Very notable Bruckner Fifth from the late Giuseppe Sinopoli
933532
This disc is now the one recording recommended by the Gramophone for a performance of Bruckner's epic Fifth Symphony. I don't know if it's THAT good, but this is still a very notable, distinctive performance that is worth hearing, especially for the playing of the Staatskapelle Dresden, which may be the last word in orchestral perfection and clarity. (The analytical sound recording offered by Deutsche Grammophon definitely helps here.)

As for Sinopoli's interpretation---well, it is not so much a subjective interpretation of Bruckner's overall vision as it is a meticulous exposition of the text. He pays unflagging attention to the detail of Bruckner's great score, but, for the most part, none of the details ever draw attention to themselves. And despite it being a more "objective" performance than most, it is never a dull or cold one. The second movement is movingly done, and the ending brass peroration in the finale soars gloriously as it should in a good performance. That said, perhaps this performance of the symphony's first movement could have benefited from a little more impetus in the Allegro sections. Karajan's otherwise glorious performance of Bruckner's Fifth suffered from a first movement that was too heavy, too slow, and too monolithic (it was virtually all at one tempo, as it is here). The performance of this movement under Sinopoli doesn't seem quite so heavy-footed, since he keeps the textures relatively light, and he uses slightly quicker tempos. It works fairly well here, but give me Eugen Jochum's flexibility here anyday!

To sum up, this is a Bruckner Fifth that is worth hearing for its stunningly accurate and concentrated orchestral playing and Sinopoli's attention to both detail and the big picture. It's not the greatest performance of the piece I've ever heard, but it is still a distinctive and mostly convincing interpretation of a magnificent symphony, and a worthy memorial for the controversial Italian conductor.
4103836
Screw Karajan, Bernstein, Solti, and Kleiber! Felix Prohaska championed and recorded the celebrated 5th symphony before the record label giants did. The Vienna State Opera Orchestra was on fire (basically the Vienna Philharmonic under another title)! they played their guts out on the first and fourth movement. The only drawback are the distorted timpani on the loudest passages. There are also a few out of tune horns and early/late entrances here and there. But as Beethoven supposedly claimed "To the play wrong notes matter not, to play with vigor is what counts". So if you ever encounter this recording, do not hesitate to purchase it! the first and last movements alone are worth the price of purchase.
3653273
This CD contains recordings of two compositions by the German composer Max Bruch (1838-1920), his Suite on Russian Themes and his Symphony No. 3 in E Major. The performance by the Hungarian State Symphony Orchestra under the direction of Manfred Honeck is quite good - the music is well performed, always on key, and the different sections of the orchestra are well synchronized. The sound quality of this digital recording, made in the Hungaraton Studio in Budapest during May 1987 is excellent - clear and bright.

The Suite on Russian Themes is a symphonic work in 3 movements that was written by Bruch in 1903. The themes incorporated into this work are, of course, Russian folk melodies. Bruch provides excellent orchestration to emphasize the emotional appeal of the melodies, which range from a melancholy serenity to a happy joyous melody (with a touch of the melancholy)to a militaristic theme full of Russian machismo with brass fanfares and an outwardly noble ambiance. The Suite on Russian Themes is not melodically original but Bruch used his considerable powers as a orchestrator to dress up the melodies. It is a work that is not deep but is altogether enjoyable for what is - a series of beautiful melodies that are richly orchestrated. It would do well as the "second piece" in any symphonic concert.

The Third Symphony is the star of this CD. Bruch resided in Liverpool as conductor of the Liverpool Philharmonic Orchestra from 1880 to 1883. The symphony, written while Bruch was in Liverpool, was meant to conjure images of Bruch's native Rhineland and expresses the joy of life in his homeland. The melodies in the symphony are truly wonderful with evolving and in places intertwined motifs and themes for brass, woodwinds, and strings. After listening to this recording several times, it is difficult to fathom why Bruch's 3rd symphony is not played more often on the concert circuit. It does not contain the sweeping grand melodies of his friend and contemprary Brahms but rather simpler, more folk-oriented themes with an instinctive emotional appeal. Altogether an enjoyable work and a fine performance.
3915367
This is the same 1963 concert recording that was formerly issued on DG 435 332-2 although Memories has fidgeted a bit with the timing, ending the finale about 30 seconds sooner than DG. Otherwise, the re-recording technology is good and the performance is presented in all the splendor collectors have enjoyed since it was first issued in the 1960s.

