Bruckner: Symphony No. 8 in C minor

Digitally remastered in 2012, these great works are captured beautifully from the 1961 live performances with the Vienna Philharmonic conducted by Hans Knappertsbusch. A double CD, this release captures early 1960s performances of artists at the top of their game.

Recorded live in Vienna in 1961

This is the second version of this symphony. Bruckner took just over three years to complete this work and had never spent so long on a single work. His seventh symphony had been a huge success and he set to work with great intensity. The orchestra’s previous release of Bruckner Symphony No.5 was well received “This Orchestra has seldom sounded as good since its glory days…” Phil Muse

In November 1981 Herbert von Karajan allowed Tennstedt to deputise for him. Bruckner’s Ninth Symphony was replaced by the Eighth; this would easily have filled the evening on its own, but the planned opening piece, Bach’s E major Violin Concerto, was kept in the programme. Sybill Mahlke commented in the Tagesspiegel that "the opening with Bach was not without charm; the soloist was the orchestra’s leader, Thomas Brandis, whose gently polished playing formed an eloquent musical voice in complete accord with the orchestral accompaniment." In the opinion of Hans-Jörg von Jena (critic of the Volksblatt) the Bruckner performance was "less solemn, less calm, but more colourful than usual". Tennstedt had achieved a paradoxical combination of ecstasy and relaxation. "He makes his mark with great emotional vivacity in crescendos and build-ups, stresses the accents and sforzati; the Wagnerian element in Bruckner, for instance in the Wotan-subject of the Adagio, is revealed afresh." In the Tagesspiegel, Sybill Mahlke commented that Tennstedt had now firmly taken his place among the international élite of conductors: "his quavering beat, never quite guaranteeing total unity in the strings, evinces a full-bodied expressiveness... In many places there are tonal and rhythmical features in this interpretation which are hardly ever heard – sensational interaction of wind and harpaccompanied strings in the Adagio, elemental stressing of underlying rhythm in the Finale, yet also subtly subdued piano passages."

from the booklet note © Helge Grünewald

Giulini's haunting interpretations of Bruckner with the Berlin Philharmonic Orchestra still linger in the memory. On 11 and 12 February 1984 he conducted his Symphony No.8. According to Klaus Geitel (Berliner Morgenpost on 14 February), Giulini's artistry was characterised by his integrity. “Giulini calmly stands back from the work that he conducts. Not for a single moment does he appear to be important, and even less does he appear selfimportant. All his concentration is focused on the colossal work, seemingly enveloping it… The outcome was a rendering of the Eighth Symphony full of grandeur: melodious and delighting in the details, from the plaintive calls of the oboes and clarinets in the first movement to the radiant, thunderous brass of the Finale. “The dark, mysterious aspects of the symphonic complexes recede, particularly in the first movement. All the lyrical passages display a more positive sound than usual, the solemn radiance of the brass symbolising the victory of the celestial powers over the demons. The Scherzo is imbued with elemental rhythmical vehemence, the Trio contrasts with its heartfelt, songlike melody. The overall impression was that the Adagio was interpreted as a psalm, full of passionate, devotional mysticism and renunciation of the world.” Thus Walter Kaempfer's review on 14 February in Der Tagesspiegel, in which he compared Giulini's interpretation to those of Furtwängler, Eugen Jochum and Karajan. “His warm, pulsating rendering, with all details clearly articulated, was supported by the Philharmonic Orchestra playing at full tilt, with melodious string sound and the solemn pomp of the brass instruments.” From the booklet note by Helge Grünewald.