic territory, initially staked out by Schubert in his "Unfinished" & "Great," had been abandoned until Bruckner reached this point.)

The October 1963 3rd (1878 edition) is actually the earliest recording in this box. (The 8th is from September 1969, not 1960, as an uncorrected typo would have it. ) Now, I confess a greater preference for the craggier, less "symmetrical" 1873 edition of the 3rd. (The 1982 Inbal/Teldec is superb, and so is the 2004 Nugano/Harmonia Mundi. Between them, the Nugano is a bit better played and recorded, but Inbal's grasp of pacing and structure is slightly more convincing: take your pick.) Still, if you must have the better-known 1878 edition, this performance is the one to have. It is far more fleet and unassuming than Haitink's rather lugubrious 1988 remake with the Vienna Philharmonic. This 1963 3rd was the first disc I took out of the box, and it pulled me in.

The 4th (May 1965) is one of the best in stereo- but I can't help comparing it with the live 1956 Van Beinum 4th (also with the Concertgebouw). Somehow, EVB struck an even more convincing balance between grandeur and humility...As did Jochum in his 1954 Bavarian Radio 4th (only available through amazon's German site). Still, as an introduction to the 4th, you could do a lot worse.

The 5th (December 1971) was also my introduction to THIS symphony. It struck me then (and it strikes me now) as just a bit too "serenely objective." This impression was confirmed when I finally tumbled onto EVB's live 1959 5th (his very last recording, by the way) and especially Jochum's 1964 5th - both with the Concertgebouw. And in spite of how Robert Simpson and several others have criticized Eugen Jochum's rubati, I find that Jochum gains greater access to the "molten core" of this symphony, and generates more excitement than anyone else, ever- at least in hi-fi . (I haven't yet heard the 1986 aircheck of Jochum's final Amsterdam 5th. But if you find the '64, grab it.)

With its many potentially awkward transition points and "gear shifts" (at least in the outer movements), the 6th may be the toughest of Bruckner's nuts to crack. Rarely will you find a great conductor and a great orchestra (in the same hall at the same time- that's the catch) who UNDERSTAND this work. What we usually get is a 6th, played and conducted in light of the 4th, 5th, 7th or 8th and "Here's this odd thing of Bruckner's and let's a GO at it shall we." The Haitink 6th (December 1970) was, at first, my favorite. (At this risk of a well-aimed bolt of lightning, I find Klemperer's fabled 1964 6th a tad overrated; yes, it's excellent, but the Philharmonia, for all their collective genius, was NOT a Bruckner orchestra- compared to the Concertgebouw, the Berlin, the Bavarian Radio, or even Inbal's North German Radio. It just wasn't.) Now, Haitink and the Concertgebouw inscribe an almost supernatural performance-even if the Finale is a little brisk. Still, it "works," and then some. But if you can find it, the 1969 Steinberg/Boston account grasps the 6th's "DNA" better than any other...What had seemed "quirky" and inconsequential becomes not only logical, but enchanting: an alpine village progression from late summer to Christmas Festival, if you like.

The 7th (November 1966) is up against formidable competition. In terms of hi-fi alone, this includes Van Beinum's 1947 and 1953 Deccas (and yes, they are both "hi-fi"), and several by Jochum. My personal favorites: the 1947 EVB (in Dutton's transfer, which captures and enhances the original sound AND eliminates the infamous early Decca "ground hum" far better than the Tahra edition), and the surprisingly hi-fi 1952 Berlin Jochum (on Tahra, if you can find it)- one of those life-enhancing rarities which should be snagged-at-first-sight. Jochum's recently re-issued 1939 Vienna 7th (on Hanssler) has perhaps his most "trauerisch" second movement, but the Viennese turn in one of their sloppier performances; and the vague, rather undifferentiated articulation detracts from the momentum of the scherzo and the finale. Haitink's 1966 7th is indeed a convincing, beautifully rounded account, and you couldn't go wrong with it. Still, one can do better.

The 8th (September 1969, not 1960) is the weak link in this "chain." Compared with Haitink's own later version of 1981, and next to Jochum's 1949 Hamburg or Karajan's early stereo 1957 (to name a few), it simply doesn't deliver the INNER drama and spirituality that a Bruckner 8th must-have-or-what's-the-point. It's played well enough, but I suspect that, in 1969, Haitink didn't yet have the measure of this work. (In time, he did- let it be said !) The 8th was my "first" Bruckner symphony (Karajan '57); I would not recommend this 1969 8th as anyone's "first." You might not be "put off," but unless you already knew the 8th, you would miss the CORE.

The 9th (December 1965) is fantastic, and nearly ties with the 1956 Van Beinum 9th . Haitink takes the scherzo just a mite slower than Jochum and others (Furtwangler flogged it like an old-horse-ready-to-drop)- but this allows the unsettling harmonies to sink in, all the more exquisitely. The first movement and finale are riveting. This is a good introduction to the 9th. But Jochum's 1954 Bavarian Radio, EVB's 1956, Karajan's 1966 Berlin and Wildner's 1998 (with "realized" 4th movement- see my review) all convey a greater ontological intensity.

