[SACD-R][OF] Bruckner - Symphonies Nos. 1-3, 10 Motets (Berliner Philharmoniker, Symphonieorchester der Bayerischen Rundfunks, Eugen Jochum) [3 SACDs] (Tower Records PROC-2283/5) - 1965-1967/2020 (Classical)
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Bruckner - Symphonies Nos. 1-3, 10 Motets (Berliner Philharmoniker, Symphonieorchester der Bayerischen Rundfunks, Eugen Jochum) [3 SACDs] (Tower Records PROC-2283/5) - 1965-1967/2020
Формат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 1965-1967/2020 Жанр: Classical Издатель (лейбл): Deutsche Grammophon / Tower Records Номер по каталогу: PROC-2283/5 Продолжительность: 03:50:03 Наличие сканов в содержимом раздачи: Только обложка альбома Disc 1Треклист:Symphony No. 1 in C minor, WAB 101 ("Linz Version" 1865/66, Ed. Nowak) 01. I. Allegro molto moderato (12:36) 02. II. Adagio (12:35) 03. III. Scherzo. Lebhaft (8:55) 04. IV. Finale. Bewegt und feurig (13:22) 6 Motets 05. Afferentur regi virgines, WAB 1 (2:08) 06. Ave Maria, WAB 5 (4:09) 07. Pange Lingua, Gloriosi, WAB 31 (4:30) 08. Locus Iste, WAB 23 (3:50) 09. Tota pulchra es Maria, WAB 46 (5:22) 10. Os justi meditabitur sapientiam, WAB 30 (5:09) Лог проверки качества (DR12)foobar2000 v2.25.1 / DR Meter v1.0.1 Disc 2Треклист:Symphony No. 2 in C minor, WAB 102 (1877 Version, Ed. Nowak) 01. I. Moderato (17:56) 02. II. Andante (14:04) 03. III. Scherzo. Maessig schnell (6:33) 04. IV. Finale. Ziemlich schnell (13:26) 4 Motets 05. Christus Factus Est, WAB 11 (6:00) 06. Ecce Sacerdos Magnus, WAB 13 (6:15) 07. Virga Jesse, WAB 52 (4:39) 08. Hymnus "Vexilla regis", WAB 51 (6:12) Лог проверки качества (DR12)foobar2000 v2.25.1 / DR Meter v1.0.1 Disc 3Треклист:Symphony No. 3 in D minor, WAB 103 (1888/89 Version, Ed. Nowak) 01. I. Mehr langsam, Misterioso (20:04) 02. II. Adagio, bewegt, quasi Andante (15:17) 03. III. Ziemlich schnell (7:14) 04. IV. Allegro (10:46) Rehearsal - Symphony No. 3 in D minor, WAB 103 05. II. Adagio, bewegt, quasi Andante: rehearsal (29:02) Лог проверки качества (DR11)foobar2000 v2.25.1 / DR Meter v1.0.1 Контейнер: ISO (*.iso) Тип рипа: image Разрядность: 64(2,8 MHz/1 Bit) Формат: DSD Количество каналов: 2.0 Источник (релизер): собственный рип (SACDExtract/Sony BDP-S490) Оркестр: Berliner Philharmoniker (1-1)-(1-4) Symphonieorchester der Bayerischen Rundfunks (2-1)-(2-4), (3-1)-(3-5) Композитор: Anton Bruckner Дирижер: Eugen Jochum Исполнитель: Richard Holm, tenor (1-5)-(1-10), (2-5)-(2-8) Hedwig Bilgram, organ (1-5)-(1-10), (2-5)-(2-8) Ludwig Laberer, 1st trombone (1-5)-(1-10), (2-5)-(2-8) Josef Hahn, 2nd trombone (1-5)-(1-10), (2-5)-(2-8) Alfons Hartenstein, 3rd trombone (1-5)-(1-10), (2-5)-(2-8) Chor des Bayerischen Rundfunks (1-5)-(1-10), (2-5)-(2-8) Wolfgang Schubert, chorus master (1-5)-(1-10), (2-5)-(2-8) Berliner Philharmoniker (1-1)-(1-4) Symphonieorchester der Bayerischen Rundfunks (2-1)-(2-4), (3-1)-(3-5) Eugen Jochum, conductor Доп. информация: (1-1)-(1-4) Recorded at the Jesus-Christus-Kirche, Dahlem, Berlin on 16-19.X.1965 (1-5)-(1-10) Recorded at the Herkulessaal, Residenz, München on 24-26.VI.1966 (2-1)-(2-4) Recorded at the Herkulessaal, Residenz, München on 22-27.XII.1966 (2-5)-(2-8) Recorded at the Herkulessaal, Residenz, München on 24-26.VI.1966 (3-1)-(3-5) Recorded at the Herkulessaal, Residenz, München on 30.XII.1966-8.I.1967 Recording Producer: Wolfgang Lohse Balance Engineer: Klaus Scheibe Editors: Volker Martin (1-1)-(1-4), Guenther Dieckmann (2-1)-(2-4), (3-1)-(3-5), Helmut Najda (2-1)-(2-4), (3-1)-(3-5), Wolfgang Werner (3-1)-(3-5), Rolf Peter Schroeder (1-5)-(1-10), (2-5)-(2-8) DSD Remastering by Emil Berliner Studios in IV.2020 Original LP Liner NotesDG 139 131Symphony No. 1 in C minorAnton Bruckner's First Symphony in C minor, which was written at Linz 1865/66 and first performed there in 1868 is, considered from the historical viewpoint, a highly original and audacious work, even when we remember that it was preceded by the composition of the so-called "Study Symphony in F minor, and by the sketches of the D minor Symphony "Number Nil", though this work was not completed until 1869. Bruckner's unmistakable symphonic personality is already so strongly evident in this C minor Symphony, which the composer later declared to be his first "valid" symphony, that the question of models is of only secondary importance. Despite the influence of Beethoven, Schubert, and above all Wagner, whose "Tannhäuser" and "Lohengrin" Bruckner had heard and studied at