Bruckner - Sym No 8; Wagner - Tristan & Isolde Prelude; Wesendonck Lieder [CD]

It would be a misuse of language to refer to this event as an `interpretation', it is not even a `translation' (for translation involves interpretation). It might however be described as a `transliteration': from the language of music written to the language of music heard. In a life-time of listening I can recall no other rendering of any work that is so utterly selfless and self-giving (though Klemperer's great recording of Mahler's 9th might suggest itself).

Goodall throughout accepts the score at face-value - and what riches are in this score! The vision is astronomical, the timescale geological and the cumulative reach transcendent.

The effect will depend entirely on the listener's response to Bruckner's concept. For this listener the whole event is magisterial and magnificent. Of its type it is unique and we are privileged indeed to be allowed forty years on to share in Goodall's response to this glorious symphony.

These words of Hans Pfitzner seem appropriate:

`Hearing a genuinely inspired musical idea we can only cry out: `How beautiful that is!' Its quality can only be recognised not demonstrated. To anyone who does not join in no arguments are availing, and to his attacks there is no response except to play the melody and say: `How beautiful!' What it expresses is as deep and as clear, as mystical and as obvious as truth.'

I would like to add a postscript to what I wrote a few years ago.

Goodall was almost completely neglected by the recording industry - indeed, in a certain shameful sense, he was almost completely ignored by the music industry! However, he was a musician of almost embarrassing sensitivity and of unexcelled perception, committed and patience to a fault.

Perhaps no recording of Bruckner has produced such a sharp division of opinion. This recording has been subjected to the harshest criticism; most notably Richard Osborne (Gramophone review May, 2002) dismissed Goodall's Eighth with the comment that his reading is `clearly inadequate as a piece of symphonic conducting' and, so far as the ratings go, `Goodall is nowhere'.

Another, even more irascible, reviewer goes further in this patent stupidity, observing that Goodall's conducting of the Eighth is, `slow, dull, pedantic, amateurish, [an] interpretive approximation by a minimally competent local talent'. These responses are, to my mind, utterly incomprehensible.

It may be of some interest to note that while Solti could never comprehend Goodall's musicianship (listening to Solti is listening to the antithesis of Goodall), he was chosen to prepare many of Klemperer's finest late performances and recordings. Incidentally, the distinguished conductor Sir Mark Elder made these remarks a year or two ago: "I've fallen in love with Bruckner's Seventh Symphony. When I was in New York ... I stumbled across a recording of this symphony in a concert conducted by my old friend Reggie Goodall. I admired him beyond anybody else, and I feel the I have to carry his torch and impress upon my younger colleagues what a significant role he played in the musical life of this country. Hearing Reggie's interpretation, the music suddenly made sense to me for the first time'. Little wonder then that the New York Times noted, on the occasion of his death, that `Sir Reginald Goodall, [was] sometimes called the last link in a chain of legendary Wagnerian conductors stretching back to Wagner himself. As he reached the height of his fame in the 1970's, the response of British music critics and opera-goers to Sir Reginald's Wagner interpretations was just short of idolatrous'. Another reviewer gives what is perhaps the ultimate accolade, describing Goodall's `monumental approach' to the conclusion of the finale of the Eighth `as very powerful indeed, and worthy of the composer's great achievement'.

We will never hear his like again!

I was at this performance of Bruckner 8, sitting high up in the Royal Albert Hall - a new Bruckner convert in my late teens who had saved up the money for the train fare from Birmingham and for the concert ticket. I remember the almost visceral effect of this performance, even now and the music reached up from the stage to grab my heart and mind. I was (and am still) an already biased listener. This is why I believe that this disc is dificult to give a star rating to.

The two star rating is for what might be called "general" listeners who have discovered that they quite like Bruckner and who want to explore the Symphony 8. Such people would be much better served by many other recording notably Lorin Maazel's superb Berlin Philharmonic recording of 1989 Bruckner: Symphony No. 8 in C minor in the Nowak edition of the 1890 text or, as the disc under review is the 1890 text in Haas' 1939 edition, the Vienna Philharmonic disc with Boulez on DGG Bruckner: Symphony No.8.

For Bruckner afficianados the "star rating" could be anything from * to *****. My own personal rating (and I am a Bruckner addict) is ***(**) - which is as strange as it looks!

This was a live moment of recreated art. I do not think it transfers well to the recorded media. The monumental slowness throughout can seem funereal and the analytical possibilities (especially on headphones) suggest that the BBC Symphony Orchestra was having difficulty playing the music to Goodall's direction.

But it was a truly inspired artistic moment that deserves to be be judged by different standards to those that would apply to a commercial disc. I think that people would have this recording as an example of what Goodall and what one can only call the Knappertsbusch school of conducting could do with this fine work.

All the movements are slow, the Adagio lasting for just on 30 minutes, which makes concentration difficult. The Finale seems effortful and a little episodic. The nearest in conception to this performance would be one of Knappertsbusch's recordings of the 1892 First Published Version of the 1890 text (for example Knappertsbusch conducts Bruckner - Symphony 8, Symphony No. 8 (Knappertsbusch, Bavarian State Orchestra) or Knappertsbusch Conducts Bruckner and Wagner. They are all of "specialist" interest.

So in summary, a good set for Bruckner afficianados but a poor introduction to a work of drama, spiritual ecstasy, majesty and awe.

First an apology if I am intruding on the Bruckner fans here,but I thought it unfair that nobody had reviewed the Wesendonck Lieder.
When I saw the words Janet Baker and Wagner together I was astounded.I believe that this may be the only recording of Janet Baker singing Wagner(?)
Although I AM a great fan of Janet Baker I was(i must admit) somewhat dubious.
I need not have worried,it suits Janet down the ground and she imparts all her usual passion and deeply felt understanding of the music and the words.
What can one say of Reggie Goodall?
I used to work at the Coliseum when he was conducting (mostly Wagner) there,and was lucky enough to attend rehearsals,AND to exchange a few pleasantries with him(he was a very modest,quiet and self effacing man)all his passions showed themselves through his baton.
I was (I am sorry to admit) a person with little knowledge of Bruckner(till this recording) now I am hooked,and it's all Reggie's fault! LOL
Now I hand the review pages back to you Brucknerite's.