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66 of 70 people found the following review helpful
4.0 out of 5 stars Wonderful Value
With outstanding performances of Symphonies 5 and 9, very good Symphonies 1,3,4,7 and 8, a goodish number 6 and a disappointing number 2 this set represents wonderful value for money. Anybody looking to get to know Bruckner symphonies should buy this set straight away at its give-away price and supplement it with Georg Tintner's superb Naxos disc of number 2 and Otto...
Published on 10 Oct 2006 by Colin Fortune

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4 of 6 people found the following review helpful
2.0 out of 5 stars The Curate's Egg, Danny-Style
What a mixed bag this is! If Barenboim was hoping to incarnate - not imitate - his lodestar of Furtwangler, the embodiment is fitful at best.

On the Credit side of the ledger, the performance of the Ninth is close to being the best on the market - what a performance and the Berlin Phil sound like the days of yore. Richard Osborne, who reviews Bruckner...
Published on 18 Feb 2012 by Bernard Michael O'Hanlon


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66 of 70 people found the following review helpful
4.0 out of 5 stars Wonderful Value, 10 Oct 2006
By 
Colin Fortune (Birmingham, UK) - See all my reviews
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This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
With outstanding performances of Symphonies 5 and 9, very good Symphonies 1,3,4,7 and 8, a goodish number 6 and a disappointing number 2 this set represents wonderful value for money. Anybody looking to get to know Bruckner symphonies should buy this set straight away at its give-away price and supplement it with Georg Tintner's superb Naxos disc of number 2 and Otto Klemperer's yet to be equalled number 6 on EMI. Burckner fanatics like me will already have bought it!
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71 of 80 people found the following review helpful
5.0 out of 5 stars No one can reveal the whole truth of Bruckner, but this set does come quite close!, 31 May 2010
By 
km.ord (Liverpool UK) - See all my reviews
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This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
I will provide a general guide or overview of each symphony, and perhaps this will help someone who is either thinking of investing in just one Bruckner cycle, as a beginner; or for those who want to add to their other sets. However, please bear in mind that this set is so ridiculously cheap, that it would be impossible for it to be a wasted investment; even if you only liked one or two of the performances. On the whole, I must also add, that this cycle is `the' perfect cycle for anyone new to Bruckner; primarily because it appears to be free from the strange idiosyncrasies that blight other well established conductors interpretations. The sound is almost uniform throughout; it is mostly top drawer, with very little, or no congestion whatsoever during orchestral tuttis and climaxes.

The first symphony kicks off splendidly; the pacing is nigh on perfect. This, as an interpretation per se, is closer to Karajan's than say, Jochum. It is large scale, muscular; but pays homage to the fact that this is one of Bruckner's earlier symphonies, through the conductor's use of careful dynamics and wonderful articulation. It doesn't swagger as menacingly as Karajan's; it is a more controlled version. The Berlin Phil., are on top form here (as they were back in '81 under Karajan), and in my opinion, the interpretation is better than either Jochum's Staatskapelle version, Barenboim's earlier, Chicago version or Riccardo Chailly's. I'll give this 8 out of 10 overall.

The second came under great scrutiny upon initial release. It uses the Nowak edition, but it was seen as a rather plodding interpretation next to Solti (whom had just released a rather exciting version with the CSO). I never heard Barenboim's back then, and listening to it now, after listening to so many other seconds, I can't really understand why Barenboim was in the firing line. This is a riveting interpretation, in demonstration sound quality. Again, as in the first, Barenboim pays particular attention to clarity and detail; yet never lets the pace flag, especially in the adagio and finale. Hear it for yourself is all I can say, you won't be disappointed. Solit's is a little faster, as is Karajan, but in so many ways they miss the point. There is some scrappy playing in the adagio of Karajan's late 70's version, for example. This interpretation is closer to Jochum's second, with the Staatskapelle (one of the better recordings of that particular set; both as an interpretation, and sound quality). Definitely 8.5 out of 10.

