Anton Bruckner: Symphony No 7 in E major

1. Symphony No. 7 in E major (Lyric), WAB 107
Composed by Anton Bruckner
Performed by Vienna Philharmonic Orchestra Conducted by George Szell

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:

Karajan bows out
Karajan's finest Bruckner!
Very difficult to surpass
A "farrewell" recording but not conducted that way
A Double Requiem

Bruckner: Symphony No. 7

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GKC
Release Date: 1996-07-23

Tracks:

Symphony No. 7 In E Major: Allegro moderato
Symphony No. 7 In E Major: Adagio. Sehr feierlich und sehr langsam
Symphony No. 7 In E Major: Scherzo. Sehr schnell
Symphony No. 7 In E Major: Finale. Bewegt, doch nicht schnell

Customer Reviews:

Karajan bows out .......2006-08-13

"His last recording" it says on the front of this issue. Karajan must have known that this would be the last time he would set down a Bruckner 7 and that the coda of his life's journey was upon him. So you might expect the performance to be a valedictory one, measured, pensive - final curtain stuff. But no, what he presents is the kind of youthful view which a much younger would man have; if I was told that the conductor was, say, Franz Welser-Most I could believe it. It's a reading which looks as much to the Schubert era as it does to the Late Romantic and it's a refreshing experience. The approach is similar in another of my favourite versions: Georg Tintner on Naxos (Tintner's is the later recording). In the end though on balance I prefer Karajan's earlier version on EMI (1972) because of the bigger, more panoramic view, and perhaps more in keeping with Bruckner's intentions for how this symphony should sound. If you are a serious Bruckner fan you shouldn't be without either of these Karajan versions: both exellent performances - interesting as two very different visions seen by the same man on two different occasions.

Karajan's finest Bruckner!.......2006-06-07

The end of Herbert K's life brought a strange amount of discord. His health was very bad after falling off of a podium which broke his hip and there was an estrangement which set in between the Berlin Phil which sadly darkened the last years after all he did for this orchestra. That being said, the relationship which spawned again with the Vienna Philharmonic was a source of great music making...so that being said one can imagine how fine things were in Vienna in the late 80s with such conductors as Karajan, Giulini, and Abaddo making so many fine recordings in the Sofiensaal...to cap it off Bernstein was doing great Mahler in Vienna at that time as well!!

so...here we come to the last recording of Karajan's career. It is truly an awesome piece of music making with the Adagio as the high point...all of the wonder of this fine music is here plus the opulent phrasing which only the Vienna Phil can bestow on this music....as for price this recording at any price is worth having. Not since the like of Klemperer, Jochum and Knappersbusuch has such great Bruckner playing been heard...although I like Barenboim for different reasons his Bruckner is defintely not anywhere in this league...

so for true collectors of fine performances and Conducting this Karajan is a real must!

Very difficult to surpass.......2006-05-26

Besides this recording, I also own Chailly, Celibidache (Munich), Jochum (Dresden) and Solti (CSO, nla). The spirituality is much more intense than all the others. The acoustics of the Grosser Saal of Musikverein is superb (i.e. just resonant enough, not too reverberating). The response from Wiener Philharmoniker is precise (you can hear pp,p,mf,f,ff), their playing natural and idiomatic. The whole recording has been remastered with the so-called 'Original Bit Processing' and is very satisfying. In short, it brings out the greatness of Bruckner's arguably best composition to its fullest extent. Anyone who can afford this should acquire this.

A "farrewell" recording but not conducted that way.......2005-11-01

Reviewers here treat this Bruckner Seventh, which was released posthumously after Karajan's death in 1989, as if it foreshadows his passing. But this isn't a slow or reflectivly melancholic reading--in fact, the first movement is quicker (if only marginally) than any of Karajan's two previous recordings for EMI and DG, both with the Berlin Phil. By comparison the Vienna Phil. sounds sweeter, never bombastic, incapable of a brash phrase. The recordidng sounds so alive and present one could swear this was a live performance, but apparently it wasn't. In any case, the orchestra is more animated and fresh-sounding than on Karajan's previous readings.

Karajan always favored whispering pianissimos and thunderous, though controlled, fortissimos. Here the contrasts are much reduced; the music tends to stay in an average range until a climactic swell is called for. This evenness of tone gives the music a flowing quality, which is enhanced by Karajan's refusal to use start-and-stop phrasing so common with other conductors of Bruckner. The shaping is lyrical throughout; the slow movement is especially free and spontaneous, not at all funereal even if the composer was aware of Wagner's recent death. This memorial to his greatest hero is sublime rather than grieving.

With so many special qualities, it's hard not to declare that this is Karajan's greatest Bruckner Seventh recording. In terms of freshness and a singing line, only the live Giulini performance from London (on the BBC label) comes close to it in my experience. Highly, highly recommended.