Linz in 1863 and 1864, on the development of Bruckner the symphonist, it is evident in his First Symphony that even stylistic elements which he adopted from elsewhere were so completely assimilated by the force of his personality that they were employed in a manner wholly typical of Bruckner. Almost all the outstanding hallmarks of his personal style are present in the First Symphony. This is true of the crescendi of intensity which largely determine the formal structure of the outer movements, as it is of the use of three well-differentiated themes, and of their scope for development. Also highly characteristic are the elemental rhythmic energy of the G minor Scherzo, the preference for dense polyphonic writing, the personal approach to the problems of instrumentation, , and the relationship between diatonic and chromatic elements. Nevertheless the differences between this and most of the later symphonies are not negligible: the first and last movements are only loosely connected thematically, there are no chorale-like themes, nor are there the formally significant pauses which, from the Second Symphony onward, clearly separate the thematic groups from one another. The most surprising feature of the First Symphony, apart from the boldness of certain ideas and episodes, is its impetuosity of expression. Bruckner's creative urge, which had had to be restrained during his long years of training, here broke through with such force that Bruckner himself was at first doubtful about this work. (although he later considered it one of his "most difficult and best"); he was apprehensive about its uncompromising wilfulness, and evidently strove for greater "intelligibility" in the Second Symphony. A characteristically bold feature in the concisely fashioned opening movement (Allegro) of the First Symphony is the grandiose trombone theme (at C in the score of the Linz version), which appears after the marchlike principal subject, the lyrical second subject, and the build-up at B. No less audacious is the principal subject of the Adagio, whose tonality (A♭ major) is at first in doubt, becoming clear only in bar 20. This theme becomes the foundation of the formal scheme ABCAB. Even more adventurous is the structure of the Finale, which, while architecturally sound and logical, has certain improvisatory characteristics about it, and which is also rich in dramatic elements. DG 139 132Symphony No. 2 in C minorAnton Bruckner's Second Symphony in C minor was written in Vienna during 1871/1872, and the successful world première took place there on the 26th October 1873, when the composer conducted. This work differs substantially from the First Symphony, composed five years earlier, both in construction and expressive content. While the First is characterized by bold and original features which show it to be a work marking a "storm and stress" stage of Bruckner's development as a composer, the essential qualities of the Second may be said to be moderation and restraint. No doubt this change of emphasis was partly due to external circumstances. It appears from letters that Bruckner, who in 1868 had given up his position as organist of Linz Cathedral to take up a professorship at the Vienna Conservatoire, felt obliged to take the wishes of audiences into consideration when writing the Second Symphony. It is certainly clear that he strove to make this work more "understandable", a fact indicated by the numerous pauses which it contains. These were intended to clarify the formal structure for the listeners and to bridge abrupt contrasts, but they caused the work to receive the nickname "Symphony of pauses". It is also significant in this respect that classical elements are far more prominent in the Second Symphony than in the First. The Second Symphony probably comes nearer than any of Bruckner's other orchestral works to the example of Beethoven, while the influence of Wagner (together with chromaticism) is here reduced to a minimum. This is not intended to imply that the presence of classical elements in the Second Symphony makes Bruckner's musical "handwriting" any less evident here than in other works. On the contrary, from characteristic "rolling wave" crescendi to the so-called Bruckner rhythm, the most notable features of Bruckner's personal style are all clearly profiled in the Second Symphony. This work is, in fact, of fundamental importance to the development of Bruckner's typical symphonic writing: he began