I used to think that I'd never hear a more riveting version of the third after Bernard Haitink's with the VPO, or even Karajan's blistering version with the BPO. However, Haitink always had the edge, with absolutely no orchestral congestion in the big moments, and he uses the more favourable, and less controversial 1877 edition of the symphony; whereas Karajan (and Jochum, who is awful in this symphony, in my opinion), uses the final 1889-90 edition. This recording by Barenboim, demonstrates what an amazing Bruckner conductor he is. This is a stellar performance, and one has to praise the BPO for delivering a performance which really is second to none. This is so, so similar to Haitinks 1988 version with the VPO (which is an absolutely stunning performance), and yet the BPO almost outshine the VPO in every department (albeit only just). Moreover, like Haitink, Barenboim uses the 1877 version of the score. Worth 10 out of 10.

The performance of the third symphony stands alone amongst the set, and when you proceed to the fourth symphony, the sound quality differs slightly. At first, you'll think the fourth sounds rubbish after listening to the third; but it's not. It's just a slightly different setting. The fourth is probably my least favourite within this collection however. One of the reasons, is because it does, in many ways, sound like a complete carbon copy of Bohm's 1974 legendary performance with the VPO; minus the thrilling, VPO brass. Yes, the fourth does lag behind just a tad with regards to sound quality, but only slightly. I was never really a fan of Bohm's interpretation, it does drag a little. I only knew this of course after hearing other versions, such as Jochum (both versions), and Karajans later version, and in particular, the marvellous original version by the Frankfurt RSO under Eliahu Inbal. So when I heard this version, I just thought of it as a normal, meat and two veg, bog standard interpretation. Good sound quality, good control, but nothing special. I'll give it a 6.5 to 7 out of 10; it is after all, well played and won't disappoint in many departments.

The above qualities in relation to the fourth are not the same qualities with regard to Barenboim's gripping live version of the fifth. I have heard many fifths, and this fifth, to my mind, is the best fifth available. Classics Today have a knack of ridiculing so many great performances, and praising so many which are absolute c**p (typical of an American based website), and I was caught out by it! On its recommendation, I recently bought Nicholas Harnoncourt's fifth with the VPO, believing it to be the fifth of all fifths, and was hugely disappointed. Sinopoli's was also a disappointment, and so too was the much lauded Riccardo Chailly's with the Royal Concertgebouw (where was the timpani!). You won't find the truth in Klemperer's version (it'll send you to sleep), or Jochum's EMI version; although his DG version from the late 50's is very good. I have always made do with Karajans mid 70's version, although have never really liked the tempo of his slow movement; a bit too self indulgent for my liking! The pacing however, and momentum in this performance by the BPO under Barenboim is absolutely spot on. There's a real sense of occasion; a real frisson which runs through the whole of this performance. The strings are rich, dark and mysterious (as they are in the 9th), and the Berlin brass blazes in all its majestic splendour. I cannot fault this interpretation in any shape or form, as it's my favourite disc of the set. I'll give this one 10 out of 10.

The sixth is every bit as good as the famously celebrated Klemperer version. In fact, this sixth has an elegance and sweetness in the strings, that makes Klemperer's Phiharmonia recording seem dry and bombast in comparison. I do enjoy Jochum's EMI sixth with the Staatskapelle, and Barenboim's equals, if not, betters it. Karajan under the same orchestra is awful. The strings are all over the place, the timing is out of sync with different parts of the orchestra. I actually thought there was something wrong with that recording when I first heard it. Was it that the BPO were just taking the p*** out a symphony they didn't respect? We'll never know. The sixth in this box set however, is as good a place to start as any. It isn't strenuous on the ears, and it has enough depth and sonic transparency to render repeated listening. I really like this disc. I'll give this sixth 8 out of 10.

The seventh too, is as good as any in the catalogue; yet there are so many sevenths, it's difficult to rate it at, or near the top of the huge list of celebrated recordings available. George Tintner is splendid on Naxos, Chailly with the Berlin Radio SO, Wand on RCA, Karajan's last recording, either of Jochum's box set versions, Bohm with the VPO on DG; the list goes on. They're all great (although I'm not too fussed on Karajan's '77 version with the BPO, it's a little rushed). Barenboim takes a leaf from Jochum's book; in particular his later version on EMI with the Dresden Orchestra, particularly in the first and second movements. You won't find anything particularly special in this seventh that you haven't heard before, but that doesn't mean however, that it should be overlooked. If this is the only seventh you have, then you won't really need to go searching for greater interpretations. Life's too short after all. I'd give this performance 7.5 out of 10.