A Double Requiem.......2005-02-26

On the subject of Bruckner's 7th Symphony, composed after Bruckner perceived the impending death of his hero Richard Wagner and indeed appropriating the very Wagner tubas into the score in the Adagio which was apparently directly inspired by Bruckner's encounter with Wagner, it would be a disservice to the recorded versions of this work not to include this CD which proved to be Herbert von Karajan's valedictory recording.

Though the actual performance with the Vienna Philharmonic is not fully uplifting or illuminating, it does suggest the obeisance many of the great conductors of the romantic repertoire had for Bruckner. There is a communication with the spirit of Bruckner that haunts this recording, and to make the complete circle of dealing with Brucker's mighty 7th, this recording deserves a careful hearing. Grady Harp, February 2005

Average customer rating:

Exceptionally Beautiful
Not as great of an interpretation and recording as some critics have said

Bruckner: Symphony No. 7

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009NDKV4
Release Date: 2005-08-16

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

Customer Reviews:

Exceptionally Beautiful.......2006-08-11

I am very thankful that Karajan got a chance to record with EMI during the seventies, continuing their relationship which dates back to the 1940's. During the seventies, EMI generally gave Karajan much better sound than his main recording company Deutsche Grammophon. EMI gave Karajan that gorgeous, lush, wide-ranging aura that I find utterly intoxicating and which can be proven just by listening to this oustanding Bruckner record.

There is no doubt that Karajan is in a class by himself in this symphony with few competitors. Obviously Furtwangler comes to mind, can Karajan compete with that master in terms of raw emotion and spiritual power? I'm here to tell you that Karajan succeeds marvelously. Karajan's Bruckner 7th is not superficial and not merely concerned with surface beauty and gloss like in later performances. No, everything sounds gorgeous but is also deeply moving. The famous adagio is magnificient, a true testament to Karajan's art and of course Bruckner's.

Although the earlier reviewer praises Karajan's digital Bruckner 7th with the Vienna Philharmonic, I must strongly disagree. Not only was the Berlin Philharmonic of the seventies a better orchestra than the Vienna Philharmonic of the eighties but EMI gives them outstanding sound quality while the DG record has some of the typical digital glare that DG was famous for in the 80's. The DG recording is also more expensive.

This EMI recording sounds perfect and is played to perfection, don't miss out on this opportunity to own possibly the finest version of this symphony. If you have the earlier Karajan Edition version, guess what, this is the exact same recording and the exact same remastering, there is nothing new, trust me. But since it always sounded great, there is nothing to complain about except EMI's nagging hobby of repackaging the exact same product.

Not as great of an interpretation and recording as some critics have said.......2006-07-10

I just bought this new issue or incarnation of Karajan's Bruckner Seventh (I got rid of the previous issue of this about a year ago) and I thought because it had gone through a further remastering that the sound quality would be markedly improved but it sounds just about exactly the same as before. It seems like the first, third, and fourth movements sounded very good sonically, but my favorite movement, the adagio of the second, the bass seemed heavy and the strings either didn't sound loud enough or seemed recessed in the sound balance. It is extremely important to have a great sounding adagio that is also played and interpreted well. Karajan's last version of this with the Vienna Philharmonic is so much better in the adagio than this particular reading that it's not even funny. The magazine Grammaphone said that this was arguably the best Bruckner Seventh ever, which is such an absurd statement when anyone who has a good ear for classical music can tell that it isn't anywhere near close to being the best. Go for Karajan's very last recording before he died of this great symphony with the sweet sounding Vienna Philharmonic. But still, with the fairly superb first, third, and fourth movements this still could be a decent Bruckner Seventh to own. I guess it all depends on your taste in classical music.

The Essential Hyperion (Label Highlight Compilation)

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

The Essential Hyperion (Label Highlight Compilation)
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Concerto For Two Trumpets, 1687: Allegro
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Who Can From Joy Refrain?: A Prince Of Glorious Race
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Come You, Mary, Op. 21, No. 2
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Customer Reviews:

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

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

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

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

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

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

Bruckner: Symphony No. 7 (Arranged for Chamber Ensemble)

Average customer rating:

Brisk, Clear And Brilliant
A FANTASTIC FIND FOR ALL BRUCKNERIANS!!!

Bruckner: Symphony No. 7 (Arranged for Chamber Ensemble)

Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007OP680
Release Date: 2005-05-24

Tracks:

Allegro Moderato
Adagio. Sehr Feierlich Und Sehr Langsam
Scherzo. Sehr Schnell
Finale. Bewegt, Doch Nicht Schnell

Customer Reviews:

Brisk, Clear And Brilliant.......2006-08-08

I bought this chamber version of Bruckner's 7th out of curiosity, but I'm keeping it out of satisfaction. This arrangement for 10 musicians is something of a miracle of clarity, and power. The 59 minute performance is passionate and nuanced, and more satisfying than any full orchestral version I have heard! The recording is first rate, too.

