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Bruckner: Symphonies Nos. 8 (1887 Version) & 0 (Die Nullte) [CD]

Anton Bruckner Audio CD
4.2 out of 5 stars  See all reviews (4 customer reviews)
Price: 11.03 & FREE Delivery in the UK. Details
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Bruckner: Symphonies Nos. 8 (1887 Version) & 0 (Die Nullte) + Bruckner: Symphony No. 5 + Bruckner: Symphony No. 6 in A major
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Product details

  • Orchestra: National Symphony Orchestra of Ireland
  • Conductor: Georg Tintner
  • Composer: Anton Bruckner
  • Audio CD (29 Jun 1998)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: CD
  • Label: Naxos
  • ASIN: B000009OMA
  • Other Editions: MP3 Download
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 94,891 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         


Disc 1:

Samples
Song Title Time Price
Listen  1. Symphony No. 8 in C Minor, WAB 108 (original 1887 version, ed. L. Nowak): I. Allegro moderato17:47Album Only
Listen  2. Symphony No. 8 in C Minor, WAB 108 (original 1887 version, ed. L. Nowak): II. Scherzo: Allegro moderato - Trio: Allegro moderato15:18Album Only
Listen  3. Symphony No. 8 in C Minor, WAB 108 (original 1887 version, ed. L. Nowak): III. Adagio Feierlich langsam, doch nicht schleppend31:10Album Only


Disc 2:

Samples
Song Title Time Price
Listen  1. Symphony No. 8 in C Minor, WAB 108 (original 1887 version, ed. L. Nowak): IV. Finale: Feierlich, nicht schnell25:19Album Only
Listen  2. Symphony No. 0 in D Minor, WAB 100, "Nullte" (ed. L. Nowak): I. Allegro14:36Album Only
Listen  3. Symphony No. 0 in D Minor, WAB 100, "Nullte" (ed. L. Nowak): II. Andante14:31Album Only
Listen  4. Symphony No. 0 in D Minor, WAB 100, "Nullte" (ed. L. Nowak): III. Scherzo: Presto - Trio: Langsamer und ruhiger 7:170.89  Buy MP3 
Listen  5. Symphony No. 0 in D Minor, WAB 100, "Nullte" (ed. L. Nowak): IV. Finale: Moderato11:09Album Only


Product Description

Symphonie n° 8, WAB 108 - Symphonie n° 0, WAB100 / Orchestre Symphonique National d'Irlande, dir. Georg Tintner