What about the eighth? It's a strange fact, that Bruckner's most important symphony has eluded so many conductors who are considered to be `great' interpreters of Bruckner. Jochum comes to mind. Both of his cycles, for DG and EMI, contain eighths which fail to convince. I've never really loved Haitink's with the VPO; he uses Haas, as does Guilini, but both of these aforementioned performances drag a bit, and both have a touch of opaqueness with regard to sound quality (although Haitink's third with the same orchestra doesn't suffer from this). No one really comes close to Karajan's penultimate recording on DG with the VPO. This was the first eighth I'd owned, and it's a yardstick that all others have to live up to. Nearly all have failed; although Karajan's other eighth with the BPO from his 70's, early 80's DG cycle comes close (the scherzo is actually better from that cycle). Anyway, how does Barenboim measure up to the stiff competition? Quite all right actually. For one, it is refreshing to have an eighth on a single disc. Because it's on a single disc, don't think for one minute that this is a rushed, run through of the score. It isn't. It's a thoroughly convincing depiction of this Everest of symphonies. The Scherzo is quite swiftly paced, but never rushed; it merely adds to the tension. The fist movement is marvellous, the climaxes never pushed along too hard (as they are with Jochum); and the slow movement is played with great tenderness, the BPO strings are peerless. The finale moves along at a perfect tempo; slightly quicker than Karajan and Wand, but not at the expense of losing focus or its sense of mystery. It would be wrong to compare this with Karajan's masterly rendition with the VPO; I personally think that that version is untouchable; but Barenboim's can hold its own within a long list of great eighths. It's worth an easy 8 to 8.5 out of 10.

The ninth is one of my favourites. Recorded live, it has that sense of occasion and the outer movements are imbued with a deep perception of power and mystery. There is an ever so `slight' touch of congestion in the big climaxes; but this doesn't detract from such a monumental performance on the whole. Again, the competition for the well known Bruckner symphonies is stiff. This ninth really is up there with the best, along with the second, third and fifth. You could buy this set alone for the ninth without feeling short changed. There seems to be a lot of talk regarding who has recorded the best ninth; and many will say that Karajan's later, 70's version with the BPO is `the' one to have. I disagree entirely. I was thoroughly disappointed with it. After listening to all the hype, I found it utterly routine and boring. It had none of the menace which runs right through the core of Jochum's with the Dresden orchestra, or beauty of Bruno Walter's with the Columbia SO. Another ninth which left me cold was Harnoncourt's with the VPO (way over hyped by Mr. Hurwitz in Classics Today). The ninth contained in this little box, is right up there with the best. It has the thrust and anger of the very best ninths, and, like Jochums, is instantly recognisable. The strings are gorgeous, and the burnished brass is Olympian in stature. It's a live setting, and some might find the setting to be ever so minutely distant in comparison to say, his third (but not in the same way as Janson's Tchaikovsky, for example), but it really is a cracking ninth. It is one of the very, very best. Definately 9.5 to 10 out of 10.

The set as a whole, would be recommended even if it were twice the price. Mind you, I've noticed the price has increased somewhat since I bought it a few months ago! However, there are still some way over priced boxed sets of Bruckner symphonies(Jochum on DG, Karajan on DG), which don't reveal the whole truth of Bruckner; certainly not the last word anyway. Also those two sets I've just mentioned, are quite old now, and they really shouldn't be priced at over fifty pounds. All boxed sets are bound to have their ups and downs. However, this particular one has very little in the way of `downs', and for the price it's available at, you can't really complain. Even if this were the only complete set which you owned, it would warrant many repeat listening for all of the symphonies. The photo on the cover of Barenboim is much to be desired (it's strange how covers can influence the way that you listen to the contents within!); however, just burn each CD to your ipod, and insert the original covers to each symphony to your cover flow (available on Google images if you search), and away you go!
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58 of 66 people found the following review helpful
4.0 out of 5 stars sublime 9th, 25 Nov 2005
This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
this set is tremendous value for money and offers generally fine performances of every symphony in first class sound. the highlight of this set is barenboims etherial rendition of the 9th. It is as near to perfection as is possible, arguably the greatest performance ever committed to disc. those wishing to purchase a complete set need not hesitate in aquiring this excellent release.
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3 of 3 people found the following review helpful
5.0 out of 5 stars live excellence, 23 Dec 2011
This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
i did not know that these recordings were live.
this does not detract from the excellent quality produced.
the symohonies are vast soundscapes i think one should live with them for a long time.
daniel barenboim is world class performer you cant get better value.
i highly recommend this box set.
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6 of 7 people found the following review helpful
5.0 out of 5 stars Wonderful Bruckner by Barenboim, 18 Oct 2011
By 
RR Waller "ISeneca" (United Kingdom) - See all my reviews
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This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
The great detail of kmo "1612" (Liverpool UK)'s review makes another full review a little redundant, especially as I tend to agree with much of what he wrote. I came to Barenboim through du Pre's Elgar cello concerto, then followed a range of performances, e.g. his televised Beethoven Masterclasses, his complete piano concertos at the Festival Hall in 2009/2010 and so on.