So there you have it. You WILL need another 8th, but there are several hi-fi choices for that: Van Beinum's 1955; Haitink's 1981; any of Jochum's; Karajan's 1957 or 1989. Still, this box grants us nearly perfect performances of "0," 1, 2 and 3 (1878 edition); and can't miss, can't-go-wrong versions of 4, 5, 6, 7 and 9.

Literal, often gentle Bruckner without complications.......2006-05-30

The young Haitink had a consistent way with all the Bruckner symphonies in this cycle recorded between 1963 and 1972. In a review listed below, Mr. VanDeSande describes the approach better than any professional critic I've read, the key words being literal, honest, reliable, unimaginative, unaffected, and natural. (Strangely, The Gramophone's longtime Bruckner specialist, Richard Osborne, mischaracterizes these readings as intense--that they are not.) Haitink steps aside and allows the score to unfold, usually at one steady tempo, without intrusions.

Unfortunatley, intrusions are what conducting is about in great music, finding a unique response, asserting your deepest reaction to genius. As if often said, the art of conducting lies between the notes as written. Haitink does a lot of interpreting, but not with Bruckner. What stands out is the lovely balance of the Concertgebiuw tone and the simple beauty of Bruckner's writing, which is often much gentler than anticipated (listen to the non-tense opening of the outer movements of Sym. #3, or the deliberately plain Adagio of Sym #8).

Because of Haitink's modesty, he succeeds best in the modest early works, Sym. 0 (Die Nulte), #1, #2, and #3. By consensus his Sym. #5, always a difficult work to hold together, is a high point. But a conductor can't triumph in Burckner without great, ear-catching readings of Sym. #4-#9, and although Haitink is never less than agreeable (except for his wrong-headed breathless tempos in the outer movements of Sym. #8), I don't hear greatness--I wanted to be deeply moved and wasn't. When it comes to building cathedrals, you shouldn't send a chapel Methodist to do the job, and that's what Haitink is.

Shipshape, predictable and reliable.......2006-05-15

This box of Bruckner symphonies, recorded from 1960-72 in Holland, was rereleased in 2005 with many outlets offering it at vastly reduced cost from the $72 list price. These were recorded during Haitink's halcyon days as director of the Concertgebouw Orchestra, when, in my opinion, he did his best and most reliable work in the recording studio. These performances include Bruckner's "Nulte" symphony, the so-called Symphony No. 0, and the traditional nine symphonies in varying arrangements. Haitink plays the original versions of Symphonies 0-4 and the first version of the titanic Symphony No. 8.

What I like about these performances is Haitink's unaffected way with the music and how it allows you to hear Bruckner's progression as a symphonist when you listen to them in their numeric order. As he showed in his set of Shostakovich symphonies recorded a decade after these, Haitink can be a reliable guide through any composer's music. He shows himself a very reliable guide here. What he also shows himself to be in this set is somewhat unimaginative and hidebound by his literalism.

For this reason, these performances, good as they are, will probably never be any Bruckner fans' No. 1 rated performance in any of the symphonies. Conductors that made names for themselves in this music usually did so because of the unique way they communicated the music -- Furtwangler was very idiosyncratic, unique and exciting; Karajan was highly charged and Germanic; Wand was very spiritual; Jochum dabbled with tempo and mysticism; Tintner used new performing scores; Solti was too virtuosic and forced the music to become something it wasn't.

How does Hatink fits into this universe of expert Bruckner interpreters? I don't think he does. I think he plays the music straight all the time. For that reason it always sounds honest and forthright and the wonderful ADD recordings allow you to hear every mellifluous sound from the august Concertgebouw. But there is a decided lack of individuality in these recordings. This was a trademark of Haitink's recordings with this orchestra during this period, when he made his name worldwide.

The 1960s were indeed a time for orchetral literalists to shine. Coming off the era of orchestral dabblers like Stokowski and Furtwangler, world opinion in the 1960s was divided into two camps of classical music performance -- literalism, headed by the likes of Reiner, Szell, Karajan and Haitink; and humanism, whose principal spokesperson was Bruno Walter who died in early 1962 and left behind a spate of wonderful-sounding records that have since been converted to CD in the digital era.

While there was still a lot of nostalgia for old times, it was clear literalism was leading the world stage in the 1960s and setting the standard for performance of classical music -- very much like period performance practice has swept into style today.

This is the ethos Haitink represents and that representation is never more evenly displayed than in this set of Bruckner symphonies. While they are uniformly well-played, sound uniformly wonderful, and are uniformly well-directed by the conductor, you can also say they are uniformly risk free and uniformly without the stamp of personality. Is that a bad thing? No, it simply puts this set at a disadvantage against the bigger names whose Bruckner sets are still in print.