Customer Reviews

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Most Helpful Customer Reviews
25 of 25 people found the following review helpful
5.0 out of 5 stars Bruckner's first effort, weightily delivered 30 July 2007
By Colin Fortune VINE VOICE
Format:Audio CD
If you have heard a concert or radio broadcast of Bruckner's 8 Symphony and are considering buying a CD then the music on these discs will almost certainly NOT be the same as what you originally heard. The 1887 first version of Bruckner 8 was the version that Herman Levi refused to perform, sending the score back to Bruckner whilst confessing that he did not understand it. This, depending on the version of the story you believe, either sent Bruckner into a desperately depressed mental state, causing him to enlist the help of the Schalk brothers in thoroughly revising the score in a desperate attempt to get it played (Robert Haas' view, justifying his inclusion of sections of the 1887 version in his edition in 1939 of the revised score for the International Bruckner Society), or, following on the view of Benjamin Korstvedt and other contemporary musicologists, he recognised various weaknesses and resolutely removed them - improving on the orchestration (triple woodwind instead of double) and the changes of key at central points in the work as he went along. It is the revised version of 1890 that generally gets performed in concert and, in an interview in 2004 on Radio 3, Lorin Maazel remarked that Bruckner made both losses and gains in the 1890 revision but that in his opinion the gains outweigh the losses. One of the "losses" recovered that you will hear in this recording is the end of the first movement with a fortissimo fanfare of brass in C major which, in my opinion as I think that it gives the game away about what will happen at the very end of the symphony, was good to dispense with! Read more ›
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23 of 24 people found the following review helpful
5.0 out of 5 stars Bruckner's Greatest Symphony Strides Forth 11 July 2005
Format:Audio CD
George Tintner's survey of Bruckner's Symphonies fires on all cylinders. He calls forth playing from his Irish orchestra that is quite possibly beyond that which they thought they were capable of. His feel for the music is natural, absorbing and revealing.
Here he presents Bruckner's largest work. Bruckner was a deeply religious man and this inspiration is at the heart of Tinter's interpretation. He does not invoke the spiritual by attempting to conjure a religious atmosphere, instead he allows this enormous music to stride forth like the feet of the Creator upon the face of the earth. The majority of conductors prefer the shorter revised version of this symphony. After listening to this performance I find myself asking: were they simply unwilling to give the time and space to this music that it deserves? Tintner lets the music stake out its own territory over a glorious 89 minutes. There is never the feeling that a single bar has been taken too slowly. The secret behind the immense scale in Bruckner's music is that it is sonic chaos theory 100 years before its time, in which a simple governing ideas produce huge forwardly spiralling patterns of sound.
So far, so impressive, but you may say, surely the National Symphony Orchestra of Ireland cannot compete with say, the Berlin Philharmonic? Not directly no. They cannot match the richness of the strings, or the depth in the brass. But it sounds as if the conductor was perfectly satisfied with the musicians at his command. He uses these less intense strings to balance the forward propulsion with the passages of often trodden under pastoral lyricism in the music. He turns the brass here into the very life force and fecundity of nature.
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5.0 out of 5 stars Two fine Bruckner symphonies 26 Oct 2012
By Dr. H. A. Jones TOP 500 REVIEWER
Format:Audio CD
Georg Tintner was a great Brucknerian conductor who died in 1999. This recording was made in 1996, just a few years before his death. Although the National Symphony Orchestra of Ireland is far from being rated one of the world's greatest, in Tintner's hands they obviously are inspired to rise to the occasion. The Zeroth Symphony (`Die Nullte') musicologists tell us was probably written after Symphony No.1. Its strange numbering arises because it was omitted from Bruckner's own catalogue of his works, but it is as inspiring a construction as other Bruckner symphonies. Themes are not developed as thoroughly as they were by the mature composer, but this is still a work well worth listening to.
For the pinnacle of Bruckner's achievements as a symphonist one must listen to the Symphonies Nos. 7 and 8. My only criticism of this 2CD recording would be that the Symphony No. 8 has had to be split between the two discs, the Finale appearing on the second disc while the first three movements are on the first disc. Nevertheless, Tintner and the orchestra bring out the warmth of the music by taking each movement at a more leisurely pace than even George Solti with the Chicago Symphony Orchestra on his Decca recording, so the split between discs is the price we have to pay for this. I think also, unless my ears deceive me, there are more repeats included in the Tintner recording. Despite this slight reservation, this is a lovely recording.

Bruckner: The Symphonies
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2 of 12 people found the following review helpful
2.0 out of 5 stars Georg Tintner v Beer-Butt Chicken 25 Nov 2012
Format:Audio CD
In select performances, Bruckner offers escape-velocity from the passing spectacle of material things. This is not always the case. Just the other day I organised a test: Georg Tintner in the Zero and the Eighth up against Beer Butt Chicken, Australian-style.

Anyone who is familiar with the latter will know how terrifying a practice it is. Grab a chicken and shove a can of Victoria Bitter up its clacker. Do not open the can - it needs to remain fully pressurised (in fact, the results are more vivid if one shakes it up thoroughly beforehand). Place the chook on the BBQ and wait, preferably with a bucket in hand. Provided it does not detonate, sooner or later it will take off into the sky like a London-bound V2 rocket - the trick is to catch the bugger before it hits the ground or the dog gets it.

The salient point is this: at least Beer-Butt Chicken `reaches for the skies' and it did so on the day of the test. In contrast, this Naxos offering remained earthbound in every way. At best, it's another Tintner shelf-clogger.

We are eternally indebted to Hermann Levi. His rejection of the 1887 version of the Eighth prompted Bruckner to undertake an inspired re-composition of this stupendous utterance - and Robert Haas subsequently added to its lustre. Even if one runs with the Nowak or Schalk-ised variants which Knappertsbusch so championed, it is still a fundamentally more potent work than the too-hot-off-the-press version of 1887.