Carl Schuricht (1880-1967) was born Danzig and held posts in Mainz and Weisbaden before building his reputation in the German classics in the prewar era. His recordings of Bruckner, Mahler and Beethoven are most esteemed by collectors, putting him in competition with the giant of his time and place, Wilhelm Furtwangler, whose Berlin Philharmonic Orchestra recording of the Bruckner Symphony 5 has legendary status with collectors and can still be located as a single CD&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Symphony-5/dp/B00000E4EU/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Symphony 5</a>.

What has set this recording apart from the mass of Bruckner Symphony 5 recordings is the conductor's regular inflections in the score, accompanied by slights speeds forward and aft. In this regard, he is most akin to the passle of Bruckner 5's recorded by Eugen Jochum, whose stereo DG box includes a Bruckner 5 that is, in many respects, like this one&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Symphonies-1-9/dp/B00006YXOX/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Symphonies 1-9</a>.

The sound on this recording is fair for the period and neither the equal of either the mono Furtwangler, recorded 1942, or Jochum's stereo issue and neither the Vienna strings nor brass are captured in their best light. You can hear everything but the depth is not great and the final movement contains about 25 seconds of audience applause. DG last issued this on the 150th anniversary of the Vienna Philharmonic Orchestra but that one is long gone. This one still hangs around and collectors can buy it here or rotate to Schuricht's 1962 recording of the symphony issued a year or two back by Hanssler Classics<a data-hook="product-link-linked" class="a-link-normal" href="/Bruckner-Symphony-No-5/dp/B0009I7OMA/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Bruckner: Symphony No. 5</a>.
3294129
07-07-2014  it seems to me that Alfred Brendel could produce a terrific recording with even the "Liverwurst Philharmonic," if required to.  L.O.L. !!  this is, to me, THE finest pianist of the 20th Century, as his Beethoven and Schubert and Mozart clearly demonstrate, but his Liszt is a sleeping jewel, if jewelry sleeps, that is--Ha Ha!  I first heard this great artist in this Concerto in Chicago back in 1972 0r 73, as a bachelor.  I was mesmerized then as I still am now.  His technique and his amazing key pressure are stupendous and defy any serious competition, even from the likes of Pehria, de la Rocha, Richter, Kempff or Gilels, et al------et ALLLLLLLLLLLL!!  Take my word for it and pick up this el cheapo Vox Box TODAY!  Not another minute later, as it is currently  at a very low price here.  Hopefully, you'll be one of the lucky ones to get it for the money.  You won't be disappointed, trust me.
  Included are the 2nd Concerto and the Totentanz plus both the b-minor and Dante Sonati and a smattering of misc. pieces,  all for which I paid a hefty $4.96.  the Orchestral accompaniment is supplied adroitly by Michael Gielen and the Vienna Symphony Orchestra, the Philharmonic's step-child, although I  suspect several players from one work for the other.
415908
Bruckner a Austrian born 1824 died 1896, wrote his first symphony aged in his 40's. In 1868 he became the theory teacher at Vienna Conservatory. He also travelled to London and Paris as a organ virtuoso. A number of his symphonies were seen by the Vienna PO as wild and unplayable. He was caught up in the Brahms vs Wagner rivalries amongest the music establishment. He was criticised for having Wagnerian leanings, hense the length of his symphonies. He was also influenced by Beethoven. It was only in the 1880s that his No 7 symphony enjoyed success, gradually he became popular in Germany and elsewhere. Bruckner was a deeply religious man and probably that is why his symphonies have been compared to Cathedrals in their scale and appreciation of the sublime. Also,within his works can been heard the influence of the organ. His friends encouraged him to make cuts to his symphonies because of the perceived difficulties. Later he rewrote some of his earlier symphonies because of his lack of self confidence. He was considered to be a country bumpkin. This has led to problems. You have the Linz versions,the Nowak edition -the revised and cut versions, also the Haas version which usually give the work as first written. Then on top of this you have his original thoughts which he put aside for another era. Tinter usually sticks to his first thoughts.

There are those who cannot stand Van Karajan and I am one of them. However,in his recordings of the Bruckner symphonies with the Berlin Philharmoniker recorded 1975-1981, show that he had depth. No 1(Linz version),2 ,3 (1889 version,ed Nowak),4-7,8 (ed Haas).Karajans understanding of the powerful currents that flow beneath the surfaces of symphonies such as the fifth, or no 7-9 has never been bettered. He brings out the beautiful melodies which show that Karajan could be visionary. This is a classic set and a good set to have if you are a first timer.

