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Symphonie n° 6, WAB 106 / Orchestre Symphonique de Nouvelle-Zélande, dir. Georg Tintner
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5 of 5 people found the following review helpful
4.0 out of 5 stars
A very good Bruckner 6 in its own right and superb value at bargain price
24 Aug 2009
By Colin Fortune
VINE™ VOICE
Format:Audio CD
Georg Tintner's whole Bruckner Cycle for Naxos is eminently recommendable and the standards of playing and recording engineering are always at least in the "very good" category. Sometimes this was won rather against the odds as is said to have been the case with this New Zealand recording. The Orchestra were not in a good mood as a proposed tour had been cancelled and the Tintner recording sessions took place in the space that had appeared in their schdule. It is a testimony to the humanity and musicianship of Georg Tintner that such a satisfying performance emerged and I hope that the orchestral musicians have been a little soothed by having produced such a fine disc.
All the movements are played at just the right tempo and Tintner is one of the very few to observe the speeding up at the end of Movement 1 just as it is written. His notes for the disc tell of the difficulty of making this (and other things required by Bruckner) work well and he is generally successful, especially in this recording. The Adagio is deeply touching, the Scherzo exhillerating and the Tintner makes good sense of the disperate Finale. The slight criticism I have is that (at least for my ears) the recorded level of the disc is a little on the low side, but if you turn up the volume this is easily cured. The direct competition with Klemperer's superb disc Symphony No. 6 (Klemperer/Philharmonia Orchestra) is fierce, however. The Philharmonia are gorgeously recorded on that disc and Klemperer's grip and logical approach to the tempo relations stands in contrast to Tintner's more fulsome appreach. It is worth paying the few pounds extra for Klemperer if you only want one recording of this engagning work, but the real solution is, of course, to buy both!
All the movements are played at just the right tempo and Tintner is one of the very few to observe the speeding up at the end of Movement 1 just as it is written. His notes for the disc tell of the difficulty of making this (and other things required by Bruckner) work well and he is generally successful, especially in this recording. The Adagio is deeply touching, the Scherzo exhillerating and the Tintner makes good sense of the disperate Finale. The slight criticism I have is that (at least for my ears) the recorded level of the disc is a little on the low side, but if you turn up the volume this is easily cured. The direct competition with Klemperer's superb disc Symphony No. 6 (Klemperer/Philharmonia Orchestra) is fierce, however. The Philharmonia are gorgeously recorded on that disc and Klemperer's grip and logical approach to the tempo relations stands in contrast to Tintner's more fulsome appreach. It is worth paying the few pounds extra for Klemperer if you only want one recording of this engagning work, but the real solution is, of course, to buy both!
2 of 4 people found the following review helpful
By Mazamban
Format:Audio CD
This Bruckner 6 was the first in the Tintner series that I bought and I have them all now. Having collected records of the Bruckner symphonies for 50 years now, and having (in addition to the Tintner set) the complete sets by Jochum/DGG, Haitink, Karajan and Masur, as well as Bruno Walter's recordings of symphonies 4, 7 and 9, I would say the two sets to live with are Jochum/DGG and Tintner. The orchestral playing on this 6th by Tintner is excellent, and what makes this for me the finest 6th is the slow movement, taken at what seems to me a genuine adagio, unlike anyone except Haitink. I bought the Karajan set (on vinyl) for £5 and I can't decide whether it was good value or not. I unfortunately don't believe that Karajan has much worth hearing in this music, whereas Tintner and Jochum get right to the core of it. And in this Tintner set we have all the original versions of symphonies 2, 3, 4 and 8.
1 of 6 people found the following review helpful
Format:Audio CD
There are many reasons to visit New Zealand. It is a choice destination for those among us who want to revisit old taboos regarding sheep. Wannabe warriors might want to learn the Haka from the All Browns or All Blacks or whatever they are called nowadays. Perhaps Kiri Te Kanawa throws the odd party or two with young sopranos in attendance.
But what about Bruckner? Is New Zealand the . . . fifty first place that comes to mind as a recording venue for his symphonies?
May be not. I would have said seventh sixth, immediately after the Solomon Islands.
I do not know what prompted both Naxos and Tintner to tackle the Bruckner Sixth - one of the toughest nuts in the symphonic canon - in the Land of the Long White Cloud. Perhaps the Guadalcanal Philharmonic was not available, or Georg wanted to water-ski in Milford Sound. In any event, this Bruckner Sixth is a dud. The woolly Naxos recording further militates one's enjoyment.
The New Zealand Philharmonic do not have Bruckner in their boot-straps, let alone bones. Crudity abounds in the famous `timpani recapitulation' some eight minutes into the first movement. Its coda sounds more like the Straits of Malacca than the Homeric seas of Tovey. The amassed entry of the violins with the first big melody of the adagio is another woofer. Tintner speaks about the challenge of this finale in the booklet but he seems unable to avert the very problems that he sketches: namely, the tedium imparted by the theme (Gesangeperiode, first introduced in C Major) and its incessant repetitions. One is grateful when the Kiwi orchestra limp over the line.
Worse still, Tintner's Bruckner rarely smiles. I have many of his CDs in my collection. They rarely see the light. What a pity that Naxos did not use Wildner and his Westphalians for this noble enterprise.
Eschenbach Bruckner: Symphony No.6 or Stein Symphony No. 6 / Weber - Overtures are far more idiomatic in this symphony.
But what about Bruckner? Is New Zealand the . . . fifty first place that comes to mind as a recording venue for his symphonies?
May be not. I would have said seventh sixth, immediately after the Solomon Islands.
I do not know what prompted both Naxos and Tintner to tackle the Bruckner Sixth - one of the toughest nuts in the symphonic canon - in the Land of the Long White Cloud. Perhaps the Guadalcanal Philharmonic was not available, or Georg wanted to water-ski in Milford Sound. In any event, this Bruckner Sixth is a dud. The woolly Naxos recording further militates one's enjoyment.
The New Zealand Philharmonic do not have Bruckner in their boot-straps, let alone bones. Crudity abounds in the famous `timpani recapitulation' some eight minutes into the first movement. Its coda sounds more like the Straits of Malacca than the Homeric seas of Tovey. The amassed entry of the violins with the first big melody of the adagio is another woofer. Tintner speaks about the challenge of this finale in the booklet but he seems unable to avert the very problems that he sketches: namely, the tedium imparted by the theme (Gesangeperiode, first introduced in C Major) and its incessant repetitions. One is grateful when the Kiwi orchestra limp over the line.
Worse still, Tintner's Bruckner rarely smiles. I have many of his CDs in my collection. They rarely see the light. What a pity that Naxos did not use Wildner and his Westphalians for this noble enterprise.
Eschenbach Bruckner: Symphony No.6 or Stein Symphony No. 6 / Weber - Overtures are far more idiomatic in this symphony.
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