Thread: I've begun a journey through Bruckner's Symphonies!

Originally Posted by ComposerOfAvantGarde

I generally do not like Celibidache (especially for Mozart) but for Bruckner he can make his orchestras sound absolutely magical while still being ridiculously slow.

Sadly, that is just one of those schools of thought that I can't tolerate enough to listen to, sometimes. It's just too far from what I want out of the music. It's nice to see the conductor's work and ideas, but I'd prefer it if the composer wasn't off in the horizon while the conductor does his work.

Originally Posted by Lukecash12

Sadly, that is just one of those schools of thought that I can't tolerate enough to listen to, sometimes. It's just too far from what I want out of the music. It's nice to see the conductor's work and ideas, but I'd prefer it if the composer wasn't off in the horizon while the conductor does his work.

I agree with this, but even though Celibidache was quite eccentric in his interpretation and definitley not what the composer wanted his interpretations of Bruckner are very enjoyable for me. I prefer either a very good standard interpretation, the composer's own interpretation (or a recording supervised by the composer) or a historically informed interpretation most of the time. I always put the composer's work before the performers' work.

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.
GG

Originally Posted by GraemeG

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.
GG

I wonder if he would be glad that Symphony no. 0 is more popular today than it was back then?

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!

Originally Posted by macgeek2005

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!

Yes, 3 can be drudgery in the wrong hands. I like BPO/Barenboim (Teldec), but VPO/Schuricht may be more approachable for many.

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.

Originally Posted by macgeek2005

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.

You're right about the minor key; other Bruckner symphs are in minor. I dont think you've told us who you've been listening to for B1 to B4. Also is it CD or LP?

Originally Posted by davinci

You're right about the minor key; other Bruckner symphs are in minor. I dont think you've told us who you've been listening to for B1 to B4. Also is it CD or LP?

I'm listening to Karajan/Berlin for all of them.

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.
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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.

Originally Posted by macgeek2005

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.

Yes, it's one of the greatest and most sublime moments in Bruckner. Perhaps you might enjoy Celibidache's final take on this coda.