I think of this set as being the ultimate backup to my favorite Bruckner recordings (see my Listmania list). In a baseball metaphor, I think of the Haitink recordings as the perfect backup to my starters, the perfect relief pitcher when my starter tires, and the perfect pinch hitter when I tire of hearing my favorite versions. I know Haitink will come in during this backup situation and deliver the goods for me. But I also know that, even given the wonderful truthful recocrdings and uniform approach, he'll never be good enough to be the starter, either.

One note: in my box, the disk labeled Symphony 4 actually contained someone's rap music. I know this wasn't Bruckner since he died almost a century before the invention of rap!

unbelieveable recordings of the complete Bruckner Symphonies.......2006-04-10

Upon buying this set, I was struck by the recording engineering of this cycle. I thought I was listening to digital recordings, and was FLOORED when i discovered that these symphonies were recorded from 1960-1972. The sound is so crystal clear and so evenly recorded across all sections of the orcherstra that I contend over and over it was as if you was listening to a modern Chailly, Harnoncourt, or Barenboim recording. Just on sound alone - i would put this above and beyond Jochums EMI cycle with the Dresden Staatskapelle.

The second item that struck me with this set was Haitink himself. I had no idea or dreamt that he could tackle a complete cycle of symphonies and produce holistically, a quality product. So many "boxed sets" or "cycles" are marred by good ones and bad ones. But these recordings are even over the 12 year span they were done. This is a true testament to a maestro and beautiful and disciplined Royal Concertgebouw Orchestra.

The third thing I think about is in interpretation. Tempos that vary as the music builds - you'll never hear a more uptempo closing to the 8th in your life. I was shocked by an almost attempt by Haitink interpretively to throw back to the days of older conductors - styles of Furtwangler, Van Beinum, Knapperstbusch, ect. It sounded like he was paying homage to conductors of old but with updated sound.

Lastly - the orchestral playing is very detailed, disciplined. Strings playing sweet, woodwinds sounding light, brass very strong (though a few wrong notes and muddy in recordings 7-9 in big climaxes - but nothing too severe), and the ability to actually hear timpani in every symphony - something quite important to move the music along during up tempo passages or to accent the power of the brass sections - often not brought out in older recordings.

Something interesting that I would implore everyone to take note of... I now have 2 recordings of the 9th with Haitink - this early 1960 which is in the set and a 1981 digital recording with the same orchestra. Of the 14 other recordings I have of the 9th by Barenboim, Bernstien (1969 and 1990), Celibidache, Chailly, Giulini, Jochum, Karajan (1966 and 1975), Lopez-Cobos, Skrowaczewski, Tinter, Walter, and Wand - only the 2 Haitink recordings do not have the timpani player playing a role at the climax/finale of the 9th Symphony 1st movement, while instead playing a syncopated quarter/eight note rhythem (assuming thats the notation since I dont have access to a score). I find this fascinating and wondered why this was.

At any rate - happy listening!!!! This is a wonderful set - highly recommended above Jochum and dare I say an import Karajan which I have.

Bruckner: The Nine Symphonies; Helgoland

Average customer rating:

Bruckner: The Nine Symphonies; Helgoland

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mozart: The Piano Concertos [includes Bonus DVD]
Melartin: The Six SYMPHONIES
Bruckner: Symphonies 1-9
Anton Bruckner: The Symphonies
Sibelius: The Symphonies / Blomstedt

ASIN: B00076YOQ8
Release Date: 2006-01-10

Tracks:

I. Allegro - Ernst-Senff-Chor
II. Adagio - Ernst-Senff-Chor
III. Scherzo: Schnell - Trio: Langsamer - Ernst-Senff-Chor
IV. Finale: Bewegt, Feurig - Ernst-Senff-Chor
Helgoland - Ernst-Senff-Chor

Tracks:

I. Moderato
II. Andante. Feierlich, Etwas Bewegt
III. Scherzo: Massig Schnell
IV. Finale: Mehr Schnell

Tracks:

I. Gemassigt, Mehr Bewegt, Misterioso
II. Adagio, Bewegt, Quasi Andante
III. Scherzo: Ziemlich Schnell
IV. Finale: Allegro

Tracks:

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

Tracks:

I. Adagio - Allegro
II. Adagio: Sehr Langsam
III. Scherzo: Molto Vivace (Schnell)
IV. Finale: Adagio - Allegro Moderato

Tracks:

I. Majestoso
II. Adagio: Sehr Feierlich
III. Scherzo: Nicht Schnell - Trio: Langsam
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Adagio: Sehr Feierlich Und Sehr Langsam
III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Scherzo: Allegro Moderato - Trio: Langsam
III. Adagio: Feierlich Langsam; Doch Nicht Schleppend
IV. Finale: Feierlich, Nicht Schnell

Tracks:

I. Feierlich, Misterioso
II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
III. Adagio: Langsam, Feierlich

Average customer rating:

Orchestral Excerpts for Trombone

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

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music