 Jochum conducts the Staatskapelle Dresden 1975-1980. Symphonies no 1, 4,7 and 9 are Nowak. 6 original version and so forth. These are the difficulties one has with Bruckner. Jochum was a spiritual man and hense his conducting of the symphonies have religious qualities and a strong feeling of mystery. His highly charged, romantically intense, spontaneous approach may appeal. However, if you are used to Karajans interpretation,Jochum can seem stop-start like an immense organ. Tinter is rather slow but he attempts to stick to Bruckners original thoughts. So you are spoilt for choice by Van Karajan,Jochum and Tinter, all great Bruckner conductors. Also, on Bluray there is Franz Welser-Most conducting the Cleveland Orchestra, a good rendition of the piece. The conductor is almost close to tears in the slow movement.
3680080
Upon first listening to the crisp string opening of the first movement until the first fortissimo statement of the theme by the brass, I knew that this was some of the greatest bruckner I've ever heard. I quickly snatched up Klemperer's other Bruckner recordings, which are just as fabulous, but out of symphonies 4-9 that he recorded in london, i think this is the best of the lot.
In addition to the stupendous opening, the seondary theme is wonderfully felt, and the brass playing is noteworthy: powerful and hair-raising without being overwhelming. The other sections of the orchestra show similar traits as well.
The second movement, more flowingly done that usual, is very beautiful indeed and is handled so well that it hardly seems to rush at all. the scherzo is very steady in its rhytmic pulse and the horns are magnificent in the trio. The last movement had always puzzled me...not anymore.
this is essential for any klemperer fan (one of his finest recordings), bruckner fan to have in their collection.
2610270
Brahms Haydn Variations are one of my treasured treats, relatively short musical works that I play just for a quick snack between my full meals of symphonies and the like.  This is Karajans 1983 recording that accompanies the Symphony No. 2 that was recorded in 1986.  Of course, the orchestra is the Berlin Philharmonic.

The Symphony is given an inwardly probing but intense account by Karajan.  It has the somewhat massive or monumental style that befits Brahms symphonies.  That element, when heard in the 4th movement, is incredibly majestic.  The Berlin Philharmonic strings play with lusciousness that only a few other orchestras can muster, and the woodwinds are equally enchanting.  The beauty of their powerful tuttis is almost overwhelming.

Karajans interpretation of the Haydn Variations is intensely broad and, like the symphony, is characterized by massive loud passages and lyrical softer sections.  Some of the tempi are slightly slower than many.  The finale is grand and majestic with the triangle coming through the massive orchestration nicely.  The sonics are exemplary with the exception of the timpani that could be better defined.

Brahms and Bruckner are the types of music in which Karajan can shine.  But Brahms should be less massive and monumental than Bruckner, and Karajan has a difficult time moderating.  Karajan is just a bit too heavy.  Even so, this disc is an easy recommendation, especially for the Symphony 2.
3412041
This set is notable - and worthwhile - for several important reasons. First and foremost, you have the wonderful playing of the Camerata Salzburg under Sandor Vegh. Vegh does a great job bringing out the inner details of these works. It seems that he and Schiff agree with E.T.A. Hoffmann's assertion that these works are "symphonies with piano obbligato." The piano sits in the middle of the mix - not in the front - and the result is a more balanced sound than what is typically found in a modern instrument interpretation.

Second, you have Schiff and his Bosendorfer. He is a stylish player with a unique tone - always clear, but rather soft - often too soft (such as in the Allegro of K.450 - and his Bosendorfer brings out the deep bass notes in this music. In the opening Allegro of K.271, for example, those deep bass notes sound incredibly resonant. It's nice to hear Mozart played on such an instrument, but one wishes for a bit more emotion and vitality from Schiff. Geza Anda he ain't.

Vegh gets great sound out of the Camerata Salzburg. The second violins - the locomotive engine powering Mozart's energetic Allegros and Rondos - were divided from the first violins (antiphonally) such as is usually the case in HIP. It works well here, with the wonderful layered sound of Mozart's strings - such as in the opening bars of the Allegros of K.453 and K.413 - really coming through well. The cellos and double basses are also well recorded here. Along with Schiff's deep voiced Bosendorfer, the Salzburg strings have a good deep, layered sound. It's very effective.

Vegh and Schiff do, at times, take things a little too slow: the Allegros of K.449 and K.450, in particular, sound too plodding and serious and as a result lose the essential good humor and joie de vivre of more uptempo readings.

Sandor Vegh, of course, was a great string virtuoso before he became one of world's foremost conductors of this repertoire. His ear for inner details - honed through a lifetime of quartet and chamber ensemble playing - is in evidence time and time again on this set. This is not your garden variety big band modern instrument Mozart set, with a soloist way in front of the mix backed by a murky sounding orchestral blob. From an ensemble perspective, this is excellent playing and a fine way to interpret this music.

