Bruckner Ninth Finale Completions

Sometimes in life, you really need a little push to do something you have been thinking to do but did not actually do it for whatever reasons or excuses.

This is exactly the case with my homework of a summary of the status of the Finale completion of Bruckner’s unfinished symphony, the Ninth, and its relevant recordings.

Thanks to my good friend who suggested a meeting to discuss this topic, I have been taking an organised look at this interesting and controversial topic for the past week, at long last.

In retrospect, my first encounter with these recordings was a little more than 30 years ago. What excitement the 2 recordings, by Yoav Talmi on the Carragan Finale completion, and Eliahu Inbal on an early draft of the Samale and Mazzuca Finale completion respectively, have given me when they were first released in the late 1980s, is pure nostalgia. 

More later.

P.S. Two recordings not shown are downloads, one of them is the very attractive completion attempt by Letocart, and another is Soudant conducting the Utrecht Symphony Orchestra on an early Carragan completion.

An enlivening path to retread (15) -- Herbert Kegel and his intense Bruckner 8

This Bruckner 8 (Arioso CD ARI110) is special, in that it is characterised by visceral rawness, in the brass and even more so in the tympani which seems trying to break open the sky.

Intensity, tension, Eastern European timbre, intoxicating passion are all key features to this recording.

It is Bruckner on another dimension.

Hail to Kegel the Brucknerian.

The recording year (1970) as shown on the cover is doubtful; some have considered this studio recording to be contemporaneous to his live recording (on ODE) in 1975.

Stunning realism verging on surrealism

 

This SACD is a gem

Stunning realism verging on surrealism -- SACD reincarnation by Analogue Productions of Fritz Reiner's 1958 recording of Pictures. 

The Bydlo evokes goosebumps even in a hot damp night.

My immediate thought is one of paranoia: go and buy a spare copy lest the present one is robbed.

For SACD-reissue's throne, Esoteric please give way to Analogue Productions.

An enlivening path to retread (14) -- Beethoven op. 131 version for string orchestra

Without my realising it, I haven't added any new posts to this series for a long long time -- almost 2 years. 

Recordings of the versions for string orchestra of Beethoven's opus 131 are few and far between. However these two both show the strings section of the Vienna Philharmonic in its full glory. Bernstein's was dedicated to his wife, and as usual with his style, it seems that he tried to milk even the last drop of emotions from the score here. Previn is not a name one usually associates with great Beethoven recordings, but this one is an exception. Listening to them on a cold winter night, I feel positively blessed, with my heart filled with grandeur and warmth of an integrated wholeness.

An enlivening path to re-tread (13) -- Karel Šejna's Dvořák Slavonic Dances

This is a much-treasured item in my collection. I have a soft spot for Czech classical music, be it related to composers, conductors or orchestras alike.

If I have to name only one best kept secret in the Czech classical scene, I'd unhesitantly vote for Karel Šejna. This recording of  Dvořák Slavonic Dances is the quintessential example of Czech classical music in its best. Rhythmic vitality, so important in these dances, and a natural sense of joy in the music making are very much evident here.  Even the great Talich is tamer here.

Experience it yourself if you come across this disc. I'm pretty sure that you won't regret it.

An enlivening path to re-tread (12) -- Bruckner 7th by Matačić

 

I have to thank my good friend Savio for reigniting my interest in this CD and for that matter this grossly underrated Brucknerian, Lovro von Matačić. I came back to this B7 recording just because of a conversation with Savio yesterday: he called me asking for my opinion of this recording because he was lately taken to HQ-CD issued by Columbia Japan. Within the first two batches of these HQ-CDs, two Bruckner symphony recordings are included: this one, and B4 by Blomstedt and Staatskapelle Dresden.

I've always had a personal fondness for the Czech PO because of their special strings and woodwinds sonority. Matačić has recorded B5, 7 & 9 with Czech PO, and this B7 is one of the finest on record. The only other conductor who has recorded more Bruckner symphonies with Czech PO is Gerd Albrecht, with B4, 7-8 for Pony Canyon, and B5 & 6 for Exton. However, Matačić's B7 occupies a special position in my heart.

There are many loveable qualities in this recording. The first to strike me is his rhythmic stability and drive, which goes hand in hand with a natural flow of music. That is not to say that his rhythm is welded on rigid steel, far from it, but there exists nice and gentle rubato which leads to the second nicety of prudent expression of passion and ethos. The orchestral playing is first-rate. I'm also amazed at the degree of transparency Matačić brought to his orchestral palette. The details are all clearly audible there. That may have something to do with the Albert Gutmann edition (1885) he used, which contains a little more "ornamentations" in the orchestration compared with the Haas or Nowak editions, but checking with the Nowak study scores just shows that how meticulous Matačić caressed this music, which brings Sinopoli to my mind.

The felicitous orchestral sonority is consistent with that of Czech PO that I love, and here reinforced by the transparent treatment is all the better. The strings are silky albeit without the sheen of those of VPO, but beautiful in a way of itself. The rich basses should attract many hi-fi buffs, particularly the pizzicato of the double basses which sound so springy. The woodwinds, especially the flute here, are lovely.