here to compose on a vaster scale, while the themes are assembled into extensive groupings, and take on specifically Brucknerian forms (thus the second theme of each of the outer movements and of the Adagio is fashioned as a "double theme"); for the first time the outer movements are related thematically by motifs common to both, and for the first time, too, chorale-like elements appear (especially in the Adagio). The fundamental characteristic of the Second Symphony may be said to be epic breadth rather than dramatic animation. Also particularly noteworthy are the thematic connections between this Symphony and the Mass in F minor, which dates from 1867/68. The Adagio in A flat major, a mainly lyrical and hymnlike movement founded on the pattern ABABA suggesting rondo form, twice quotes from the "Benedictus" of the Mass (before K and at O), while the Finale twice refers to a passage from the "Kyrie eleison" (at F and after U). The tonal significance of these quotations, which in a sense offer the key to a deeper understanding of the work, should not be underestimated. DG 139 133Symphony No. 3 in D minorIf one wishes to establish the salient characteristics of Anton Bruckner's Third Symphony in D minor, which was written in 1873 and several times revised, it should be considered in conjunction with the Second Symphony, completed a little earlier. A stylistic comparison shows that the expressive media employed are far more diverse in the later work. This is especially clear in the field of harmony, in which the classical and early romantic heritage is here combined with elements of liturgical hymnody, and with modern features in part rooted in the music dramas of Wagner. As compared with the Second Symphony, the Third is marked by an abundance of bold, progressive elements, and it may have been largely these which caused the avant-gardist Richard Wagner, when Bruckner showed him the Second and Third Symphonies at Bayreuth in September 1873, to prefer the Third. (According to Bruckner the Second seemed "too tame" to Wagner.) It may be said of this Third Symphony, which was dedicated "To Master Richard Wagner in deepest veneration", that it brings together the sum of the symphonic experiences of at least half a century. Stylistically it contains features which point unmistakably to Beethoven, Schubert and Wagner. The influence of Wagner, in particular, is evident in many technical details, and also in the construction of the Finale, which abounds in dramatic elements. In the 1st version of the work, too, Bruckner incorporated in it numerous quotations from "Die Walküre", "Tristan" and "Tannhäuser", though some of them were removed in the 2nd version (1878). It should not, however, be necessary to emphasize the fact that there is nothing epigonic or eclectic about the art of Bruckner. Therefore Eduard Hanslick's verdict on the Third Symphony that it was a "vision of how Beethoven's 'Ninth' strikes up a friendship with Wagner's 'Walküre', and finishes up under the hooves of their horses" can only be described as an outstanding critical blunder. The feature of the Third Symphony which most strikingly characterizes it is its enormous wealth of contrasts; among all Bruckner's earlier Symphonies this is probably the one most strongly marked by antitheses. Not only do the individual movements stand out from one another more sharply than is the case in, for example, the Second Symphony, but the themes also appear more plastic and differentiated. Abrupt contrasts of ideas and dynamics frequently occur within a short space of time. An impressive example of this is to be found at the end of the Development in the first movement (at Q in the score of the 2nd version). Even the Adagio in E flat major, which shows a strong affinity to Bruckner's church music and has the arch-shaped formal structure ABCBA, is not without effects of this nature. Then there is tension in the relationship between the generally uneasy, forceful D minor Scherzo and the gentler, ländler-like Trio in A major. In the Finale the contrasts are so extreme as to be highly dramatic. Bruckner himself characterized the contrapuntal combination in the second thematic group (at B) of two so dissimilar elements as the polka-like string passage and the brass chorale as an amalgamation of opposites ("happiness and sorrow of the world"). This interpretation is certainly not to be dismissed as naive.
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