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Bruckner: Symphony No. 5 [CD]

Anton Bruckner , Georg Tintner , Royal Scottish National Orchestra Audio CD
4.0 out of 5 stars  See all reviews (3 customer reviews)
Price: 6.01 & FREE Delivery in the UK on orders over 10. Details
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Bruckner: Symphony No. 5 + Bruckner: Symphony No. 6 in A major + Bruckner: Symphony No.7
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Product details

  • Orchestra: Royal Scottish National Orchestra
  • Conductor: Georg Tintner
  • Composer: Anton Bruckner
  • Audio CD (1 Oct 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: CD
  • Label: Naxos
  • ASIN: B00000148X
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 90,363 in Music (See Top 100 in Music)

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Song Title Time Price
Listen  1. Symphony No. 5 in B flat major, WAB 105: I. Adagio - Allegro20:19Album Only
Listen  2. Symphony No. 5 in B flat major, WAB 105: II. Adagio16:23Album Only
Listen  3. Symphony No. 5 in B flat major, WAB 105: III. Scherzo: Molto vivace14:10Album Only
Listen  4. Symphony No. 5 in B flat major, WAB 105: IV. Finale: Adagio - Allegro moderato25:50Album Only

Product Description

Symphonie n° 5, WAB 105 / Royal Scottish National Orchestra, dir. Georg Tintner

Customer Reviews

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Most Helpful Customer Reviews
10 of 10 people found the following review helpful
5.0 out of 5 stars A revelation 15 Mar 2009
Format:Audio CD|Verified Purchase
Much has been written about the merits of Tintner's Bruckner recordings and there is absolutely no doubt that they deserve to be heard. His Bruckner is big-boned, very refined when necessary - I am not sure I have ever heard the RSNO sounding so beautifully rich of tone - and, in the astonishing finale to the symphony, Tintner pulls out all the stops and delivers the grandest of any on record. This recording sits comfortably alongside those of any of the other more recognised Brucknerians, and well ahead of many, including Haitink, Solti and, in this symphony, Karajan. Only Wand (with Berlin PO) and Jochum (BRSO) could be considred equal or superior to Tintner. Also, this is an amazing bargain, with excellent sound.
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5.0 out of 5 stars A great recording 14 April 2014
Format:Audio CD|Verified Purchase
A great recording. Like all Bruckner symphonies, you find it exciting and contains 'so much music'.
It came well within the delivery date predicted and was well packaged.
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0 of 23 people found the following review helpful
2.0 out of 5 stars Excellent recording of very third-rate music. 15 Aug 2012
Format:Audio CD|Verified Purchase
Excellent recording of third-rate music; long-winded bombast which goes nowhere. It was used as background music to part of an episode of "The World at War" depicting Hitler's triumphant entry into Berlin after his early conquests, and had been chosen by whoever made the propaganda film clip (Goebbels & Co.) which the World at War producers used.
It's unlikely that it will be listened to again,
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Most Helpful Customer Reviews on (beta) 3.6 out of 5 stars  16 reviews
35 of 39 people found the following review helpful
4.0 out of 5 stars Individual and searching account 16 Dec 1999
By Mike Willis - Published on
Format:Audio CD
This was the first of a planned cycle of Bruckner cycle under the late Georg Tinter, a venerable Bruckner conductor who never really received his due until Naxos started to recorded his performances (an earlier Bruckner 6 does not begin to compare with the Naxos remake).
The present performance is rather typical of this conductor in Bruckner. First, there is the obvious love and dedication which have gone into the preparation of the score. The orchestra plays with fire and conviction. Second, there is Tinter's keen ear for detail and his ability to "place" the climaxes of each movement almost to perfection (a gift he shared with Karajan, Furtwanger and, on his day, Knappertsbuch). Third there is the clean, almost clinical orchestral sound which allows you to hear almost every note, and finally, there is a natural sense of pacing which enables the orchestral details to be laid out logically and systematically, yet never in a hurried or laboured fashion.
These ingredients combine to create a unique style in performing Bruckner. This is because Tinter somehows manages to combine the elemental force of a Furtwangler performance with the clinical ear of a Szell - and he does it in a way which seems to be quite individual (and natural; his style is never as forced as Szell). Tinter is always "his own man" and his insights and sincerity shine through in each movement.
These are not easy, slick or smooth performances; but they are questing, searching, individualised (without being mannered) and thought provoking ones, which speak of a life of studying these superb manuscripts. As such they should surely be judged on their own very considerable merits.
This fifth is thus an important and thought provoking document. Ultimately, it is the control of dynamic light and shade which is the most impact (for example as heard in the first movement, especially in the build of up the coda). Don't listen to this performance to be lulled to sleep: listen to it to experience a quest for sincerity and truth. This is a most interesting and thought provoking performance which may be underrated by some reviewers initially.
Tintner's cycle is due to be completed in 2000. It is well worth collecting - perhaps not as an only set - but as one person's quest to find his own way to the heart and soul of a composer he loved all his life. There should always be performances like this in the catalogue: they enrich our understanding of a composer and make us listen with new ears.
9 of 12 people found the following review helpful
2.0 out of 5 stars Hills are moved instead of mountains. 15 Sep 2003
By Jeffrey Lee - Published on
Format:Audio CD
From the beginning, I feel there are a number of things lacking in Tintner's Bruckner Fifth. This impression strengthens as the entire work unfolds. My biggest quip is that there is virtually no sense of commanding power and presence, which is a necessary commodity of Bruckner's symphonic style. I also find Tintner's approach both a little too extroverted and superficial for the way I prefer Bruckner. There isn't enough probing, of getting into the music; therefore, I don't feel drawn into it myself. Momentousness, grandeur, humility, joy---all are not in much evidence. A vanilla Bruckner! To get satisfaction I have to go with Jochum and the Amsterdam Concertgebouw or Bavarian Radio Symphony, Knappertsbusch with the Vienna or Munich Philharmonic and Schuricht with the Vienna Philharmonic. Each of these conductors reveals an exuberant, involving quality replete with a sense of sweep and scale.