Although I find some of his writing a little challenging, his podium performances seem to reach the heart of composers and his conducting always seems assured, certain and positive, drawing out the orchestra, encouraging them to play for him. His recent programmes for aspiring conductors on conducting with Pierre Boulez showed his style and approach clearly.

The booklet and CDs are helpfully clear about what many refer to as the "Bruckner Problem", i.e. (the Wirkungsgeschichte or discussion over authenticity since various version of them symphonies are available, some the result of collaboration and the Fourth is particularly complicated as it was revised many times between 1874-1892. For the Fourth Symphony, Barenboim performed the 1878/1880 version although in the earlier part of the twentieth century Gutman's 1888 version was used most often. (A good summary of this and other Bruckner symphony issues are on Wikipedia [Just Google or Wiki "Bruckner" or individual symphonies to see more information; reviews do not allows website addresses.)

Barenboim performs the following:

Symphony I in C minor - Linz verson
Symphony II in C minor - 1877 version
Symphony III in D minor- 1877 version
Symphony IV in D flat major - 1878-1880 version
Symphony V in B flat major - Original version
Symphony VI in A major - Leopold Nowak/Robert Hass edition 1935
Symphony VII in E major
Symphony VIII in C minor - Robert Hass edition 1939
Symphony IX in D minor

Barenboim, the Berliner Philharmoniker and Bruckner are an ideal team and, at this budget price, this is an excellent set. Buy one before they all go or someone at Warner Classics discovers they have made a marketing mistake. All the Barenboim Warner sets I have are in the very sensible and practical cardboard and papers cases too, complete with a very helpful and interesting little booklet.

Highly recommended.
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3 of 4 people found the following review helpful
5.0 out of 5 stars "WOW!" from a born-again Brucknerite, 4 Aug 2013
This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
This was my first venture into the world of Bruckner and from the 1st movement of the 1st Symphony I was hooked - this really is breathtakingly powerful music.
From the first listen it was easy to see how reviews of Bruckner Symphony cycles would draw a wide range of views: the music is obviously very open to interpretation, and "each to his own". However I can say that these Symphonies are all wonderfully performed (you wouldn't expect anything less from the BPO or Barenboim) and although I often try to avoid live recordings, this recording alone may have converted me.
I have since tried other recordings and interpretations, including Wand's live recordings of 4, 7 and 8 with the BPO, Karajan's complete cycle and Rattle's completion of the 9th, again with the BPO, and as fantastic as all of these recordings are I still have no complaints whatsoever about any of the performances in this collection.

As for the music itself:
Paul-John Ramos puts it excellently in his Classical.net Bruckner biography: "A Bruckner symphony does not refer to concrete images, nor does it undergo a familiar style of "development"; it simply exists as a vast, autonomous body of sound."
One striking feature is the way he masterly builds intensity by sending it at you in waves; he will build and build, then pull it back, only to unleash it again, wave after wave, until the intensity reaches such epic proportions it literally has no where else to go, and collapses under the weight of its own brilliance like a dying star.
For me the music conjures up images of huge, epic landscapes; each movement a journey over mountains, desserts and oceans. The scherzos are the best I have heard from any composer, the climaxes are out of this world, and after reading a biography of the composer it is difficult to connect the mild-mannered devout-Catholic man to this music.

