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Bruckner: Complete Symphonies [George Tintner] [Naxos: 8501205]

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By now it will be fairly obvious that Järvi’s Seventh is the more convincing; but Norrington’s sense of daring, his energy and conviction, and the way he inspires his players to focus exactly the performance he wants has a huge appeal. In a sense what we have here are two quite different symphonies, and the great virtue of Norrington’s is that no one knows it – yet. Haas edition (1938): this edition is based on the 1877 version, with, however, some features of the first version. The score calls for a pair each of flutes, oboes, clarinets, bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Cristian Mandeal conducting the Cluj-Napoca Philharmonic Orchestra - Electrecord LP ST-ECE 02731/32/33, 1984Giulini/VPO is my favorite. His CSO recording is also a nice one, as are Jochum/BPO on DG, Karajan's 60's BPO recording on DG (he made one in the 70s for them too I think), Kubeli/BRSO on Orfeo and Furtwangler/BPO. I love the 8th in particular and I hold the Van Beinum second only to the Szell/Cleveland Orchestra performance which remains my benchmark after 37 years. The beauty achieved by Szell in the slow movement remains unmatched for me on records (and I have many of this work) and the orchestra plays with the rich sonority one might associate with Chicago. It was one of his last recordings and the work was close to him over the years. It's a jewel in a discography filled with treasures. I could go on and on, but you have by now figured out that this is another Naxos masterpiece. Once more we are indebted to Klaus Heymann for providing us with a masterly recording. At the price, it would be sin to not buy to this disc. I prefer expansive tempos, with most of my favorite recordings being around 80 or slightly over 80 minutes. Some people prefer a more aggressive approach, and you can find plenty of recordings with tempos that are much faster. A few recommendations:

As a child he was a singer in the Vienna Boys' Choir, the first Jew ever to be accepted; [1] at that time the choir was directed by Franz Schalk. At the Vienna State Academy he studied composition with Joseph Marx and conducting with Felix Weingartner. Soon he was assistant conductor of the Vienna Volksoper. He paces this performance with an extreme sureness of step; in fact it builds inevitably from the plodding downward tread of the opening double bass line, to the magnificent culmination of the finale. Horst Stein,VPO,Decca. William Steinberg,BSO, R.C.A. One of his few recordings with this orchestra . Should be reissued on CD. Abbado’s reading of the vast first movement is in time but not entirely of it. On occasion the pulse hangs by a thread. Yet it is a thread that never breaks, like a life that has peaks yet to climb before it makes its quietus.Georg Tintner conducting the RTÉ National Symphony Orchestra, 1996 (using a pre-publ. Carragan ed.), Naxos Walter's Fourth is truly in a class by itself, also according to my wife, me and musical friends. There's heart and soul there---and wonderful sound! I believe I mentioned once that I experienced LIVE (front-row center) in the Cathedral in Speyer the Ninth conducted (in 1972) by Celebidache with the Stadtsphilharmonie Rheinland-Pfalz. He had to take it pretty slowly because of the echo! The Scherzo was mind-blowing---a wonderful experience! Perhaps the greatest of all recordings of the work, spacious, involved, profoundly human. So persuasive is Giulini’s interpretation, it makes it almost impossible to take seriously the attempt at a more detached, monumental approach found in Daniel Barenboim’s more recent Teldec performance. Giulini’s ability to convey fervour without sentimentality is little short of miraculous, and it’s clear from the way the early stages of the first movement effortlessly project an ideal balance between the lyrical and the dramatic that this reading will be exceptional. The recording might not have the dynamic range of current digital issues, and resonance can sound rather artificial in louder passages. There’s also an obtrusive extension of the trumpet triplets seven bars before the end of the first movement. But such things count for less than nothing in the face of a performance which culminates in a finale of such glowing spontaneity you could almost believe that the orchestra are playing it for the first time, and that neither they (nor any other orchestra) will ever play it better. This is hardly recognizable if you know the familiar version, except for the use of the same basic thematic material.

IMHO, there has not been a IV yet made to top Bruno Walter's excellently paced and recorded version. In his distinguished booklet essay, the Italian writer and broadcaster Oreste Bossini speaks of the performance’s polyphonic transparency and the naturalness and fluidity of its pacing. Even in theFranz Konwitschny conducting the Berlin Radio Symphony Orchestra, live recording, 1951, Berlin Classics I think Karajan is tops in the seventh, and while I like his VPO recording on DG, my preference is again for the one on EMI with the BPO. Claudio Abbado, VPO. Decca. I haven't heard his DG remake with the same orchestra, but this is the version I got to know this puzzlingly neglected symphony.

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