A FANTASTIC FIND FOR ALL BRUCKNERIANS!!!.......2005-08-07

If you love Bruckner--(as I do)--you'll be thrilled with this new disc. It's on the MD&G gourmet label--(which, queerly enough, Amazon lists as "MP&G" [!]). It's a 1920s arrangement of the 7th for chamber ensemble (with harmonium!). It's fantastic. This is just the type of arrangement which was done for Schoenberg's post-WWI Society for the Private Presentation of Music wherein avant-garde pieces for large orchestra were reduced for chamber performance. See also Bruckner's 3rd for piano duet arranged by Mahler (also on MD&G--"MP&G").

Average customer rating:

Early Music Bruckner
Bruckner Lite-OK Live Recording
Surprise, Surprise: A historically correct Winner!

Anton Bruckner: Symphonie No. 7

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Bruckner: Symphony No. 4

ASIN: B0002I745O
Release Date: 2004-11-09

Tracks:

Allegro Moderato
Adagio. Ser Feierlich Und Sehr Langsam
Scherzo. Sehr Schnell
Finale. Bewegt Doch Nicht Schnell

Customer Reviews:

Early Music Bruckner.......2006-08-24

Herreweghe is well-known for his recordings of early music and his advocacy of historical instruments and performance practices. Here, he brings that approach to Bruckner with decidedly mixed results. Ultimately, though, I think the problems lie with Herreweghe himself and not his "reduced" orchestra.

After a short adjustment period, I really took to Herreweghe's idea of an orchestra with a reduced string section playing on gut strings. Without the overwhelming string textures of most modern orchestras one can really hear the wind instruments. Not only does this mean one can hear all their interesting contrapuntal lines, but one can also hear when Bruckner adds them to the string textures to change the color a little.

Herreweghe's use of historic instruments (and modern replicas) really pays benefits with the brass which are far more nimble than most modern orchestras. One loses some oomph, of course, but in Bruckner's many loud dotted passages for the brass one actually hears music as opposed to the galumphing that modern, overly resonant instruments produce.

The real problem with this recording is Herreweghe's inflexibility with tempo and complete unwillingness to indulge in even the slightest rubato.

The tempos are generally quicker than one usually hears in this music, but that isn't by itself a flaw. One of my favorite recordings of this piece is William Steinberg's old recording with the Pittsburgh Symphony that clocks in at nearly the same 60 minutes Herreweghe takes.

The difference is that Steinberg knows when to push ahead and when to relax and indulge a phrase. Herreweghe pretty much bulls ahead without any patience for what a little phrasing might do. This may be the style of modern early instrument performances, but Bruckner wrote romantic music no matter how austere his musical ethos was. Herreweghe's style might work better with Bruckner's 5th symphony, but the 7th calls for some appreciation of the beauty of the music.

Overall, I suspect Herreweghe's way with Bruckner might improve as he spends more time with the composer. As a result, I look forward to listening to other Bruckner from him. With this recording, though, proceed with caution.

Bruckner Lite-OK Live Recording.......2005-03-19

This is the first Bruckner I've heard on period instruments, but the result is more cuious than convincing. The outer movements lack urgnecy or mystery in Herreweghe's hands, and instead come off rather bouncy, a word which I would not have thought could be applied to Bruckner. The Adagia is solemn but lacking in passion. The Scherzo is pretty good. The recording job is OK. It's a stealth 'live' job, since nowhere on the box or notes does it acutally say so, but on headphone the audiance presence is clear.

Surprise, Surprise: A historically correct Winner!.......2004-11-22

Oh Boy! "Historically Informed Bruckner" - just what we needed, right? Seriously: after Roger Norrington suggesting to play Mahler without vibrato (historically correct as that may be), this seemed to be just about the next-dumbest idea. But unlike the recent and highly unnecessary Bruckner recordings of Messrs. Eschenbach and Nagano, this is actually rather a delight. Smaller forces, original instruments (gut strings and all) make for a very clean, crisp sound. Clocking in at exactly an hour, this 7th - sans cymbal crash in the Adagio - has a sheen that puts it above many conventional rivals that pander too much to the clichés of Bruckner-performance. Among modern versions it stands up to Rattle and Harnoncourt - and while I reserve a special place in my heart for G. Wand's and E. Jochum's recordings, this live performance is good enough even to make a first choice.