The more I endure - sorry, listen to Tintner in Bruckner, the more arduous it is to view him as being anything other than a glorified coxswain - and all the more so when he teams up with an ordinary unit such as National Symphony Orchestra of Ireland (not exactly the first ensemble that comes to mind when one thinks of Bruckner).
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Amazon.com: 4.2 out of 5 stars  17 reviews
33 of 33 people found the following review helpful
5.0 out of 5 stars Tintner's "Geistliche" Bruckner 6 Oct 2000
By Thomas F. Bertonneau - Published on Amazon.com
Format:Audio CD
Nearly thirty years ago, a former member of the L.A. Philharmonic under Otto Klemperer said to me that he thought of Bruckner as a composer who "had had his day," despite the efforts at the time (the mid-1970s) to foster a widespread revival of interest in his work. The individual in question was Austrian by birth, a man of profound musical education, and an admirer of Bruckner's symphonic art. It simply struck him as implausible that these gargantuan scores, with their extreme demands on audience attention, had much of a future in the concert hall. With slightly less tenacity, perhaps, than Mahler, Bruckner has proved my old friend (long since departed from this earth) wrong. One symptom of the curious peristence of Bruckner is the proliferation of recorded versions of his scores. The Fourth and Seventh Symphonies in particular may be obtained in dozens, if not scores, of competing performances. But it is a mark of how central Bruckner has become to the symphonic repertory that a half a dozen complete sets of his symphonies bedizen the "B" pages of the recorded music catalogues at any given time. To call attention to itself, then, any new traversal of the Bruckner symphonies must possesses extraordinarily individual character. The late Georg Tintner's cycle, for Naxos, is one such, and his interpretation of the mighty Eighth Symphony (C-Minor) tells us why. Tintner - who died, in his late eighties, a year ago - lavished studious attention on the different versions of Bruckner's scores. For his recording of the Eighth, he chose the rarely visited first-version of the work, which is the longest of the two major competing versions, and whose First Movement is significantly different from the one that most of us know. In the familiar version, the First Movement ends quietly; in the original version, it ends with a tremendous fortissimo dominated by the brass and underpinned by the tympany. Minor differences distinguish the other movements of the first version from those of the revised score. The difference that distinguishes Tintner's delivery of any of the Bruckner symphonies in any of their versions, however, is his slow tempi; only Celibidache takes a slower Eighth and not by much. But the slowing-down results in no loss of tension: This is Bruckner the religious visionary yearning for his God. It is "Geistlicher Bruckner," "Spiritual Bruckner." (Note: In the Scherzo, Tintner is not noticeably slower and is, in fact, faster than some other interpreters.) The National Symphony Orchestra of Ireland is a first-rate orchestra. We also get Bruckner's early D-Minor symphony, "Die Nullte," also called Symphony No. 0. Superb.
19 of 19 people found the following review helpful
5.0 out of 5 stars Eighth Symphony (1887 Version) and the "Zeroth" Symphony 8 Aug 2000
By "davidsbundler" - Published on Amazon.com
Format:Audio CD
PERFORMANCES: 9 out of 10.
RECORDINGS: 9 out of 10.
THE 1887 VERSION OF THE 8th SYMPHONY:
There are 2 authentic versions of the 8th -one from 1887 and one from 1890. (The Haas edition is more than just a composite of the 2 authentic versions. Starting with the 1890 manuscript, Haas added a passage from the 1887 Adagio. He then restored 4 of 7 passages from the Finale which Bruckner had crossed out of the 1890 manuscript. Finally, Haas cut several bars from the Finale in order to insert a passage the he composed and which was only sketched by Bruckner!)
The 1890 version contains cuts to the Adagio and Finale. These are (almost) universally condemned. Thus, the 1887 version clearly scores a point here.
Many speak of the 1890 Trio section as being "new". It is only a rewrite. In the 1887 version, after a slightly different beginning, the melodies are recognizable. At its climaxes, instead of harp splashes, Bruckner uses light winds and horns - still delightful. I question the wisdom of the harp in the later version of the Trio. Bruckner's late Adagios are often likened to "long, ecstatic prayers". The harp is used to "celestial" effect in that movement and perhaps should be confined to it.
This brings us to the matter of the first movement coda. Many state that it was a mistake for Bruckner to end the 1887 version of this movement with a loud coda in C major when so much of the movement is in the minor and the passage leading up to it is soft. I would suggest that the 1887 coda should be seen as a statement of defiance against the prevading gloom of the first movement and a typical Brucknerian "prophecy" of the Finale Coda.
Therefore, I suggest that the usual criticisms against the 1887 version (the Trio and the first movement Coda) are erroneous. I believe that, except in the case of the 4th symphony, Bruckner's original thoughts are always superior.
SYMPHONY #0 "DIE NULLTE":
I really dislike the term "Die Nullte" ("The Annulled"). It is a wonderful piece. It is every bit as good as the 1st symphony and, in places, as good as the 2nd. (The latest scholarship shows that it was written completely between those two symphonies and that there was only ever one version.)