Throughout my voyage of classical music discovery I occasionally meet a new composer, a particular piece, a performer or a specific recording that is quite literally life changing - Bruckner's Symphonies have fallen into that category and Mr. Barenboim (who until now I've only had chance to admire as a pianist and interpreter of Beethoven) has done an excellent job of delivering.
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4 of 5 people found the following review helpful
4.0 out of 5 stars Not Perfect, but Mightily Impressive, 1 Jun 2011
By 
Nicholas Casley (Plymouth, Devon, UK) - See all my reviews
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This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
These performances were recorded between 1990 and 1997. The sleeves advertise that all are live performances except symphonies four and seven, but the audience's coughing in the fourth's andante indicates that the only studio performance is the seventh. Rather than expand on each symphony in turn, I think in this instance a few general notes for the potential purchaser would be better.

First, which versions has Barenboim chosen? The first is the original Linz version; the second is the revised 1877 version. Personally, Barenboim makes a mistake by using the 1877 version of the third symphony, whose fourth movement is more laboured than the symphony's final and more usually-recorded version. The final version of the fourth symphony brings us back to the standard repertoire. In the seventh, Barenboim includes the arguable cymbals and triangle at the climax of the adagio. And in the eighth symphony, Barenboim chooses the 1939 Hass edition.

What about performance? By and large Barenboim is respectful, taking time where it needs to be taken, giving breath to the themes. In places his interpretation is superlative, such as the re-appearance of the trumpet ostinato in the first movement of the second symphony, and later the finale's Beethovenian first subject's development running headlong into it, a fruitful transformation that is brought off fantastically. I would also like to highlight his and the Berlin Philharmonic's rendition of the ninth, which - for a live recording - is a stupendous performance, perfectly paced: I wish I had been there! The warm sound glows, the brass are superb, and careful consideration is given to the orchestration underlying the main themes. It's not perfect, but is mightily impressive all the same.

There is good clear sound throughout the series, although perhaps not as soft in the tuttis as I would like it. Indeed, there can be a raw edge to the interpretations that may please some listeners. The tuttis can sound crowded (especially the violins) in the more confined spatial dimension that live recordings often produce. This is unfortunate where Bruckner engages so many themes or their permutations, such as in the double fugue of the fifth symphony's finale and its vast peroration.

With these live performances there is the occasional cough from the audience and even some exhortations of Barenboim himself to the players can be heard, but none of these potential defects - apart from the coughing in the coda of the fourth's finale, and the noise of Barenboim in the development of the eighth's first movement - detracts radically from my recommendation of this CD set. With live concerts, there is also the pressure of pulling off a perfect performance: Barenboim and the Berlin Philharmonic almost achieve this, save for occasional split-second momentary confusions. However, the performance of the eighth symphony should be singled out for some poor playing and bad timing.

The discs come with sleevenotes by a variety of authors, although those for the second symphony seem to describe a different work altogether through his unenthusiastic review. The writer talks of Bruckner's lack of resolution and his hesitation and fragmentation of structure. But we can at least agree that in portraying the crisis of Romanticism in an industrial age, Bruckner "is thoroughly modern". Barenboim himself is helpful in this context, for instance seemingly heightening the discord at the harrowing yet glorious climax of the second symphony's second movement.

There is an extra, in the shape of Bruckner's last completed work, his choral-orchestral piece `Helgoland'. The performance is vigorous and it is surprising how in places the writing is reminiscent of the masses he composed almost thirty years earlier.