Average customer rating:

FABULOUS SELECTION OF CLASSICAL MUSIC

Classics for Relaxation and Meditation

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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

ASIN: B000000LOH
Release Date: 1995-04-16

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 7 / Te Deum

Average customer rating:

Relatively weak Celi Bruckner
Disappointment in extremis
The best 7th by far
Spiritual, ethereal

CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 7 / Te Deum

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music
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CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symphony No. 4
Verdi: Requiem
CELIBIDACHE / Münchner Philharmoniker - Bruckner: Mass No. 3 in F minor
CELIBIDACHE / Münchner Philharmoniker - Bruckner: Symhony No. 8
CELIBIDACHE / Münchner Philharmoniker - Brahms: Symphonies Nos. 2, 3 & 4

ASIN: B00000IG35
Release Date: 2005-07-12

Tracks:

Symphony No. 7 In E Major: III. Scherzo. Sehr schnell - Trio
Symphony No. 7 In E Major: IV. Finale. Bewegt, doch nicht schnell
Symphony No. 7 In E Major: Applause
Te Deum: Te Deum. Allegro Moderato
Te Deum: Te Ergo. Moderato
Te Deum: Aeterna fac. Allegro moderato. Feierlich, mit Kraft
Te Deum: Salvum fac. Moderato - Allegro moderato
Te Deum: In te, Domine, speravi. Mabig bewegt - Allegro moderato - alla breve

Tracks:

Symphony No. 7 In E Major: Applause
Symphony No. 7 In E Major: I. Allegro Moderato
Symphony No. 7 In E Major: II. Adagio. Sehr feierlich und sehr langsam

Customer Reviews:

Relatively weak Celi Bruckner.......2007-02-22

Unlike Celi's Bruckner 4, which is stupendous and unforgettable (perhaps the most shattering 'modern' version), the 7th fares less well, and this is a surprise and a puzzle. My suspicion is that Celi was less interested in this, the most popular, and least problematic of the Bruckner symphonies. Hence, this recording, while very interesting as a document of Celi/Munich, is probably less inspiring than his earlier DG version.

Doubtless fascinating to any in-depth student of Celi/Bruckner, this likely will not stand at the level of his Munich 4th or 9th. That said, it is never less than worthy of a close hearing for true Brucknerians and Celibidachians.

Disappointment in extremis.......2005-05-27

Having been impressed with Celibidache's Bruckner Mass No 3 and 9th Symphony with the Stuttgard Orchestra, and with my devotion to Christian monastic theology and spiritual practice, I was looking forward to a spiritual reading of the 7th symphony. Disappointment does not cover my reaction to this cruel, mindless and brutal dissection of a masterpiece. One only has to listen to the first complex section of the first movement as he deconstructs any flow from the music and reduces one's sense of unfolding, harmonious grandeur to an arrogant but clumsy surgeon suddenly, mid-operation, looking at what he has in his hands and not having a clue how it fit together. Any sense of mystical cataphatic-apophatic rhythmic dynamic complexity breaking through to the transcendent infinite unity is non-existent as this ham-fisted and graceless approach pulls apart one's experience of the sublime. One may learn about tendons by dissecting frogs, but little about its spiritual place in life, and therefore the spiritual life of the world. If one wishes for a tedious, mundane if somewhat gross dissection of beauty and grace, I suppose this is the recording to go for.

I have thrown away very few classical recordings, and when I have a bad reaction usually think it my own fault, and try to listen again over a course of years. After years of trying with this and Menuhin's Brandenburg Concertos, I took great pleasure in smashing them to pieces with a ball-peen hammer.

From memory I quite enjoyed the Te Deum, but detested the 7th so much it never stood a chance.

The best 7th by far.......2001-04-25

I have 26 recordings of Bruckner's 7th symphony including a hard to find Furtwangler war time live radio broadcast. But none of those recordings come even close to the the EMI Celibidache recording of the work. Never have I heard an orchestra "believe" in what they were doing more than in this recording. The Munich Philharmonic play like they are being directed by a magician. Words just can not explain the wonder and amazement I allways go through when I play this very special disk. Buy it and ask yourself, how did we ever manage to live with the cardboard 1 dimentional outings of the likes of Karajan?

Spiritual, ethereal.......2000-09-19

Sometimes Celi is just too excessive or eccentric in some way, but for this music he has just what is takes. This is for listeners who want a "religious" experience while listening to their Sevenths. Celi and Bruckner seem to be in psychic communication throughout this work. Or to put it another way, this isn't a concert but a communion. The delicate shadings of the strings, the hushed voicings and *gradual, gradual* diminuendoes. Textures are thick and lush (yet clear!) and tempi are just right. The third movement scherzo may be a bit slow to some, but by slowing down he gets tremendous contrapuntal detail many readings don't have. The last movement climax is thrilling...you'll want to join in the applause at the end--after you recover from the ecstacy of it all.