BACH, Johann Sebastian (1685-1750)
Most of Bach's works are religious music and so are not for
all tastes, including mine. But some works are appropriate for any
situation regardless of its origins. Among them:
Concerto No.2 for Violin and Strings in E, BWV1042
Mutter, Karajan, Berlin Phil. + Magnif. (LD) Sony SLV 45983
Grumiaux, Leppard, ECO + Con. 1 + etc. Philips 420889
This recording is a video LaserDisc made on January 1st,
1984 in the Berlin Philharmonie, with Karajan conducting from the
harpsichord and audience cheering at the end. Engineer Wolfgang
Gulich, as usual, did a splendid job capturing the beautiful sound
of this performance. Camera work is also good with unusual bright
picture for a Telemondial (Karajan owned company) production.
Recommended.
If you don't have a LD player, don't want images or don't
accept the exorbitant prices of LDs, this medium price (Silver
Line) CD, recorded in 1964, has all the artistic and technical
virtues.
Suite No.3 for Orchestra, BWV1068
Marriner, ASMF (Complete 1-4) Decca or London 430378
From this suite came the famous "Air on the G String".
Another very good medium price (Jubilee) CD, recorded in 1971.
Toccata & Fugue in d for Organ, BWV 565
Chorzempa + Prel. 543, 552 + Pass. 582 Philips 422965
An analogue (ADD) recording that is much better than the
digital (DDD) he made latter, from technical and artistic
viewpoints. Also a medium price (Concert Classics) CD. This Toccata
is the most famous Organ piece.
Well-tempered Clavier, Bk.1 BWV846 Bk.2 BWV893
Schiff (Piano) - Bk.1 2 CDs Decca or London 414388
Schiff (Piano) - Bk.2 2 CDs Decca or London 417236
The prelude No.1 became the counterpoint of Gounod's Ave
Maria composed a century latter. As the title says, it was composed
for Clavier but sounds much better on the Piano. Full price DDD.
BEETHOVEN, Ludwig van (1770-1827)
Concerto No.3 in c for Piano and Orchestra, Op. 37
Zimerman, Bernstein, Vienna Phil. + Con. 4 (LD) DG 072279
(CD) DG 429749
Pollini, Bohm, Vienna Phil. + Con. 5 (LD) DG 072292
Perahia, Haitink, Concertgebouw + Con. 4 CBS MK39814
Bishop-K., C. Davis, BBC Sym. + Con. 4 Philips 426062
Brendel, Haitink, London Phil. + Con. 4 Philips 420861
Bishop, Brendel and Pollini were recorded analogue in 1971,
76 and 79 respectively and tape noise is in descending order.
Perahia's recording is on CBS label but was recorded by Decca
engineer Stan Goodall with spacious sound. Zimerman was recorded
live but without audience cheering in the CD as DG always does.
They are all excellent.
Concerto No.4 in G for Piano and Orchestra, Op. 58
Zimerman, Bernstein, Vienna Phil. + Con. 3 (LD) DG 072279
(CD) DG 429749
Cliburn, Reiner, Chicago Sym. + Con. 5 RCA 7943-2-RG
Bishop-K., C. Davis, BBC Sym. + Con. 3 Philips 426062
Perahia, Haitink, Concertgebouw + Con. 3 CBS MK39814
The RCA recording made in the old Orchestra Hall by
producer Richard Mohr and engineer Lewis Layton in 1963 is a
landmark in the history of recorded sound, and a rare combination
of artistic talents. It is also a memorial for Reiner who died in
the same year and for the old Orchestra Hall fine acoustic quality
that was destroyed by a remodeling made after the conductor's
death. It became an acoustic cemetery so the orchestra and
engineers were forced to move to Medinah Temple to make acceptable
recordings.
The performances by Zimerman and by Perahia are digital
recordings, and the 1974 Bishop's recording has excellent sound and
almost no noise.
Brendel's recording coupled with Concerto No.3 is not
recommended here because he plays the shorter Beethoven's Cadenza
for the first movement, which I consider inferior.