Barenboim's set is not my first choice for Bruckner's integral cycle of first to ninth symphonies, but it is highly recommended all the same. Gains made in the recording process mean we are today spoilt for choice with so many good performances to choose, but this has also led to a culture of blandness with performances also becoming virtually indistinguishable in the round from others. Barenboim's is certainly worthy of four stars, but cycles by Celibidache, Chailly, and Karajan still outrank him, in my opinion.
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21 of 27 people found the following review helpful
5.0 out of 5 stars Another Bargain Box from Warner!, 14 Nov 2008
By 
This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
This box set is great value for money. The recordings are generally excellent, the only disappointments for me were the 6th and 8th; I just don't get Barenboim's hurried reading of the 8th symphony and would recommend Wand with the BPO on RCA or Haitink Concertgebow on Phillips as an alternative. As for Mr. Fortune's comment on Klemperer's 6th being unequalled, I would recommend he give the Celibidache recording on EMI a listen. The sound is superior to the Klemperer and the performance has more drive without being rushed.
All in all this is a superb set with outstanding performances of symphonies 3,4,5,and 9. At a little over £20 it's a real bargain!
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4 of 6 people found the following review helpful
2.0 out of 5 stars The Curate's Egg, Danny-Style, 18 Feb 2012
By 
This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
What a mixed bag this is! If Barenboim was hoping to incarnate - not imitate - his lodestar of Furtwangler, the embodiment is fitful at best.

On the Credit side of the ledger, the performance of the Ninth is close to being the best on the market - what a performance and the Berlin Phil sound like the days of yore. Richard Osborne, who reviews Bruckner performances for the Gramophone, lauded it as the front-runner and he is no mean critic. 5 / 5

The Fifth is a fast and punchy performance which means that the slow movement is less moving than others - but the last movement is incandescence itself and second to none - again, the Berlin Phil plays like gods. 4 /5

The First Symphony is right on the money and highly enjoyable. 4/ 5

On the other side of the ledger 3 & 4 are good concert performances and no more. They are superlatively played and well recorded - but in each instance, Barenboim fails to impart a unified view of the music. Both performances avoid being episodic - a cardinal error in Bruckner - but they lack an overarching 'vision made flesh'. At no point in either of them does one detect an immolatory act of consummation. Both 3 / 5 (and this is being somewhat unfair to the performance of the Third, which is very listenable).

The Seventh Symphony makes all the right gestures but fails to lodge in the memory - magic, there ain't. The first movement is nearly as slow as the Maazel / BPO performance from the late 1980s and it is just as tensionless. 2 / 5

The Sixth Symphony is the nadir of this cycle - it is clearly the end-product of multiple edits taken from a range of performances (it is not a patch on the Karajan, for all its flaws, or the Stein). 1 / 5

The Eighth, sad to say, is not a success: at no point does it take one in the hand and say 'we are going on a journey together.' One loud climax follows another - and the Berlin Phil appear to be sight-reading the score, such is their lack of assurety. 2 / 5

The Second Symphony is also unsettled - it lacks a still turning point. As with Eight, one wonders how much rehearsal time was allocated beforehand. 2 / 5

All in all, 26 / 45 is barely a pass-mark. Perhaps Barenboim aced the Ninth on the night. So where does that leave Danny as a Brucknerian? Above Rattle, Abbado and Maazel but not by much. Some might say that his first cycle with the Chicago Symphony Orchestra - such as it is - is more impressive than this outing: and they might be right.

Pick up 9, 5 and 1 separately if you can.
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4 of 6 people found the following review helpful
5.0 out of 5 stars Bruckner, Barenboim and one other, 1 Jan 2012
By 
Mr. Austen Biss "Otty" (Hove) - See all my reviews
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This review is from: Bruckner : Symphonies Nos 1 - 9 (Audio CD)
This amazing value box set of Bruckner Symphonies to my mind tops the league of wonderful performances of Bruckner Symphonies, superb playing, sweeping strings and forceful brass with all the nuances of Bruckner's writing. Versions - who cares? I listen with my ears not an open score. There is one exception - haven't you lot ever heard of GEORGE SZELL, I repeat GEORGE SZELL! Not only did he have the world's finest orchestra in the Cleveland players, but his interpretations were of the highest calibre. If a greater conductor ever graced the podium, I have not heard of him yet.

Szell performed only nos.3, 7 and 8, the 3rd and 8th commercially. Listen to the exitement within the third but be prepared to shed buckets of tears at the passion, intensity and beauty of the 8th. He was saying something here just after he was told of his terminal illness.

But this is Barenboim's review and I for one love his performances.

Austen Biss
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Bruckner : Symphonies Nos 1 - 9
Bruckner : Symphonies Nos 1 - 9 by Various Artists (Audio CD - 2005)
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