Bruckner: Symphony no. 3 in D minor BaL 31/12/16

[Beef Oven!]

Yes, I took advantage of the 20% discount to get the rest of the Sinopoli/Bruckner series I didn't have (4, 7 & 9). Presumably a complete cycle was planned but a pity it never came about. Haitink also has the coda to the Scherzo and as that was my first recording of the B3 I always feel cheated when it doesn't appear elsewhere. Happily, Sinopoli includes it too. An outstanding disc that deserves to be heard.

A Sinopoli Bruckner full cycle would have been a happy addition to his wonderful Mahler traversal.

[Bryn]

A Sinopoli Bruckner full cycle would have been a happy addition to his wonderful Mahler traversal.

It would help if searching for "Bruckner Sinopoli" on QOBUZ rendered more than just 3, 4, 5 and 7. To find 8 and 9 you have to search for "Bruckner Dresden".

[Beef Oven!]

It would help if searching for "Bruckner Sinopoli" on QOBUZ rendered more than just 3, 4, 5 and 7. To find 8 and 9 you have to search for "Bruckner Dresden".

It seems to me that search engines do not facilitate the classical music fan, whether it be Amazon, Qobuz et al (although I’ve experienced less problems with Presto).

[LeMartinPecheur]

Well, in for a penny, in for a Euro. I've just bought the Blomstedt through amazon.de for about £18

Wouldn't previously have picked Tom S to sell me anything, but IMHO the boy dun good on a nigh-impossible task

Update for anyone still chasing the top recommendation on silver disc. My order placed via amazon.de (with a ~'Marktplatz' seller presumably) seemed to be going through nicely, but amazon.de told me some hours later that it had been 'cancelled' by the vendor

I then placed an order on amazon.uk at c.£16 + p&p, putting less than total faith in their statement that more stock was anticipated. But they told me yesterday that my order will arrive chez LMP between 18 Jan and 9 Feb

Will let you know if my joy is confounded...

[jayne lee wilson]

It would help if searching for "Bruckner Sinopoli" on QOBUZ rendered more than just 3, 4, 5 and 7. To find 8 and 9 you have to search for "Bruckner Dresden".

Surprising that many are still unaware of the doublebarrel search term isn't it? With labels too as I linked to the other day, e.g. "Enescu CPO" "Bruckner Oehms" etc. Amazon has always been good with this, Qobuz are now, though not in the early days. When they sent out a user-satisfaction survey I emphasised the weakness of their search engine and Hey Qobuz! The doubleterm search was there...

[Daniel]

With my sketchy knowledge about Bruckner 3, I don't really belong on this interesting and erudite thread, but I think I've read most of it and can't recall the Gielen SWR recording having been mentioned. It's a performance that certainly seems to move along (I remember the opening string motif sounding like a brook rushing down a mountainside) and one I find very enjoyable. Gielen's a conductor who digs out interesting detail I think, there are moments of dissonance, a passage of consecutive 7ths (iirc?) and a really inebriated sounding brass passage, that stick in my mind, the sort of detail that makes the music so surprising and exhilarating at times.

Funny how the sudden stops and starts, and stark changes in B's symphonies, can recall Sibelius in a way, speaking perhaps of a deep uncertainty in both, both often evoking images of nature, but how different!

[Alison]

All we need now is for Andrew Litton to record the symphony and we could easily double the number of postings.

[Beef Oven!]

With my sketchy knowledge about Bruckner 3, I don't really belong on this interesting and erudite thread, but I think I've read most of it and can't recall the Gielen SWR recording having been mentioned. It's a performance that certainly seems to move along (I remember the opening string motif sounding like a brook rushing down a mountainside) and one I find very enjoyable. Gielen's a conductor who digs out interesting detail I think, there are moments of dissonance, a passage of consecutive 7ths (iirc?) and a really inebriated sounding brass passage, that stick in my mind, the sort of detail that makes the music so surprising and exhilarating at times.

Funny how the sudden stops and starts, and stark changes in B's symphonies, can recall Sibelius in a way, speaking perhaps of a deep uncertainty in both, both often evoking images of nature, but how different!

I’ve often contemplated the Bruckner/Sibelius comparison in the way that you describe.

[ferneyhoughgeliebte]

All we need now is for Andrew Litton to record the symphony and we could easily double the number of postings.

[jayne lee wilson]

With my sketchy knowledge about Bruckner 3, I don't really belong on this interesting and erudite thread, but I think I've read most of it and can't recall the Gielen SWR recording having been mentioned. It's a performance that certainly seems to move along (I remember the opening string motif sounding like a brook rushing down a mountainside) and one I find very enjoyable. Gielen's a conductor who digs out interesting detail I think, there are moments of dissonance, a passage of consecutive 7ths (iirc?) and a really inebriated sounding brass passage, that stick in my mind, the sort of detail that makes the music so surprising and exhilarating at times.