For this Concerto we have the first example in this book of
a very bad recording and the "prize" goes to Gunter Hermanns work
for Pollini & Bohm on DG 2530791 disc. The sound give us a feeling
that the musicians are playing in a desert: it is shrill, has no
ambience, bass is weak, and perspective is unclear. The artistic
content is also poor: Pollini chose the shorter Cadenza and Bohm,
famous for its slow tempos, goes fast and feeble in the second
movement, depriving of its dramatic impact. This recording was made
in 1976 with multichannel resources available, so DG may one day
remaster it, as they did with many others, but it is not worth the
effort.
Concerto No.5 in Eb for Piano and Orchestra, Op. 73 "Emperor"
Pollini, Bohm, Vienna Phil. + Con. 3 (LD) DG 072292
+ Fant. Op. 80 (CD) DG 447910
Zimerman, Bernstein, Vienna Phil. (LD) DG 072286
(CD) DG 429XXX
Brendel, Haitink, London Phil. + Fant. Op.80 Philips 420347
Cliburn, Reiner, Chicago Sym. + Con. 4 RCA 7943-2-RG
Zimerman's performance is the only digital recording in my
list and also the only without a companion work; Brendel also plays
the best Choral Fantasy ever recorded.
Concerto for Violin and Orchestra in D, Op. 61
Perlman, Barenboim, Berlin Phil. + Brahms (LD) EMI XXXXXXX
+ Romances (CD) Angel 49567
Heifetz, Munch, Boston Sym. + Brahms Vln.Con. RCA RCD1-5402
Mutter, Karajan, Berlin Phil. DG 413818
Schneiderhan, Jochum, Berlin Phil. + Rom. DG 427197
Szeryng, Haitink, Concertgebow + Romances Philips 416418
The crucial point in this Concerto is the Cadenza for the
1st movement. Beethoven never wrote one for violin but he wrote a
cadenza for the Piano version he made upon request to Muzio
Clementi, an Italian composer and pianist. This version for Piano
is awful and only proves that even Beethoven did sordid things for
money, but the Cadenza was arranged for Violin by Schneiderhan and
used in the recording he made with Jochum. Other violinists made
Cadenzas for this work, among them the most famous are Joseph
Joachim, Fritz Kreisler and Jascha Heifetz. Joachim's is played by
Szering; Kreisler's by Perlman, Mutter and many others; but the
best, in my opinion, is Heifetz's.
Heifetz was the violinist of the century. His technique
remains unreachable, his musical personality was strong enough to
write his own Cadenzas to some works, and his level of
perfectionism so high that he stopped concert recordings at 60, not
being forced by health problems, eleven years before his last
public recital, and about 26 years before his death.
The disc by Heifetz & Munch is one of the first stereo
recordings made by RCA in 1955 with a sound quality that surpasses
many digital ones.
Perlman & Barenboim performance is the only digital
recording and also the only video in this list. This recording was
made by german engineers in the Schauspielhaus, east Berlin, with
excellent sound and images.
The "prize" for worst recording of this work is not related
to sound quality but to the choice of the worst Cadenza. Gidon
Kremer perpetrated an horrid Cadenza written by Alfred Schnittke in
his recording for Philips 410549. Luckily I heard this on Radio and
got rid of money loss.
Fantasia for Piano, Chorus & Orch. in c Op.80 "Choral Fantasy"
Brendel, Haitink, London Phil. + Con. 5 Philips 420347
Pollini, Abbado, Vienna Phil. + Con. 5 DG 447910
Brendel and Pollini are equally brilliant in the Piano part
but Haitink is much better conducting this work, specially the
vocal forces, where he obtained a perfect balance. Pollini's
Fantasy is a digital recording.
Fidelio - Opera Op. 72
Ludwig, Vickers, Berry, Hallstein, Frick, Unger, others,
Klemperer, Philharmonia 2 CDs EMI CDS 556211 2
Dernesch, Vickers, Kelemen, others,
Karajan, Berlin Phil. 2 CDs EMI CMS 769290 2
Jon Vickers is the undisputed owner of Florestan role, so
he sings on both recordings here. Klemperer has better overall
cast, was the first to chose Vickers for this role and has the
best sound. Bernstein's recording almost was included, but when I
heard Rene Kollo as Florestan, the first thing that came to my mind
was to let him in jail for the rest of life.