Next, a truly big brass sound is not captured on this recording. I can't say I'm sure of the reason why. It might be the recording venue or hall or the sound engineers. Perhaps there is an absence of real weight in the Scottish National Orchestra's horn section. Incidentally, though the orchestra's fundamental execution is fine, there are peak moments when the horns sound as if they are blasting rather than blazing. It seems that too much of the leading edge of the brass is emphasized. Where is resonance or reverberation? A majestic attribute is not one of the salient features of this interpretation.

Finally, my ears search occasionally for more of what some might call an Austrian peasant flavor. I don't know if this is a proper or appropriate expression. I believe I am listening for more of a rustic quality, which I feel eludes Tintner. It's the absence of this aspect combined with a less than imposing AND probing Brucknerian characterization that leaves me somewhat unfulfilled. There is considerably more to this composer than Tintner offers here.
1 of 1 people found the following review helpful
4.0 out of 5 stars Good starter 5th. 23 Feb 2002
By Ward Hilgers - Published on
Format:Audio CD|Verified Purchase
Jochum- DG, Klemperer- EMI, Skrow- A.N., Jochum- Phillips, Schuricht-DG are all great and all so different. I will keep them all! But this recording is only a clean and clear starter 5th. I really wish the Jochum/ Tahra 5th would be released by Harmonia Mundi so we who haven't heard it can experience it. Pressure them to get it out! I used to view this disc as much more enjoyable but I've been listening to the 5th alot and there are superior perfomances.
7 of 10 people found the following review helpful
3.0 out of 5 stars Tempo problems. 9 Aug 2003
By ken yong - Published on
Format:Audio CD
In the development section of the First Movement, Tintner noticed that the Allegro is twice interupted by Adagio quotations from the introduction. He pondered whether it should be played 'Adagio' as the quotes, or move on ahead and sustain the 'Allegro'. So he still conducts it 'Allegro' he claimed.
The tempos and fluctuations that Maestro Tintner employed puzzled me. The adagio is rather quite "poco" and then it presumed with "Moderato" all the way until the Coda (the only fast ones were the fanfare themes). Maybe with Maestro Celibidache, it might work, but the Royal Scottish Orchestra lacked depth in their basses, especially lower brasses and lower strings. The Adagio is like eating waffles without any toppings whatsoever because the strings really sounded shallow. The finale is the only redeeming feature of this recording, but alas, when it comes to the Coda, it's hundred miles more ponderous than Furtwangler's 1951 Salzburg recording. The national symphony orchestra of Ireland is a much better Bruckner orchestra and rivals the likes of Berliner Philharmoniker or Staatskapelle Dresden and I wished the late Maestro is still alive and well to consider recording this Fifth again.
2 of 3 people found the following review helpful
3.0 out of 5 stars Somewhat lethargic in places! 7 Feb 2005
By David Lee - Published on
Format:Audio CD
I find here the approach almost too literal. The orchestra brass are no where near the quality of the Berlin version or the Bavarian Radio version under Jochum. I also find the recorded sound too thin and recessed ....important subjects and repeated motifs are lost in the mix and therefore I find this to be quite far behind the searingly intense approach from conductors like Kempe and Jochum.
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