I was filled with awe that the exposition of the first movement was so full of bass, almost like a bass continuo. The recording belies its age, as around 18'42" the tympani rumble in the background is clearly audible when the theme reappears. The development is treated like chamber music, which is so delightful.

Matačić is excellent in climaxes and transitions. The buildup to the climax in the Adagio is filled with a strong undercurrent that is wave-like. After the climax the serenity is so beautiful and that is also true in the transition from the flute tune supported by bass pizzicato to the horn tune (19'50" - 20'03"). This is here after the climax that creates a special moment in my mind -- it is so Celibidache. I'll come back to that later. The rhythmic energy is strong in the Scherzo but the trio with much warmth. The finale may be the only blemish in the whole diamond with the brass chorales a little raucous, but what musical energy is released in these chorales which are dotted with some nice rallentando!

In the end, when I listened to the whole symphony yet once again, I was telling myself half-jokingly that it is exactly late Celibidache style with a "normalized" tempo, with the transparency, details, dynamic range, buildup to those climaxes and serenity in the slow passages. But wait a minute. As this recording was made in 1967, well before Celibidache developed his unmistakable late style, should I rather say Celi's most-loved style is just Matačić's with a much broadened tempo?  That may bring me much trouble from Celi fans, but it is really fruit for thought. To be fair, what Matačić ultimately lacks, with his more "down to earth" approach, is what Celi does best in providing his listeners with ample space to imagine and search for their own otherworlds -- in a sense the lure of Zen Buddhism.

An enlivening path to re-tread (11) -- Immortal performances

 

Before the close of 2009, I'm more than happy to re-tread the highly enjoyable paths left open by the recordings of Clara Haskil and Dinu Lipatti. If I'm forgiven to exaggerate a little, I'd say Lipatti's music is God-like and Haskil's angel-like.

Lipatti's rendition of Schumann Piano Concerto here has always given me the feeling of being definitive. The colour and perfection he instilled into his playing is something we can only marvel at. An awesome achievement. Simply out of reach of mere mortals.

Haskil is an apt reminder to those who revel only in the external appearance and manners of a pianist, that music as elegant as angels singing can only be found from the pianist with grace in the heart. This is music that plucks your heart strings.

An enlivening path to re-tread (10) -- Sinopoli's Beethoven Ninth

This Beethoven Ninth is a recording which has not been much talked about. Some of my friends did not even know its existence. But if you somehow come across it, I'd urge you to buy it at once before it is gone.

Sinopoli is well-known for his idiosyncratic interpretation. That usually brings us many surprises in standard repertoire. Not so here, in a sense. He adopted a romantic but not unusual approach. He allowed the music to speak for itself. The minor details were not missed. The Adagio was beautiful.  The choir was really superb, and it crowned the Finale.

A very satisfying Choral Symphony.

An enlivening path to re-tread (9) -- Eduard van Beinum's Brahms First

20 Sep 1947

 

1951

6-7 Oct 1958

Eduard van Beinum's recordings of Brahms First are memorable for his mastery in maintaining the delicate balance among the tragic elements and the intensity of feelings, the natural flow of music, and an unobtrusive degree of rubato.

These records also brought to mind the effort I put into obtaining them, from different countries and at a time when internet purchase was not as effortless as now.

The complete symphonies set from Dutch Masters is particularly treasurable, not only in terms of its rarity, but also in terms of intense musical satisfaction.

Brahms First has a special meaning to van Beinum. He died of a heart attack at the age of 59 while rehearsing this symphony with the Concertgebouw Orchestra.

An enlivening path to re-tread (8) -- Schubert Quintet in C major

Schubert's Quintet in C major, D.956 occupies a special place in chamber-music repertoire. It dated from the last months of Schubert's short life of 31 years, in 1828. It is difficult not to be filled with awe that the last 3 piano sonatas, the "Schwanengesang" song collection and this Quintet are among the works written in that year, when he was terminally ill.

I suppose no lovers of chamber music, or classical music at large, should be unfamiliar with this great Quintet. And I further suppose that no such persons should pass by any opportunity to listen to these 2 recordings. Both recordings reveal musicians who patiently and responsively listen to one another. The ebbs and flows are all there, but down under the surface the inner voices can clearly be heard and enjoyed. The mixture of drama, turbulence, lyricism and etherealness simply makes this Quintet a celebration of life.

It is the quintessence of chamber music not to be missed.

An enlivening path to re-tread (7) -- Young Mutter

The cellophane tape binding the broken edges is a telltale sign of how many times this CD booklet has been taken out and browsed over. It was more than 20 years ago that I bought this disc and the Mendelssohn Violin Concerto played by the then young Anne-Sophie Mutter became my first love of this concerto.

Since then the youthful innocence and abandon radiated from her performance here has sadly, or should I say naturally, attenuated and eventually disappeared altogether from the "mature" Mutter.

A budget-priced CD at that time, but now a true nostalgic item. Listening to it again the other day with my young boy Brian, I could really feel this cogent evidence of how time flies.