Missa Solemnis in D Op. 123
Karajan, Berlin Phil. Thomas Brandis vln. (LD) DG 072234
Tomowa-Sintow, Baldani, Tappy, van Dam
Levine, Vienna Phil. Gerhart Hetzel vln. 2 CDs DG 435770
Studer, Norman, Domingo, Moll
Both performances were recorded live in the Festpielhaus,
Salzburg during the festivals of 1979 and 1991 respectively. It is
a pity that Karajan is on video only and Levine on CD only.
For the gallery of worst recordings there is Klaus
Scheibe's flop in the Concertgebouw performance conducted by
Bernstein on DG 2707110(LP) 413780(CD). It is unbelievable that
such awful sound could be captured in a hall famous for its good
sonority, so well represented in dozens of Philips recordings. With
a sound coarse, unclear and poor, Scheibe transformed a Mass into a
mess.
Overtures: Prometheus Op. 43; Coriolan Op. 62; Egmont Op. 84;
Leonore III Op. 72b; Consecration of the House Op. 124
Karajan, Berlin Phil. Coriolan; Leonore III; Fidelio Op.72c
+ Sym. 8 DG 415507
Karajan, Berlin Phil. Egmont + Sym. 3 DG 415506
Dorati, London Sym. Consecration + Sym. 5 (LP) SR 90317
+ Royal Phil. on Sym. 5 Mercury (LP) SRI 75125
Dorati, London Sym. Prometheus; Leonore III
+ Wellington's Philips (LP) 838111
Glorious horn playing in the climax of Coriolan, an
excellent Symphony No.8 and first class digital sound makes
Karajan's disc a must.
Dorati's recordings for Mercury are returning in CD format
due to their technical and artistic value. His performance of the
seldom played or recorded Op. 124 shows how unfair audiences has
being to this piece. Under Dorati, the London Symphony reached a
level of virtuosity, demonstrated in the excellent recording of
this work, that is amazing. By the time I am writing this, the CD
version is not available yet, but I hope it will be very soon.
Piano Sonatas: No.8 Op.13 "Pathetique", No.14 Op.27-2
"Moonlight", No.17 Op.31-2 "Tempest", No.23 Op.57
"Appassionata", No.26 Op.81a "Les Adieux",
No.30 Op.109, No.32 Op.111
Brendel (No.8 ... to No.26) 2 CDs Philips 438730
Pollini (No.30 to No.32) DG 429570
Two outstanding analogue recordings that you must have.
Brendel's is a Philips Duo (two discs for the price of one). If you
want digital sound, Brendel is recording all again for Philips but
you will have to buy more records to have the selection I
recommend, and the price of each record is also higher.
Symphony No.1 in C Op. 21
Karajan, Berlin Phil. + Sym. 8 (LD) Sony SLV 46363
Abbado, Vienna Phil. + Sym. 4 DG 427301
Bernstein, Vienna Phil. + Sym. 7 DG 419434
Abbado and Bernstein play the exposition repeats in the
1st, 2nd and 4th movements. Karajan's is coupled with an excellent
Eighth, Abbado's with the best recorded Fourth, and Bernstein's,
the only analogue recording here, with an excellent Seventh.
The current trend to record the complete symphonies of
Beethoven is a silliness and is the only reason for the large
amount of recordings of his insipid Second. It is noteworthy that
Furtwangler never recorded it. Wise decision!
Symphony No.3 in E-Flat Op. 55 "Eroica"
Bernstein, Vienna Phil. + Sym. 7 (LD) DG 072211
+ Egmont Ovt. (CD) DG 413778
Abbado, Vienna Phil. + Coriolan Ovt. DG 419597
Herbig, Royal Phil. + Fidelio Ovt. Tring TRP026
These recordings are of demonstration quality. In all the
three, the horn playing in the climax of the Marcia Funebre is
astonishing. Herbig is the only here that does not repeat the
exposition in the first movement, Bernstein is the only recorded
analogue and the sound in the CD version is even better than in LD,
with more ambience.