Schiff's playing reflects his scholarly interest in this music. He plays continuo, for example, in the opening bars of the K.414 Allegro, and in many of the other tuttis. Schiff sees the soloist as "first among equals" and that approach rightly highlights Mozart's brilliant ensemble writing, but there are moments when the soloist needs to rise to the same level - and at times, eclipse - the orchestra, such as in the Rondo to K.482, which Schiff plays too meekly.

Combined with Vegh's insightful conducting, the sensitive, energetic playing of the Salzburgers, these renditions are worthwhile for Vegh's conducting, the vigorous playing of the Salzburgers, and the unique tone of the Bosendorfer - but it is not a perfect set by any means. The recorded sound is also very good.
2250496
In 1991 Brendel and the Berliners wee headliners at the Proms in London, wowing the huge Bank Holiday crowd with this Brahms Second; they returned to Berlin and set it down on tape. At the time, Abbado was still considered rather provisional as Karajan's successor, but he has always been a dedicated Brahmsian. It shows in the smooth, large-scaled, confident phrasing, and the plushness of the orchestra's sound in the latter days of Karajan's long reign remains. I must say that I find Abbado's Brahms too smooth, except when he is galvanized by a collaborator, as he was when h recorded the same concerto with a riveting Pollini.  the way that Pollini fiercely pounces on phrases suits this music very well; we are not left in the ponderous doldrums of Gilels/Jochum or Arrau.

Brendel doesn't pounce.  He has a big sound to go with his trademark clarity and detached phrasing -- amounting to clipped fussiness if you aren't a fan -- so one has to admit that is approach is magisterial. also, he is well partnered temperamentally with Abbado. There is no doubt that two world-class musicians of rather cool authority are in charge. If that sounds like your ideal Brahms Second, nothing goes wrong here. Tempos are conventional; Philips' sound is clear, full, and natural. The first horn and solo cello play their standout moments with real star quality.

What this Brahms Second lacks is spontaneity, personality, driving passion, or even a great deal of commitment. At times Brendel seems to be doing a Brendel impersonation.  Especially in development sections where Brahms's writing can sound turgid or overworked in its earnestness, the solo part dog paddles until something more interesting comes along. It's magisterial dog paddling, but I miss the overarching greatness of Edwin Fischer, Serkin, Richter, the earlier Gilels with Reiner, and above all the extraordinary partnering of Barenboim and Barbirolli.
411161
Eugen Jochum has recorded live this supreme work several times and three in studio: first came the mono version in 1954, with the Symphonieorchester der Bayerischen Rundfunks (Deutsche Grammophon), then this 1966 version, with the Berliner Philharmoniker (DG again) and finally in January 1978 the Staatskapelle Dresden version (EMI). Both the stereo versions are quite similar in tempos but significantly different in the orchestral sound: the 1966/DG, thanks to the supreme Berliner strings, is very polished, solemn and monumental, particularly in the Adagio.
Part of the justly famous first complete Jochum's set of Bruckner symphonies, is excellent for audio quality and grand conducting, but does not possess, in my opinion, the tragic sound dimension of the EMI/1978 one.
The Dresden version remains my favourite: the wild sound of the brass is certainly less refined than the Berliners and the orchestral tones are more "barbaric" (if I can use this word) but Jochum is in perfect control and drives the symphony with tragic passion and power.
I would recommend the EMI/Dresden version as first choice for Jochum/Bruckner.

For comparison, the tempi in the 3 versions:
1954 DG // 1966 DG // 1978 EMI
t.t. 59:02 // 60:47 // 60:44
1. 22:08 // 23:12 // 23:06
2. 09:45 // 09:44 // 09:58
3. 27:09 // 27:40 // 27:39

Deutsche Grammophon/Resonance

Stereo ADD
2062715
Bhm's first recording of Bruckner's 4th Symphony was set down in 1936 by HMV records in Dresden.  Dutton has done a wonderful job cleaning up the original and you can confidently buy this compact disc without fear of having to strain your ears and imagination to hear this lovely, simple performance that speaks more eloquently than many latter day grand-standing technicolor events, like Karajan's on DG from 1976 for example.

Here the microphones are placed on top of the podium from the sounds of it.  The front row of strings are slightly prominent but not at the expense of the full orchestra in full cry, and the delicate detailing of the wind scoring is easily heard.  The Dresden Staatskapelle play beautifully.  The performance itself is highly competitive with the most modern sets, Bhm having been one of the very great Bruckner conductors of the 20th century.

