Favourite Bruckner symphony recordings?

[jayne lee wilson]

I read a review that was thumbs down on the Pristine "Ambient Stereo" approach on this recording

Several ways to try this 7th for free and hear for yourself....

"Ambient stereo" (usually sounds like: mono with extra space/depth....) can vary widely from recording to recording, and system responses.... I bought a fair few back in the day, my experiences mostly pleasing.... but Pristine always offer you other download choices, you don't have to buy the ambient one.....

https://www.pristineclassical.com/pages/ambient-stereo

[DracoM]

Yep, for me too, it has to be Jochum.

[Alison]

http://www.musicweb-international.com/classrev/2020/May/Bruckner_sy8_survey.pdf

Discussion of Bruckner 8 recordings here.

Could be a bit controversial...

[Bryn]

http://www.musicweb-international.co...sy8_survey.pdf

Discussion of Bruckner 8 recordings here.

Could be a bit controversial...

I gave up on quite early. I was already suspicious on reading his claim that there was little difference between the Haas 'pick & mix' and Nowak's edition of the 1889-90 version. However, his off-hand dismissal of Venzago was the clincher. Not worth wasting time reading on, I decided. Life's too short.

[Petrushka]

Yep, for me too, it has to be Jochum.

I've been listening to the Jochum/Dresden Staatskapelle cycle (recently reissued with original artwork) during this week and have fully enjoyed them.

I've noticed for a while now that an identical repeated four note ascending figure occurs in all 9 of the symphonies, usually quickly on the violins and wonder if it is some sort of musical symbolism on Bruckner's part. It first occurs near the very beginning of the Symphony No 1 and I believe it to be the very last phrase played slowly on the horns as it closes the 9th. Has anyone ever commented on this?

[Bryn]

Back around Christmas 1967 or 68 (I think the former) I has a difficult choice to make. Should I buy the Haitink of Jochum boxed set of the Bruckner Symphonies? I plumped for the Jochum and have never regretted the decision, though I did eventually get the Haitink survey in its CD manifestation (along with many others, including the later Jochum survey). From the start, I had a real soft spot for the 3rd and hankered after hearing the first version, replete with Wagner quotes. Eventually I got the LCP/Norrington and it remains a favourite, though the later recording with the Stuttgarters I now find marginally more to my liking. For the other 10 symphonies I find it harder to pick stand-out favourites, so many have something different but special to offer. For a single conductor survey, though, Blomstedt springs to mind.

[Barbirollians]

I gave up on quite early. I was already suspicious on reading his claim that there was little difference between the Haas 'pick & mix' and Nowak's edition of the 1889-90 version. However, his off-hand dismissal of Venzago was the clincher. Not worth wasting time reading on, I decided. Life's too short.

Slower and more prolix than a Cell Bruckner recording but without the insights.

[FFRR]

Sad to say, I've never heard 0-2 and not very familiar with three, so starting from:

4. VPO/Bohm + Phil/Klemperer (+ Munich PO/Celi. for the mesmerising 4th mvt. coda)
5. BPO/Karajan
6. MunichPO/Celi + BBCPO/Mena (a 2012 Prom which IMO 'nails it'...)
7. BPO/Karajan + VPO/Giulini + Phil/Klemperer
8. BPO/Karajan
9. VPO/Bernstein (the coda of the 1st mvt. is terrifying)

The BPO/Karajan choices are all the 1970's versions on DG. I know everyone lauds his VPO 8th, but am I alone in preferring the BPO in this?

[jayne lee wilson]

I've been listening to the Jochum/Dresden Staatskapelle cycle (recently reissued with original artwork) during this week and have fully enjoyed them.

I've noticed for a while now that an identical repeated four note ascending figure occurs in all 9 of the symphonies, usually quickly on the violins and wonder if it is some sort of musical symbolism on Bruckner's part. It first occurs near the very beginning of the Symphony No 1 and I believe it to be the very last phrase played slowly on the horns as it closes the 9th. Has anyone ever commented on this?

