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6 of 6 people found the following review helpful
Format:Audio CD
Just as the previous two reviewers have stated, this is a monolithic recording of Bruckner's 9th Symphony, carved out of granite it would seem. Here Giulini coaxes the Vienna Philharmonic into playing with an unbelievably rapt tone and with a sense of line that always takes my breath away whenever I listen to it.
The outer movements are certainly broader than is normally the case, but this has the advantage that the listener is able to truly appreciate the luminosity of the scoring and is enveloped in a rarified atmosphere - both intense and meditative. For example, in my opinion the opening minute or two is often taken too fast and played in a matter-of-fact manner, spoiling what is a mysterious and expectant atmosphere where Bruckner gradually reveals the basic elements and building blocks of his musical material. Giulini however really appreciates this opening for what it is, getting the players to build the tension ever so gradually. All sections of the orchestra play with an intelligent sense of phrasing and there is a wonderful variety of dynamic nuance in this performance. The brass are given their head at the major climaxes - but it never sounds raucous or overly aggressive. Giulini is a master at getting this orchestra to vary the tone according to the character of the musical material.
In the scherzo we hear what I can only describe as a chilly wind blowing through the opening section, where the oboe holds the C until the cut-off point. The Viennese players bring an appropriate sense of menace and weight to this movement that is quite intimidating! By contrast the trio section has all the lightness and sparkle that you could want - Giulini revels in the contrast here. How to describe the playing in the Adagio? Heavenly, glowing, incandescent, even frightening at times - especially the screaming discord just before the coda. When the four Wagner tubas join in with their threnodic material it never fails to make my hair stand on end - the sound is so other-worldly and introspective it is just astonishing. The coda draws us upward into another world entirely and the brass hold their chords with unbelievable control, how big are their lungs exactly?
As you can tell, I rather like this recording. Mainly for the intelligence, refinement and sheer beauty of the playing. The sound quality is also superb - incredibly detailed with enough air around the orchestra to give a sense of the big picture. I wouldn't call this recording 'definitive', as I believe it is impossible for any performance to achieve that status, but it is certainly one of the finest versions of Bruckner 9 out there. For me this recording stands alongside those by Furtwangler, Barenboim and Wand as being truly inspired.
The outer movements are certainly broader than is normally the case, but this has the advantage that the listener is able to truly appreciate the luminosity of the scoring and is enveloped in a rarified atmosphere - both intense and meditative. For example, in my opinion the opening minute or two is often taken too fast and played in a matter-of-fact manner, spoiling what is a mysterious and expectant atmosphere where Bruckner gradually reveals the basic elements and building blocks of his musical material. Giulini however really appreciates this opening for what it is, getting the players to build the tension ever so gradually. All sections of the orchestra play with an intelligent sense of phrasing and there is a wonderful variety of dynamic nuance in this performance. The brass are given their head at the major climaxes - but it never sounds raucous or overly aggressive. Giulini is a master at getting this orchestra to vary the tone according to the character of the musical material.
In the scherzo we hear what I can only describe as a chilly wind blowing through the opening section, where the oboe holds the C until the cut-off point. The Viennese players bring an appropriate sense of menace and weight to this movement that is quite intimidating! By contrast the trio section has all the lightness and sparkle that you could want - Giulini revels in the contrast here. How to describe the playing in the Adagio? Heavenly, glowing, incandescent, even frightening at times - especially the screaming discord just before the coda. When the four Wagner tubas join in with their threnodic material it never fails to make my hair stand on end - the sound is so other-worldly and introspective it is just astonishing. The coda draws us upward into another world entirely and the brass hold their chords with unbelievable control, how big are their lungs exactly?
As you can tell, I rather like this recording. Mainly for the intelligence, refinement and sheer beauty of the playing. The sound quality is also superb - incredibly detailed with enough air around the orchestra to give a sense of the big picture. I wouldn't call this recording 'definitive', as I believe it is impossible for any performance to achieve that status, but it is certainly one of the finest versions of Bruckner 9 out there. For me this recording stands alongside those by Furtwangler, Barenboim and Wand as being truly inspired.
19 of 21 people found the following review helpful
Format:Audio CD
It is well known that Guilini has a reputation for taking works slowly but rarely can this have worked to such telling effect. True there are one or two minor changes of tempo in the first movement which are a little bit out of character but these do not detract from the sheer power and superb dynamics of the movement. The second movement shows all of Bruckne's laconic wit at its best but it is undeniable that the final movement, which must be one of the slowest on record, has rarely been played with such passion, understanding and intensity. If you are in the market for this particular symphony, ignoring this performance will only be your loss.
1 of 1 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
...but I cannot help myself, even though I know I can add little to the preceding responses. Rather than attempt any detailed analysis, I'll simply share with you a couple of moments which make the hairs on my nape prickle: the Wagner tubas' "Farewell to life" motif at the beginning of the Adagio and that wondrous moment at 19'23" when St Peter's gates swing open and a sonic panorama worthy of John Martin's epic landscape "The Plains of Heaven" lies before us like a dream.
Time is irrelevant in Giulini's cosmic vision; his command of legato and phrasing ensure that we are never conscious of his profligacy. The quality of both the playing and sound - despite being only 16 bit "red book" standard - is demonstration level. (OK; I detected one minor mini-blip from the brass at 3'03"; it was a live performance and even the VPO are only human.) There is no audience noise and you could not ask for more depth or clarity in the auditory picture. I came late to this masterpiece of an interpretation and it encourages me to explore other of Giulini's Bruckner recordings; what a pity he never made a complete cycle.
Time is irrelevant in Giulini's cosmic vision; his command of legato and phrasing ensure that we are never conscious of his profligacy. The quality of both the playing and sound - despite being only 16 bit "red book" standard - is demonstration level. (OK; I detected one minor mini-blip from the brass at 3'03"; it was a live performance and even the VPO are only human.) There is no audience noise and you could not ask for more depth or clarity in the auditory picture. I came late to this masterpiece of an interpretation and it encourages me to explore other of Giulini's Bruckner recordings; what a pity he never made a complete cycle.
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