My Favourite Bruckner Recordings (episode 3) -- Furtwängler's Bruckner recordings.

Before posting my favourite CDs for individual symphonies, I'd like to post some pictures of those sets which I'd never like to part with. These are the ones I mentioned in episode 2.

What comes first is my Furtwängler's Bruckner collection. He left recordings of Symphonies Nos. 4 to 9. Although the war-time recordings of each of these symphonies are extant, only three of them are complete performances, namely the 5th (28-10-1942), the 8th (17-10-1944) and the 9th (7-10-1944).  For the other three symphonies, there remain only fragments of the 4th and 7th, and the last three movements of the 6th. Apart from the fragmented war-time Fourth (14-16 Dec 1941) which I regretted much missing the chance to purchase the Delta issue, I've collected all the extant Furtwängler's Bruckner recordings. Here shows the pile stacking up on a table.

Symphony No. 4:

This Stuttgart performance was only 1 week earlier than the Munich recording but in much better sound. The interpretation was similar.

The sound is just acceptable.

Symphony No. 5:

Among all these issues the new Testament release is of best sound.

This release was from a private copy of tape from Madam Furtwängler, and the sound is dry and rather 'air-less'. The ensemble of the Vienna Philharmonic on this occasion was not first-rate, particularly in the Finale, which might reflect their declining level in this era.

Symphony No. 6:

An almost sensuous Adagio with mesmerizing ritardandos, and a white-hot Finale.

Symphony No. 7:

Fragments for Furtwängler completists.

The only studio recording in Bruckner by Furtwängler, but this Adagio is lovely nonetheless.

The EMI Historical release has a warmer sound than the HS-2088 Japanese release on the right. On the whole this recording sounds better than the two made in 1951 (below).

Basically the interpretation is more or less the same as the one made in Rome 8 days later.

The sound is not good in this Music & Arts release. Need to find a better transfer to replace this one: either Tahra or Delta.

Symphony No. 8:

The sound in the Altus release is surprisingly good.

The Japanese HS-2088 release is a failure, in an attempt to 'clarify' the sound and add artificial stereo, the remastering just resulted in a thin, rather metallic and separated sound.

This recording of the concert at the Titania Palast is marred by somewhat intrusive audience noise.

The reading is quite different from the other recordings made earlier, and is quite compatible with the serenity evident in the late Furtwängler style.

Symphony No. 9:

Coupled with Symphony No. 7 in the DG Double shown above. This recording is a quintessential example of the lure and power of Furtwängler.