I think re. the 9th adagio's conclusion you refer to the quote from the very opening of the 7th (the rising phrase from the first theme), conjoining the 8th adagio quote (rhythm of 1st theme) that immediately precedes it. Not sure which idea you refer to from the 1st though....

The most familiar Bruckner-signature is of course the 2+3 rhythm, easily heard in e.g the first allegro theme of No.4, or the initial rhythm of No.6 (before the melody comes in, in the lower strings...)...

[jayne lee wilson]

Slower and more prolix than a Cell Bruckner recording but without the insights.

Do you mean Celibidache?

All of his recordings of No.8 are far longer than Venzago using the same Nowak edition....even the quickest SWR Celi is some 83' (much longer in Munich...!), as compared to Venzago at 75'......
So I'm somewhat confused by your comment "slower and more prolix than..."....

[Petrushka]

I think re. the 9th adagio's conclusion you refer to the quote from the very opening of the 7th (the rising phrase from the first theme), conjoining the 8th adagio quote (rhythm of 1st theme) that immediately precedes it. Not sure which one you refer to from the 1st though....

Now speed up those last four notes of the 9th and repeat them several times one after the other. It seems to have been a favourite device of Bruckner's as I've found it in most of the symphonies and I'd expect it to be in all 9 in one guise or another. Perhaps it's just a 'nervous tic' or something but I can't help thinking that it might well have some, possibly religious, significance for him. I know that Bruckner founded his composition on Wagner's leitmotiv technique so expect that this could be one of them.

[jayne lee wilson]

Now speed up those last four notes of the 9th and repeat them several times one after the other. It seems to have been a favourite device of Bruckner's as I've found it in most of the symphonies and I'd expect it to be in all 9 in one guise or another. Perhaps it's just a 'nervous tic' or something but I can't help thinking that it might well have some, possibly religious, significance for him. I know that Bruckner founded his composition on Wagner's leitmotiv technique so expect that this could be one of them.

Sorry Pet.... but I could do with a few more specific references to it....(recordings, timings etc....).. you see, that 2+3 really is ubiquitous and very recognisable (with, of course, different stresses in some local contexts..).... another very clear example: the 1st movement/ 2nd subject from No.8, the lovely rising melody initially in the strings...

[Barbirollians]

I gave up on quite early. I was already suspicious on reading his claim that there was little difference between the Haas 'pick & mix' and Nowak's edition of the 1889-90 version. However, his off-hand dismissal of Venzago was the clincher. Not worth wasting time reading on, I decided. Life's too short.

No mention of the live Barbirolli either

[gurnemanz]

A trip to the garage reveals that my only LP of a Bruckner Symphony was Jochum with Bavarian Radio Orch from 1955, which must have been bought when I was student in the 60s (Heliodor). I played it a lot.

It actually took me quite a few years gradually to arrive at a complete set on CD (Nullte only very recently). Rough order of acquisition of first CD version of each symphony:

2 Tintner - National Symphony Orchestra of Ireland
3 and 4 Decca Twofer - Böhm VPO
7 Tintner - Royal Scottish National Orchestra
4 and 9 (twofer) - Bruno Walter CSO
5 - Furtwängler BPO 1942 (bought virtually on spec, I remember, at Bath CD - now sadly defunct - after a matinee performance of Ronald Harwood's play Taking Sides at the Theatre Royal, which depicts the conductor's post-war denazification questioning).
6 - Colin Davis, LSO live
8 - Boulez, VPO
1 - Karajan, BPO (in big box)
0 - Solti, Chicago SO

I now luxuriate in multiple recordings and most recent purchase is Venzago complete set as a direct result of discussion on here. I usually tend to relish interpretations that cast light and give insight on familiar works, helping you to hear new things, and I am greatly enjoying.

Favourite recording off top of head. Eighth Boulez. (Might be different tomorrow).

[Alison]

No mention of the live Barbirolli either

He pretty much trashes it.

The messy three part overview does rather typify Musicweb although it is free content where some contributors can be trusted.