Symphony No.4 in B-Flat Op. 60
Bernstein, Vienna Phil. + Sym. 8 + Ovts. (LD) DG 072278
Kleiber, Concertgebouw + Sym. 7 (LD) Philips 070200
Abbado, Vienna Phil. + Sym. 1 DG 427301
Solti, Chicago Sym. + Sym. 5 Decca or London 421580
All the performances are equally brilliant, all conductors
play the repeats in 1st and 4th movements and nobody here plays the
unpleasant appogiatura in the development of 1st movement that
Karajan always did. Bernstein's and Kleiber's are only available on
video and both recorded analogue, the former besides a very good
Eighth, overtures from Egmont and Prometheus, plus a few excerpts
of this ballet, the later coupled with the best performance of the
Seventh. Abbado's coupled with a highly recommended First has the
best sound. Solti's is coupled with a slow Fifth.
Symphony No.5 in c Op. 67
Kleiber, Vienna Phil. + Sym. 7 DG 447400
Karajan, Berlin Phil. + Sym. 8 DG 419051
Gibault, Royal Phil. + Schubert Sym. 8 in b Tring TRP022
I heard dozens of recordings of this symphony but only
these three I can recommend.
Kleiber's performance is full of energy, enthusiasm and
detail. His allegro com brio is both fast and imposing. The
orchestra responded to his conducting with superb playing, and the
rich sound of Musikvereinsaal is faithfully recorded by Hans-Peter
Schweigmann. It is coupled with an equally successful Seventh.
Karajan in his recording of 1977 also obtains similar
playing from his orchestra, but his tempos are less solid and the
sonority of Philharmonie is no match for the viennese hall, nor
Gunter Hermanns' recording is so clear as the former. This is
coupled with an Eighth similar in performance.
The Royal Philharmonic playing matches its teutonic rivals
and the recording, the only digital here, made by engineer Dick
Lewzey in a London studio, surpass both in clarity, but Madame
Claire Gibault's tempos are slower and her reading has a different
approach. A recommended recording of Schubert "Unfinished" symphony
fills the CD.
A performance of Beethoven's Fifth without exposition
repeat in the 1st movement is, in my opinion, unacceptable; so all
the CDs listed here includes it, but only Karajan omits the one in
the 4th movement.
Symphony No.6 in F Op. 68 "Pastoral"
Bernstein, Vienna Phil. + Sym. 5 + L.III (LD) DG 072201
+ Ovt. Leonore III (CD) DG 413779
Haitink, Concertgebouw + Sym. 5 Philips 442404
Kegel, Dresden Phil. + Sym. 5 Laserlight 15825
Not so difficult as the Fifth from the artistic viewpoint,
this work demands excellent engineering to show its beautiful
details.
Bernstein is the only one you can also see in this well
directed film by Humphrey Burton. His Leonore III is also very
good. His Fifth, in my artistic viewpoint, is barely acceptable.
Haitink performance is coupled with an energetic Fifth and
has very good sound.
Kegel received the best engineering. This bargain priced
record shows how a talented engineer can make miracles with a small
budget. Recorded in East Germany, where money was always in
shortage, this is a demo quality disc with clear and well balanced
sound. The Fifth by Sanderling that fills the disc is below
average.
Kegel is the only one in this list to omit the first
movement repeat, but no one here cuts the scherzo by half as
Karajan did in the 1960s and 1980s.
Symphony No.7 in A Op. 92
Bernstein, Vienna Phil. + Sym. 3 (LD) DG 072211
+ Sym. 1 (CD) DG 419434
Kleiber, Concertgebouw + Sym. 4 (LD) Philips 070200
Kleiber, Vienna Phil. + Sym. 5 DG 447400
Abbado, Vienna Phil. + Sym. 8 DG 423364
Haitink, Concertgebouw + Sym. 5 Philips 420540
All conductors in this list execute the repeat in the
scherzo that happens just before the trio. This repeat has such a
strong effect that without it the symphony is crippled.
Kleiber and Concertgebouw performed the best Seventh
to date. If you have an LD player and are lucky enough to find, buy
Bernstein LD too. Kleiber with Vienna Phil. is my 1st choice on CD,
Abbado's is coupled with a very good Eighth, and Haitink's has
the best sound.
