Started by Lilas Pastia, April 06, 2007, 07:15:30 AM
0 Members and 5 Guests are viewing this topic.
Quote from: ultralinear on January 18, 2023, 04:43:03 AMWhile emptying a room last week that I've used as a store for the past 20 years, in amongst all the boxes of books I discovered ... not one but two copies of Robert Simpson's irreplaceable The Essence of Bruckner (for years my go-to guide to all things Brucknerian)
Quote from: ultralinear on January 18, 2023, 04:43:03 AM- and I really do not remember buying it, let alone ever trying to read it - this 1947 study by one of Schoenberg's pupils, which looks a little forbidding but the premise is intriguing so I think I might give it a go.
Quote from: Mahlerbruck on January 23, 2023, 10:37:18 AMMy first ever Recording/CD i have heard of music of Anton Bruckner was Symphony no. 5 conducted by Eugene Ormandy and Philadelphia Orchestra.Now i have heard more Symphony no.5 with other conductors and Orchestra's it is not my favourite or best performance. But i still like it!What is your opinion about this performance of Eugene Ormandy.
Quote from: Daverz on September 02, 2022, 05:58:59 PMBrucknerthon XXIV playlist:- Overture in G minor: Hager/SWF Symphony Orchestra (Amati CD, 1988)- Symphony 1: Järvi/Frankfurt Radio Symphony Orchestra (RCA SACD, 2013)- Symphony 0: Poschner/Linz Bruckner Orchestra (Capriccio CD, 2021)- Symphony 2: Zender/SWF Symphony Orchestra (Amati CD, 1990)- Symphony 3: Asahina/New Japan Philharmonic Orchestra (Fontec/Tower Records SACD, 1996)- Symphony 4: Dohnányi/Philharmonia Orchestra (Signum CD, 2008)- Symphony 5: Haitink/Berlin Philharmonic Orchestra (BPO Blu-ray Audio, 2011)- Symphony 6: Blomstedt/Leipzig Gewandhaus Orchestra (Querstand SACD, 2008)- Symphony 7: Schuricht/Berlin Philharmonic Orchestra (Testament CD, 1964)- Symphony 8: Kubelik/Bavarian Radio Symphony Orchestra (Altus CD, 1965)- Symphony 9: Skrowaczewski/Minnesota Orchestra (Reference Recordings CD, 1996)
Quote from: brewski on February 04, 2023, 03:03:46 PMI'm seeing a lot of highly positive reviews on this recording with Markus Poschner and the Bruckner Orchester Linz. If anyone has heard it, would be eager for comments. Gramophone review here.-Bruce
Quote"...Apart from his profound love for and knowledge of Bruckner's music, Dr. Laczika has strong ideas about the relationship between music and medicine. In his own practice in Vienna he often uses music in therapy, basing his work on the idea that the natural rhythms of classical music — as opposed to those of computerised music — match, on a fundamental level, the rhythms of the human body. Bruckner's almost obsessive preference for strict numerical order corresponds closely with this idea...."
Quote from: Cato on February 20, 2023, 06:26:05 AMEarlier I mentioned that I was revisiting Bruckner and Mahler, a book from 1955, by Hans Redlich.I thought this passage about the String Quartet might interest people:After writing that it would be a "gross exaggeration" to say that the work is a "symphony in disguise," Professor Redlich provide a description of sections which prove the opposite!(from page 94)"...(The quartet) is an attempt to adjust Bruckner's symphonic style to the requirements of an uncongenial medium. This is borne out by a comparison of between its four movements and the movements in his symphonies.The happiest balance is struck in the serenely beautiful Adagio, one of Bruckner's supreme inspirations....the grandeur of this mainly subdued movement becomes apparent at its fff climax, which transgresses the limitations of sonority imposed on chamber music and cries out for translation into majestic sound. A passage such as this clearly indicates that Bruckner could not keep for long within the boundaries of this restricted medium. That he was chafing under this restriction is shown even more clearly by the Scherzo.This ferocious and and dissonant piece, one of Bruckner's least grateful middle movements, shows an indisputable element of strain......All in all, here is plenty of evidence for Bruckner's comparative failure to provide the chosen medium with a really satisfactory work of intimate sonorities." So, "symphony in disguise" or "failure as a string quartet" or...?
Quote from: calyptorhynchus on February 20, 2023, 10:58:32 AMIs he talking about the String Quintet?
Quote from: ultralinear on February 20, 2023, 11:30:00 AMI wondered that. But the Adagio as a "mainly subdued movement"? And the Scherzo as "one of Bruckner's least graceful grateful middle movements"? Surely not.
Quote from: ultralinear on February 20, 2023, 01:36:27 PMAh, I assumed "grateful" had to be a typo - my bad.
Quote from: ultralinear on February 20, 2023, 01:36:27 PMIf the argument is that the Quintet is best seen as a symphonie manqué then I can see the attractions of that, but I happen to think that it's mistaken. None of the orchestrations I've heard seem to me to add anything.
Quote from: calyptorhynchus on February 20, 2023, 07:08:45 PMI think Bruckner, despite the fact that he lived with the sound of the orchestra in his head presumably, managed with the Quintet to write a brilliant piece of chamber music. There isn't anywhere in the work that most obnoxious musical sound: a string quartet or quintet scrubbing away furiously trying to be a full orchestra; whereas in the chamber works of other composers...
Quote from: Jo498 on February 21, 2023, 12:07:54 AMI agree with this but I think that what you describe is fortunately quite rare among great composers. I can think mainly of two string quartets that commit this sin to a certain extent (although I think they are both interesting enough to forgive it), Grieg's and Franck's.
Quote from: Cato on February 24, 2023, 04:12:58 AMOh my! It has been decades since I have listened to this marvelous choral work!The piece evokes an echoing mountainous landscape after sunset:Evening Magic (Abendzauber) by Heinrich von der Mattig Music by Anton BrucknerDer See träumt zwischen Felsen,Es flüstert sanft der Hain.Den Bergeshang beleuchtetDes Mondes Silberschein.Und aus dem WaldesdunkelHallt Nachtigallensang,Und von dem See weh'n LiederMit zauberhaftem Klang.Ich saß am Seegestade,Vertieft in süßen Traum;Da träumte ich zu schwebenEmpor zum Himmelsraum.Wer könnte je vergessenDen wonnevollen Ort!Noch tief im Herzen klingenDie Zaubertöne fort.The lake dreams between rocks,The forest whispers gently.The mountain slope is litBy the silvery light of the moon.From the darkness of the forest,Sounds the song of the nightingale,And from the lake, songs floatWith enchanting sound.I sat at the lakeshore,Lost in sweet dream;I dreamed to hoverAloft to Heaven's realm.Who could ever forgetThis delightful place!Deep in my heartThe enchanting tones still sound.
Quote from: calyptorhynchus on February 26, 2023, 01:33:07 PMHey, quick query, I've heard about the conductor (or conductors) who halve the tempo of the music in the finale of the Fifth when the chorale re-enters. I haven't got a recording where this happens and I haven't found one on YouTube (though I haven't searched exhaustively. Anyone care to name names?
Quote from: Cato on February 27, 2023, 04:00:46 PMEugen Jochum on his DGG recording is your man: I recall one musicologist (his name escapes me) complaining greatly about that halving: he insisted that, if anything, a faster tempo is warranted!You can find it here:
Page created in 0.033 seconds with 24 queries.