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In Reply to: RE: Sorry no: the first two symphonies are charming and we'll leave it at that posted by jdaniel@jps.net on April 13, 2016 at 20:15:32
The Bruckner First is unique in his cannon. It's different from all of the rest to a very large degree. All you need to do is listen. It's his first actual effort [after the "Study Symphony", which was just that - a composition exercise, not an actual creative effort], and the better you know it, the more amazing it sounds. Just listen to that 3rd theme group - so bold [3 theme groups in his 1st movement expositions being one of the stylistic innovations he'd keep in all of his future symphonies].
The Sym #2 is overall a weaker work, and not one that I'd expect to appeal to none Bruckner dedicated listeners. Indeed, I'd expect it to have very low appeal all around to the general listener. Still, for the dedicated Bruckner listener it has many beauties in it, especially in the *optimal* 1877 edition.
But, the Sym #1 is a special, and quite strong work.
Severius! Supremus Invictus
Follow Ups:
too hard. No "dedicated" listening skills needed, but perhaps that's why some dedicated Brucknerians consider it weak. : )Regarding the first, it's a great example of why high-mindedness and innovation alone (think Babbit) don't guarantee success outside the laboratory.
But back to the 2nd: for the "general" listener (at least one who doesn't pretend to love Beethoven's Grosse Fugue) , what's not to like about the the 2nd's slow mov't?
Edits: 04/14/16
And if it's the Linz, was it Linz/Haas or Linz/Nowak. I guess there's even a "Ur-Linz" version (edited by Carragan) available now. I guess if you were listening to Jochum, it must have been Linz/Nowak?I haven't heard the Carragan version, but of the other Linz versions, I like them both, and I like my Chailly recording of the Vienna version too. But for the Linz version, I've always enjoyed the 1965 Neumann/LGO Teldec recording (Linz/Haas) for its freshness and discipline. Some reviewers at the time noted that Neumann imposed a noticeable degree of discipline on the LGO, although his personality seemed more that of a kindly, Bruno-Walter-type figure. He was very prolific as a recording artist, and not all of his recorded performances are successful - but I think he shows his best sides often enough on his recordings to be worthwhile investigating, no matter what the repertoire. I understand there's a pirate recording floating around somewhere of the Brahms Fourth with Neumann and the VPO - I'd love to hear it, assuming it was decently captured.
The second album cover is for you vinyl junkies - and you know who you are!BTW, note to the OP: www.abruckner.com is your friend (live link below).
Edits: 04/14/16 04/14/16
One of the reasons that vinyl guys think analog vinyl sounds superior to digital recording is due to compression in the analog rhelm. It's unavoidable. The end result of compression is that it makes piannisimo sounds louder, therefore more evident. That's how all of those trailing echos become more evident in analog recordings. Digital recording doesn't require that kind of compression. It only requires that peak sounds don't exceed a limit. Therefore, it lacks the ppp compensation by way of compression.
In other words, it's a analog distortion; one of many, many, many analog distortions - all of which I can hear and which grate on my nerves.
Paul McGowan of PS Audio explains it much better than I, in the link.
Severius! Supremus Invictus
or could change your Moniker to Know-It-All.
Unless it's already taken.
He's had a few, over the years.
Some humorless types objected.
Severius! Supremus Invictus
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