Symphony No.8 in F Op. 93
Bernstein, Vienna Phil. + Sym. 4 + Ovts. (LD) DG 072278
Karajan, Berlin Phil. + Sym. 1 (LD) Sony SLV 46363
Karajan, Berlin Phil. + Ovts. DG 415507
Karajan, Berlin Phil. + Sym. 5 DG 419051
Abbado, Vienna Phil. + Sym. 7 DG 423364
Dorati, Royal Phil. + Sym. 9 2 (LP) DG 2726073
2 (LP) Mercury SRI2-77013
As in the Fifth, I can't tolerate a performance of the 1st
movement without the exposition repeat, so it is played in all
recordings in this list.
The Dorati's recording was made by the engineers and
producers that later formed the Chandos label, and sold in England
by Deutsche Grammophon and in North America by Mercury (both
Polygram owned companies), but was not released in CD format yet.
Although analogue it shows the clarity and brilliance that later
made this label famous. It is not included here only by its sonic
virtues but also by the geniality of Dorati reading, and the Ninth
that comes together - one of the best.
On CD the best choice is Karajan + Overtures, but you will
be happy with any one in this list.
Symphony No.9 in d Op. 125 "Choral"
Bernstein, Multinational Orchestra (LD) DG 072250
Anderson, Walker, Konig, Rootering (CD) DG 429861
Karajan, Berlin Phil. (LD) DG 072233
T-Sintow, Baltsa, Kollo, van Dam CD not available
Abbado, Vienna Phil. DG 419598
Benackova, Lipovsek, Winbergh, Prey
Dorati, Royal Phil. + Sym. 8 2 (LP) Mercury SRI2-77013
Farley, Hodgson, Burrows, Bailey 2 (LP) DG 2726073
Jochum, Concertgebouw Philips 422464
Rebmann, Reynolds, de Ridder, Feldhoff
Jochum, London Sym. + Fidelio Ovt. Angel EMI 489927
Te Kanawa, Hamari, Burrows, Holl
Beethoven last symphony is his best work and also his most
difficult, because it demands very powerful soloists and a good
choir. To put all this forces together is no trivial task, and
capturing all this on record with proper balance demands a skillful
engineer.
Before making my indications I counted the number of
recordings and performances I listened of this work, and that
totalize 54 sound recordings, 11 videos and 2 concerts, one by
Ozawa in Tanglewood, USA(1974) and one by Masur in Rio de Janeiro,
Brazil(1986). The six recordings listed above are the ones that
stand from the crowd.
Recorded for Philips in 1969, Jochum conducted the best
performance of this work. Dorati is close and it is a pity that was
not released on CD yet. Jochum repeated the performance for EMI,
ten years later, with the London Symphony and a better tenor but a
not so good bass. Abbado received the best engineering, with a
sound even better than in Bernstein's, the other digital recording
in this list.
The videos, both directed by Humphrey Burton, shows two
memorable Ninths: Bernstein conducts an orchestra including
musicians from countries involved in the last world war, on the
festivities of German reunification, at the Schauspielhaus, east
Berlin; Karajan conducts the Berlin Philharmonic at home, in his
most successful recording of this work, with van Dam and the ladies
excellent as usual and Kollo in an extraordinary good performance.
Bernstein is the only one in this list who ask the bass to
sing the appogiatura in his solo part that changes the notes in the
word "tone", a fault that I can tolerate but not endorse.
If you have money and luck to find, buy them all.
BERLIOZ, Hector (1803-1869)
Overtures: Benvenuto Cellini; Carnaval Romain. Etc.
Music from "La Damnation de Faust": Danse de Sylphes;
Menuet des Follets; Marche Hongroise.
Ansermet, Orch. de la Suisse Romande Decca (LP) SXL 6165
London (LP) CS 6439
This nice selection of small works is unique in the record
catalog, and although the "Etc." lives room for many combinations,
no record company has released it, with whoever conductor, on CD
yet.
Symphonie fantastique, Op. 14
Colin Davis, Concertgebouw Philips 411425
Karajan, Berlin Phil. DG 415325
Stokowski, New Philharmonia Decca or London 430137
This work demands huge orchestral resources, including
church bells in the fifth movement, that are very difficult to
place in a concert hall. Most conductors uses bells one octave
above to solve this problem, but two conductors in this list found
a way to play the demanded notes, and Gunter Hermanns recorded the
bells one octave bellow in another place and mixed the sound with
the performance by Karajan.