Funny how the sudden stops and starts, and stark changes in B's symphonies, can recall Sibelius in a way, speaking perhaps of a deep uncertainty in both, both often evoking images of nature, but how different!

Oh yes - I recall rushing to order the Gielen after this classic review from Osborne the doyen, which contains several notable comparisons itself (with Haitink, Barenboim etc) all with that effortless, articulate authority.

http://www.gramophone.co.uk/review/bruckner-symphony-no-3-wagner-lohengrin-preludes-to-acts-i-iii

It didn't disappoint! But a landmark recording for me in another way as I realised I'd had enough of the revisions and decided to listen only to 1873 for.... well, as long as it took. But then the 1954 VPO/ Knappertsbusch of 1890 appeared on Testament (2004 - a label I was devoted to then, as to Kna's Bruckner) and I had to briefly break my vows... but it still stands out.

I stuck with 1873 after that - and it worked. It was only with the 1890/Venzago release (2013 c/w 6) that I went back, yet I only really appreciated what he was doing when I revisited it last week - some revelation.

[P. G. Tipps]

Funny how the sudden stops and starts, and stark changes in B's symphonies, can recall Sibelius in a way, speaking perhaps of a deep uncertainty in both, both often evoking images of nature, but how different!

Isn't it maybe more a case of Jean recalling Anton ... ?

On one infamous occasion when Sibelius was a young man studying in Vienna he got into a scuffle at a Bruckner concert with some frightful Brahmsians () and consequently injured his foot which left him with a slight limp. Hopefully that was only a temporary injury. but apparently he later always referred to this incident as his 'Bruckner Foot'.

Not sure about either composer being 'uncertain' in their compositions. The 'stops and starts' are quite deliberate and Bruckner at least is reported to have explained exactly that to others on a number of occasions.

Bruckner's music had a clear influence on early Sibelius as Kullervo and the latter's second symphony amply demonstrate. However, both composers eventually followed their own paths as great composers always do ...

[BBMmk2]

From time to time, I have been wondering about a link between the symphonies of Bruckner & Sibelius. An interesting discussion this link, I am sure?

[Daniel]

I’ve often contemplated the Bruckner/Sibelius comparison in the way that you describe.

It only actually occurred to me relatively recently, their difference being sufficient to obscure their connection for me. That and my innate stupidity.

Oh yes - I recall rushing to order the Gielen after this classic review from Osborne the doyen, which contains several notable comparisons itself (with Haitink, Barenboim etc) all with that effortless, articulate authority.

http://www.gramophone.co.uk/review/bruckner-symphony-no-3-wagner-lohengrin-preludes-to-acts-i-iii

It didn't disappoint! But a landmark recording for me in another way as I realised I'd had enough of the revisions and decided to listen only to 1873 for.... well, as long as it took. But then the 1954 VPO/ Knappertsbusch of 1890 appeared on Testament (2004 - a label I was devoted to then, as to Kna's Bruckner) and I had to briefly break my vows... but it still stands out.

I stuck with 1873 after that - and it worked. It was only with the 1890/Venzago release (2013 c/w 6) that I went back, yet I only really appreciated what he was doing when I revisited it last week - some revelation.

Thanks, Jayne, very interesting. I found Venzago's light on his feet way with Bruckner 8 very convincing, a few months back.

[Nick Armstrong]

I’ve often contemplated the Bruckner/Sibelius comparison in the way that you describe.

Me too - and no coincidence that the Royal Albert Hall is a favourite venue of mine for both composers (and not many others).

[Daniel]

Isn't it maybe more a case of Jean recalling Anton ... ?

I didn't mean to suggest that Bruckner was influenced by Sibelius, rather that listening to B's symphonies it's interesting to recall the similarities and yet great differences with those of Sibelius.

Not sure about either composer being 'uncertain' in their compositions. The 'stops and starts' are quite deliberate and Bruckner at least is reported to have explained exactly that to others on a number of occasions.

The uncertainty I spoke of was not of doubts they may have had about their music, more personal uncertainties/doubts that expressed itself thus (as stops/starts etc) in their music, though from what I know neither seem untouched by the former. It seems reasonable to me to ponder whether their musical constructions reflect some related aspect of their psyche, as well as purely musical ones.

On one infamous occasion when Sibelius was a young man studying in Vienna he got into a scuffle at a Bruckner concert with some frightful Brahmsians () and consequently injured his foot which left him with a slight limp. Hopefully that was only a temporary injury. but apparently he later always referred to this incident as his 'Bruckner Foot'.

Ha ha, interesting, had never heard that. They seem to have largely got rid of the hooliganism at classical concerts these days .. or maybe I go to the wrong ones.