An enlivening path to re-tread (6) -- Nelson Freire debut concerto recording

Nowadays the term "under-rated" or "under-appreciated" has become nothing more than a cliché, but not so for Nelson Freire. He has my utmost respect.

This recording (22-27 May, 1968 at Burgerbrau, Munich), together with the Tchaikovsky piano concerto no. 1 made around the same time, effectively launched Freire's career to another level. He was not yet 24 at that time. He is now 65. These 2 concertos are among the finest recorded ones I've listened to. I won't say these are the finest because that would be unfair to my favourite ones by Dinu Lipatti, but they are on much the same level of artistic achievements.

Freire's technique is exceptonal, but it only forms the necessary foundation for the layer of subtlety, finesse, poetry and power that steals the heart of many a listener. His technique will never shine through as the only attribute, as keyboard acrobatics, in his artistic interpretations, unlike so many keyboard technicians who have enjoyed star status.

He is best in elusive romantic works.

This Japanese remastering brings out the best sonic fullness and colour so far. I felt lucky that I came across this Japanese local reissue in Tokyo in 2002.

An enlivening path to re-tread (5) -- Günter Wand's Chicago Brahms First

The happy marriage between Teutonic conducting finesse and American orchestral rigour.

This is a live recording of Wand's American debut, at the fine age of 77, on 19, 20 and 21 January, 1989 at Orchestra Hall, Chicago. When first released, it was an "expensive" disc, featuring only 46 odd minutes of music in Brahms Symphony No. 1 without any coupling. But what music it was! Simply awesome!

The grandeur, gorgeousness and urgency of this symphony has been captured in this performance. It is a telling testament to great Brahms conducting. Clear orchestral balance and colour, with much inner detail heard, is Wand's magic within the Teutonic symphonic palette.

Tension is maintaned all through the entire first movement. Grace decorates the inner movements. The epic finale erupts with immense power, culminating in a grand coda amidst the convincing rhythmic ostinato of the strings. This is the beautiful product from a perfectionist who demanded 11 hours of rehearsal, roughly double the norm, for this performance.

I'm infused with undiluted pleasure every time I listen to this recording again.

An enlivening path to re-tread (4) -- Instruments of the Orchestra

This is one of my favourite discs, and it has proven its worth in the musical education of my children, and me as well.

Lord Menuhin had a very good voice and his crystal-clear diction provides extra joy and excitement to this excellent disc.

I suppose this CD has been deleted from EMI's catalogue, and it is ridulous that it is currently sold from 39 to 108 British pounds at Amazon UK!

An enlivening path to re-tread (3) - The Young Menuhin

Seldom did I buy compilation discs, especially those with only excerpts, but there must be exceptions, as in all other things in life. This CD is virtually exceptional, in that Lord Menuhin recorded his verbal comments on the excerpts (recorded from 1928 to 1944) in this disc. He recounted his impressions on Kreisler, Heifetz, Sibelius and Bartok, and little anecdotes regarding the recordings reproduced in this CD. It is a cogent historical document, and salute to Biddulph for masterminding this production at the 80th birthday of Lord Menuhin in 1996.

Listening to these recordings today, I was as amazed as I first heard them in 1996, and the linkage of history with all these first-hand reminiscences became so touching. It is  so moving when I remember the famous anecdote that after his debut with the Berlin Phiharmonic performing concertos by Bach, Beethoven and Brahms, conducted by Bruno Walter, Albert Einstein embraced him and said, "Now I know there is a God in heaven!" Lord Menuhin was then only 12 years old.

An enlivening path to re-tread (2) -- Menuhin's Beethoven Ninth

I've always treasured Menuhin's early violin recordings, and I'd try to avoid his later post-war ones which in fact might just tarnish his image as a wonderful musician. His work as a conductor in his late years fared much better. Just imagine the wealth of musical experience he has got since his first appearances as a child prodigy, and coupled with the humanitarian stance he took and you have a musician of the highest order of integrity and musicianship.

At the beginning of the liner notes that were written by him, he stated, "For me the orchestral works of Beethoven represent one of humanity's most sacred Temples. Not only a temple as a place -- as most temples -- one location of a given performance -- but a temple in music's own, unbounded dimensions of time and space."

His commitment to Beethoven's symphonies shines through in this Ninth. Feel the energy, vitality and dedication, and you'll be in the heaven of true musicality. With this kind of musical experience, any flaws in this recording will become negligible, and in fact form an integral and human part of this document in music and life.

An enlivening path to re-tread (1) -- Busch Quartet

Last Sunday I went to my parents' place and took a look at my "archive" of CDs stored there, and picked this one up at once for a rendezvous. It was an enlivening experience, a path to treasure when I stepped upon it again, hence the title.

Which quartet's rendition of the Beethoven quartets, particularly the late ones, would give you more pleasure and marvel in terms of beauty, passion, profundity and nobility? I can't find an answer with my limited experience with both historical and modern recordings. It is an understatement to say that their recordings set a benchmark. It's a magical experience listening to them, which were decorated with magical touches.