In the above list, only Colin Davis plays the didactic
repeats in the 1st and 4th movements, and also the controversial
cornet part in the 2nd movement.
BIZET, Georges (1838-1875)
Carmen - Opera (1875)
Migenes-Johnson, Domingo, Raimondi, others,
Maazel, Orch. Natl. de France 2 (LD) Columbia 30487
Troyanos, Domingo, van Dam, others,
Solti, London Phil. 3 CDs Decca or London 414489
Producer Christopher Raeburn together with engineers
Kenneth Wilkinson and Colin Moorfoot did a splendid job for Solti
and the excellent cast he chose for this recording. Since its
release in 1976 no other team produced an worth competitor to its
sound and artistic qualities yet. They left almost nothing to be
done by others except one thing : a movie.
This was what Francesco Rosi did in 1984 with Lorin Maazel
and his cast. Not images from a concert performance but a movie
where the stars are the singers in Maazel recording for Erato.
Julia Migenes-Johnson is fascinating in the title role - she acts
so well as she sings. The engineering is the weak part, especially
after mixing with location sounds and transfer to film, but do not
spoils the whole.
BRAHMS, Johannes (1833-1897)
Concerto No.1 in d for Piano and Orchestra, Op. 15
Ashkenazy, Haitink, Concertgebouw Decca or London 410009
Brendel, S-Isserstedt, Concertgebouw Philips (LP) 6500623
The Philips recording was not released in CD format yet.
Instead Philips released a new recording by Brendel with Abbado
conducting the Berlin Philharmonic (420071) that is an example of
how modern technology in wrong hands can produce abominable sound.
Concerto No.2 in Bb for Piano and Orchestra, Op. 83
Pollini, Abbado, Vienna Phil. (LD) DG 072293
(CD) DG 431596
Zimerman, Bernstein, Vienna Phil. (LD) DG 072207
(CD) DG 415359
Anda, Karajan, Berlin Phil. DG 431162
Richter, Leinsdorf, Chicago Sym. RCA 07863-56518
The 1960 recording by Richter remains the reference to
compare all the others. He plays this work at super-human speed
without a fault, fluently and producing a beautiful sound.
Concerto for Violin and Orchestra in D, Op. 77
Heifetz, Reiner, Chicago Sym. + Beethoven RCA RCD1-5402
Perlman, Giulini, Chicago Sym. Angel EMI 47166
Heifetz plays his own cadenza for the 1st movement, Perlman
plays the one by Joseph Joachim. Heifetz plays with passion,
Perlman with reverence. Heifetz disc is coupled with the best
performance of Beethoven Violin Concerto, Perlman and Giulini,
recorded more than 20 years later, shows better sound.
Symphony No.1 in c Op. 68
Karajan, Berlin Phil. (LD) Sony SLV 53477
Kertesz, Vienna Phil. + Sym. 2 2 CDs Decca or London 4XXXXX
Solti, Chicago Sym. Decca or London 414458
Symphony No.2 in D Op. 73
Kertesz, Vienna Phil. + Sym. 1 2 CDs Decca or London 4XXXXX
Symphony No.3 in F Op. 90
Karajan, Vienna Phil. + Dvorak Sym. 8 Dec. or London 417744
Kertesz, Vienna Phil. + Sym. 4 2 CDs Decca or London 4XXXXX
Solti, Chicago Sym. + Academic Ovt. Decca or London 414488
Symphony No.4 in e Op. 98
Giulini, Vienna Phil. + Tragic Ovt. DG 429403
Kertesz, Vienna Phil. + Sym. 3 2 CDs Decca or London 4XXXXX
The ill-fated number two (remember Beethoven) is indicated
in reverence to the work of Istvan Kertesz and Gordon Parry, that
were the only to find some flowers in this desert. I believe this
composition inspired James Huneker to write "Exit in case of
Brahms" in the emergency exit of a hall in Philadelphia.
The Third Symphony is Brahms' masterwork, plenty of musical
ideas, beautiful melodies and flow. Karajan recorded it in stereo
for the first time in 1960 for Decca and although he did it again
with the Berlin Philharmonic in 64, 77 and 88 for DG, the magic was
never repeated because of production and engineering deficiencies.