SUMMARY:
These CDs live up to the high standards that Dr. Tintner and Naxos have set. I heartily recommend the entire series to all those who are unfamiliar with the composer and to comparative "Brucknerheads".
16 of 17 people found the following review helpful
5.0 out of 5 stars A great performance of a major musical landmark. 18 Mar 1999
By A Customer - Published on Amazon.com
Format:Audio CD
Some of the world's greatest orchestras and most celebrated conductors have recorded Bruckner's monumental 8th Symphony, but this wonderful effort by lesser-known forces ranks right up there with the best. The National Symphony of Ireland is surely not the Vienna Phailharmonic, the Concertgebouw, or the Berlin Philharmonic, but it conveys the conductor's vision well. And if Tintner isn't as celebrated a Brucknerian as Furtwaengler, Jochum, Klemperer, or Karajan, then it may be time for the musical world to expand its long-held opinions. Tintner knows this complex work well, and he pilots this Titanic symphony with a clear vision of where he wants it to go, and how he wants to take it there. Yet, within his unflappable big-picture conception, there are many moments of seemingly improvisational serendipity; little plashes of detail or intensifications of expression reminiscent of that ultimate dionysiac Brucknerian, Furtwaengler. But unlike the usually murky and distorted recordings of the latter, this reading is captured in fine modern sound. And at a budget price, this set is well suited for those hesitant about a composer rumored to be difficult, as well as for converts who already have the piece but who would welcome another view of a cosmic work that can have no single "correct" interpretation.
10 of 10 people found the following review helpful
5.0 out of 5 stars Time to Discover Bruckner's "Original" Eighth Symphony 30 Mar 2000
By Kenneth Duckworth - Published on Amazon.com
Format:Audio CD
I recommend this set to anyone who has puzzled over the darkening sky in Bruckner's last two symphonies. The Seventh, despite its elegiac slow movement, is basically as optimistic as earlier Bruckner symphonies, while the Eighth, in the revised version we all have come to know and love, projects a more ominous horizon that is not entirely transcended by the triumphant tone of the final movement (despite Robert Simpson's argument). I suggest, based on the evidence of this recording by Tintner, that Bruckner's "original" vision is as authoritative here as it has proven to be in the other symphonies that were revised (often many times) at the behest of others. Innumerable differences in orchestral color and weight (generally toward the lighter end of the spectrum), plus the anticipation of the final movement at the end of the first movement, create an entirely different total experience, one rather more like Wagner's Siegfried than the Goetterdaemmerung that is often evoked by the revised version of the Eighth. I think that the ominous tone in Bruckner's revised Eighth and Ninth is less a product of his own approaching death (and possible weakening faith) than of the devastating emotional effect of the rejection of the original Eighth by Hermann Levi. If this is true, then the Bruckner legacy needs to be reconsidered. I think we stand to benefit by coming to know and accept the very human, often garrulous, but ultimately encouraging Bruckner that this first version of the Eighth presents. Thanks to Tintner (as to Inbal in his previous recording) for giving us this opportunity.
8 of 8 people found the following review helpful
5.0 out of 5 stars Impressive Bruckner 21 Jun 2003
By ken yong - Published on Amazon.com
Format:Audio CD
I don't see a problem with revised works until debates emerged about Bruckner's various versions of each symphony (I think with exception of Symphony no 7). Tchaikovsky, Mahler and considerable number of symphonists particularly revised their works thoroughly, but it is Bruckner who gets most attention because usually his revision are done under pressure from many who didn't understand him as quoted from one of his admirers "He is a genius without talent".
This symphony is fascinating mainly because the market only practically has original Haas 1890 version and Nowak recordings in the market and only Inbal, as I understand, recorded this 1887 version. What struck me was this symphony's difference from Haas version is like stepping into an alternate universe. It doesn't sound independent from Haas version, yet there is many intriguing differences.
I personally love the first and second movement. The first movement is much more spiritual and mysterious compared to Haas version, whereas the latter sounds rushed when you hear both versions of the same movement. The second movement has much more vigour whereas the Haas version is more simplified and rather, dignified compared to a much more brash 1887 version. My only complaint is the 1887 version of Adagio, with painful counterpoints and very, very sappy climax. No fault of Tintner for that is why the Adagio is the only redeeming feature of 1890 Haas Version.
Georg Tintner maybe the sole sparkling gem of Naxos' compared to a huge array of maestros on other labels like Deutche Gramophon or EMI. Listeners don't simply buy his Bruckner because simply the recording is much more affordable. The Ireland Symphony is on a class on it's own with Tintner leading "Die Nullte" symphony, i considered the best symphony of Bruckner after Symphony no 4 and 8. I think it's one of the CDs that all lovers of symphonic music should own.
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