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Symphony No. 5


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Product Details

  • Composer: Bruckner
  • Audio CD (Aug. 1 1997)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Ncl
  • ASIN: B00000148X
  • Other Editions: Audio CD
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: #97,863 in Music (See Top 100 in Music)

1. Symphony No. 5 In B Flat Major: Adagio - Allegro
2. Symphony No. 5 In B Flat Major: Adagio
3. Symphony No. 5 In B Flat Major: Scherzo: Molto Vivace
4. Symphony No. 5 In B Flat Major: Finale: Adagio - Allegro Moderato

Product Description

Customer Reviews

3.5 out of 5 stars
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Most helpful customer reviews

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 to Jochum with the Amsterdam Concertgebouw and a surprisingly mobile Knappertsbusch with the Vienna Philharmonic. Both of these conductors reveal 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 that 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 ? Similarly, with Tintner at the helm, there are times when expressions also seem bombastic rather than eloquent. 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.
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By ken yong on Aug. 9 2003
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.
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By ken yong on Aug. 9 2003
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.
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Format: Audio CD
Gielen, in my book, is one of the most underrated conductors of our era, joining the ranks with Skrowaczewski. Both of these men far, far, far outrank most of today's conductors that have major appointments.
Gielen's Mahler 2nd on Hanssler was a revelation--I can hardly wait to hear is 3rd on the same label, but in the mean time, I've been slowing acquiring Gielen's recordings put out by Intercord. This Bruckner 5 is one of my latest acquisitions.
Off the bat: the final mov't, the great double fugue, is very fine, but IMHO, he joins other excellent interperters of this score (Schuricht, Jochum) who fail to achieve the transcendence of Skrowaczewski on Arte Nova. But we're also talking about the last 3 minutes of the piece! However, Gielen excels in the I-III, carrying the listener along and even making this masterpiece sound short.
The orchestra plays well (as they usually do for Gielen), and the recording is good (although not amazing; I wish it was more open). It is worth acquiring, by all means.
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