Despite its tape noise, the work of James Brown for Karajan remains
my first choice. It's coupled with one of the best Dvorak's Eighth.
James Lock placed the microphones a bit far for Kertesz, and Solti
received from Kenneth Wilkinson the best possible balance for a
recording made in the Medinah Temple.
The Fourth is another example of Kertesz's talent and his
performance is only second to Giulini's in sound quality. Giulini
received from Hans-Peter Schweigmann the most refined and up to
date engineering, and the somber mood of this work is a perfect
match for his approach and tempos. An excellent Tragic Overture
fills the disc.
The First is Brahms' largest symphony and its introduction
a powerful piece that produces sudden impact and stays in memory
forever. From artistic viewpoint my order of preference is Solti
detail, followed by Kertesz energy and by Karajan smoothness. From
engineering, Telemondial crew achieved a perfect balance working in
the Philharmonie, Colin Moorfoot put the mikes a bit close for
Medinah Temple acoustics, and James Lock a bit far for
Sofiensaal's. The CD version by DG of Sony video is not included
because I never heard it and many times they differ.
BRUCKNER, Anton (1824-1896)
Symphony No.4 in Eb "Romantic"
Barenboim, Chicago Sym. + Psalm 150 DG 439448
Jochum, Dresden St. Orch. + Sym. 9 Angel EMI 68527
Karajan, Berlin Phil. DG 415277
Muti, Berlin Phil. Angel EMI 47352
All performances in my list share one approach that I judge
essential to this work - the orchestra plays a timpani roll in the
climax of development, in the middle of 1st movement. I don't know
the origins of this practice because in Brazil it is very hard to
find scores of this work, and I never had the opportunity to visit
Vienna and search the public libraries to find out. What I know is
that it has nothing to do with Novak or Haas editions. I am shocked
by the fact that in the sleeve notes to the above recordings no one
says a single word about this.
Anyone hearing the first version of this work (1874) has
the feeling that in the 1st movement some parts are being played
backwards, it was really awful. The whole symphony was drastically
revised by Bruckner between 1874 and 1880, and received a complete
new Scherzo.
I heard more than 21 recordings of this work and only the 4
conductors above adopted this practice, so I concluded that this is
a controversial point similar to the trumpet part in the "Eroica",
but in the opposite sense - it is fashionable to exclude it.
To complicate even more, there is also a cymbals crash in
the beginning of forth movement, just before the return of main
theme from first movement, that Jochum and Karajan adopted but
Barenboim and Muti did not.
With an emphasis on brass and huge dynamics, the
orchestration is a challenge to conductors and even more to
engineers recording this work, as brass are prone to overload the
equipment and also to eclipse the strings.
Gunter Hermanns, in the remaster for CD, achieved a good
balance for the performance conducted by Karajan. Claus Struben
also did a good job for Jochum but the sound needs some tune in the
bass range. Tony Faulkner put microphones a bit far from strings in
his work for Muti. Klaus Scheibe did some cut in the bass and some
boost in the treble in the recording for Barenboim.
Barenboim recorded this work again for Teldec with the
Berlin Philharmonic and this time with cymbals crash too, but sadly
the horn player failed in the herculean solo that closes the first
movement. It was a live recording and there was no touch-up
sections to correct it.
Symphony No.6 in A
Barenboim, Chicago Sym. DG (LP) 2531043
Karajan, Berlin Phil. DG 419194
Solti, Chicago Sym. Decca or London 417389
The Adagio comes near perfection in the hands of Karajan,
his musicians and Gunter Hermanns - they left almost nothing to be
done. If you like Bruckner you must have this CD. In the first
movement, Karajan has more energy, Solti more solemnity, Barenboim
stays in the middle, and they are equally successful.
Symphony No.7 in E
Giulini, Vienna Phil. DG 419627
Karajan, Vienna Phil. DG 429226
Both recordings are digital, by the same orchestra, with
excellent sound, and both conductors adopt the controversial
cymbals crash in the magnificent Adagio, although there are many
differences between the two performances starting from the score:
Giulini choose Novak's and Karajan Haas'. Look no further - buy
both.
© Copyright 1998 Amilcar Schiappe Pereira End of section B.