You won't want this as a first and only set, but Bhm's Decca set from Vienna in 1973 could very well fill that bill.  That one or Wand's on RCA with the Berlin Philharmonic.
1703820
After the well known public performance of Shostakovich's Fifth of those late Fifties, Bernstein never let of thinking about this legendary and emblematic Symphony. As a matter of fact, this live recording, that dates from 1979 at Bunka Kaikan, Tokyo I would dare to state this was perhaps more mature, sinister and better constructed performance respect the widely known version previously cited.

As I have commented in other reviews about Leonard Bernstein, his musical approach and even his inner vision about the music seemed to enhance, since 1971 when he had his first encounter with the Vienna Philharmonic.

The timings in general are more loaded of ferrous intensity, a major and zealous analysis of the weight  and expansiveness of sound, much more deeper and sustained that conferred his performances of major solidity and full rounded specific weight.

For instance, if you remind the last movement of his previous version you must agree t was excessively fast until becoming hyper kinetic.

In this case, we have a fabulous recording with a director (who was by then in his 61) in the peak of his powers, making a superb performance from start to finish.

The Cello Concerto by Yo Yo Ma is fine but this version has a name and surname, Rostropovich in the magisterial version of the middle Fifties.
1229269
I have heard Jochum's and Karajan's recordings of Bruckner and Tintner grasp of this material equals theirs.  The Irish and Scotish orchestras he uses are fully up to the task and the Naxos engineers did a great job getting this on disk just before Tinter's death.  Even if you have other sets this one is worth having because of the rarely performed editions he uses of the second, third and eighth symphonies.  Tinter's commentary in the accompanying booklet is informative and entertaining.  The inclusion of the 0 and 00 symphonies is a great bonus.
1565454
This is my favorite Bruckner 8. I have tried a ton of them and even though the slower recordings are beautiful in Movt.'s 1,2, and 4 I found them lacking in energy. This adagio is deadly sad and Jochum could always rock the house when it was time! I found it in this single form. I also recommend his Bruckner 7 on Tahra from 1951, if you can find it. These are the only Jochum Bruckner symphonies I kept. For the other symphonies I found different conductors I liked. This is later opinion based on a Current favorite. I really like Wands last Berlin Bruckner 8! It is slower but works and is amazing! The Jochum is staying on the shelf for now.
579979
Bruckner getting a little lovin' from the Philidelphia Orchestra, what's not to like.

The usual big, clear, mid-60s Philly sound and the performance itself is a model of clarity, a very professional endeavor in all respects.

The only complaint I have is that it's maybe just a touch too professional; despite the really lovely playing throughout there is also a certain coolness in places, almost a perfunctoriness, primarily in the closing minutes of the two outer movements. The adagio is fortunately mostly free of this, it's quite nicely done, as is the scherzo.

And just an FYI, the Te Deum which filled out the original LP release is available for free in the downloads of the month section at abruckner.com
3192796
I learned to love Bruckner's underrated - or at least less often played and recorded - Sixth Symphony, composed between 1879 and 1881 and dedicated to his landlord, in Sergiu Celibidache's broad-as-can-be recording on EMI. That recording is a little difficult to get but worth every penny for the warmth it conveys and the details that emerge from it. His rendition achieved something that Jochum (DG), Karajan (DG), Wand (RCA) and Klemperer (EMI) have not quite managed. And ever since I've been looking for a recording that can match Celibidache while perhaps offering a tighter first and fourth movement. Kent Nagano's recording was rather good (HMU 901901), but still no match.

That match has now crossed my desk in form of Bernhard Haitink's live recording with the Staatskapelle Dresden on the Profil label's "Edition Staatskapelle Vol. 14' disc. Profil is Gnter Hnssler's new label and issues live recordings that range between the obscure and definitive collectors' items. (A German (!) Katja Kabanova from 1949 , actually a fine performance in surprisingly good sound represents the former, Gnter Wand's performances with the Munich Philharmonic the latter).
With this 2003 Bruckner Sixth, Profil has issued a recording that should enter the mainstream. Taut rhythms in broadly played music, excellent playing, and loving execution make this as engaging a Bruckner Symphony as you could possibly hope to hear.

At 57 minutes Haitink is, if anything, on the brisker side, though he never sounds it. The A-major Majestoso rises in its full might without being ponderous. The Adagio, one of Bruckner's finest next to that of the Seventh, flows gloriously. The Finale is full of the zest that had given rise to Bruckner punning that the Sixth was his coyest (or 'sauciest') symphony ("Die Sechste ist die Keckste"). Excellent sound does its part to make this release a winner.