Last edited by Lukecash12; Oct-16-2012 at 09:49.
"Your mathematics are correct, but your physics are abominable..." Einstein
The people who you think are radicals might really be conservatives,
The people who you think are conservative might really be radical.
Considering how many of Bruckner's tempi include the phrase "doch nicht zu schnell" I should think he would have been delighted with Celibidache.
Actually, Bruckner would have been thrilled to know how much time and effort goes towards his works nowadays.
I'm familiar with Celibidache's Mozart Requiem, and I have to say, I enjoy listening to it as a kind of experimental alternative to the norm, but if I want to hear what Mozart wrote, I can't in all seriousness go to Celibidache's recording. It's amazing that he can pull it off as slowly as he does, and it's beautiful, but it's more than twice as slow as anyone would have played it in Mozart's day. It can't seriously be taken as anything more than an interesting experiment.
The third was not really my thing either. The fourth takes on a more heroic and upbeat mood, while using some of the "weight" (for lack of a better word) apparent in the third.
The only other ones I can speak for are the eighth and ninth. Both of these have that same "weight" about them. The eighth, however, comes across as a much more positive work in my eyes than the ninth and third, though given the "Apocalyptic" nickname I doubt too many others would agree.
I gave the first another listen last night. This thread has increased my interest in Bruckner, especially the earlier stuff. I admit I still find the finale slightly redundant, but then again, as you've said, with this kind of music you need many listens to truly comprehend it.
Well, I'm on the 15th and final listening (for now) of the third symphony. I enjoy it now, but still not as much as the first two.
But I'll be moving on to No. 4 very soon!
Enjoying No. 4 very much on the first listening! I wish it was in a minor key.. I tend to prefer minor keys for dramatic romantic symphonies.. but I've been enjoying it nonetheless.
Symphonies 4 through 7 are all in major keys. Overall the symphonies are half and half major and minor, but the majority of the minors are on the early end.
And I'm listening in iTunes.. I bought the Karajan Symphony edition from the iTunes Store.
macgeek2005...I forgot to mention this when we were discussing B3. At some point in your Bruckner journey you must check out the original version of #3. It is dedicated to Wagner and is superior to the revised versions that are performed today. It is true Bruckner.
I'm new here, and I've recently acquired a lot of new Bruckner, so I've been re-visiting Bruckner as well. When I first heard Bruckner, I was very new to classical music, and I did not like the way his symphonies seemed to change momentum so abruptly. After numerous patient listenings, I began to really appreciate every symphony from 0-9. That said, I spend most of my time nowadays with 5, 7, 8, and 9.
For what it's worth, I like Karajan/BPO and Jochum/Staatskapelle Dresden best as cycles. I end up being most satisfied with Karajan/VPO (last recording), Karajan/BPO, and Karajan/VPO (1950s) best in symphonies 7, 8, and 9, respectively. Tintner does some great things with the earlier symphonies.
Well, I'm near the end of my time with the 4th symphony. Overall I like it even a bit less than #3... so I'm not sure where this is going.
However, toward the very end of the 4th symphony, when it gets really quiet, and then goes into that thing with the erie horn motive, before building up again for the ending... that's one of those moments that gives me the impression that Bruckner is a god, and that if I only spend more time with the rest of the symphony, I'll recognize that genius throughout.
Celibidache's final take on this coda.
"... as close to pleasing from start to finish as, say, the bulk of Beethoven's output after he ceased being encumbered with a sense of hearing ..." (J.D. Salinger, "Seymour: an Introduction")