http://www.abruckner.com/discography/symphonyno7inemajo/
at the bottom of the page is a transcription of the 7th
Home: http://www.abruckner.com/
The other symphonies' transcriptions are at the bottom of its relevant
page, for organ, pan pipes, electronic instruments and so on and so
forth.
Not what you asked, but I have this organ transcription of No. 8.
http://www.amazon.com/Bruckner-Symphony-8-Anton/dp/B000006NSU
MDG has a cd by the German frauen Speidel and Trenkner of Mahler's
transcription for 2 pianos of the Bruckner 3rd.At Amazon US.
Rugby
I got that recording through emusic. I also have Fumiko Shiraga playing
the Adagio (ii) from the seventh symphony, on piano, which I'm guessing
came from emusic as well.
Kip W
Seems like an organ transcription, given all those available voices,
would be an easier task than a piano transcription. There remains the
challenge of listening to it.
bl
An Amazon review:
"This recording deserves five stars and anything less is frankly
unfair. The problem I see before me is persuading either the heaviest
Bruckner zealot or the classical music neophyte that Bruckner's Third
can and should be enjoyed as a work for two pianos. Sadly, there is a
tendency to view piano transcriptions or arrangements for two pianos
as lackluster "piano reductions," which only served a unique purpose
in the pre-recording age as a means to hear the music. One might ask,
"Why listen to this piano arrangement when we have Tintner or
Karajan?" I can only state from my own listening experience that
Bruckner's Third is a prodigious and powerful musical entity on two
pianos. I didn't long for the trumpets or orchestral fanfares or the
pianissimo strings or anything else; you might be surprised that on
two pianos, this symphony has a life of its own and sounds like an
epic Piano Sonata.
Additionally, it's important to appreciate what kind of piano duo
we're dealing with. Trenkner and Speidel are an elite team that have
recorded Reger's Bach transcriptions and various nineteenth century
rarities. Having heard these myself, I can vouch for this piano duo's
pianism: it is superior in every respect. Thus I'm not surprised to
find their musicianship and interpretation of Bruckner's Third also
exemplary. Most Bruckner fans know the tragic and complicated history
behind Bruckner's Third, its multiple revisions and editions, the
failure of its premiere, and Wagner's enthusiasm for this work which
helped bestow its "Wagner Symphony" nickname. The piano arrangement's
genesis stems from the bad reception it received and is a result of
the collaboration between Gustav Mahler and Rudolf Krzyzanowski.
Furthermore, and the liner-notes clarifies it best, "the piano
arrangement of Bruckner's Symphony No. 3 attests not to the final
version of 1888-89, the version familiar to us today, but to the
second version of 1877."
Those familiar with the Third Symphony, who are perhaps even aware of
its multiple editions which amounted to at least nine, already know
what to expect as far as the caliber and substance of the music
content. No matter how insuperable the orchestral version is, I can't
help but be engrossed and enchanted with this piano arrangement.
Although Schumann called Schubert's Ninth one of "heavenly length,"
I'll bet he could attribute such a quote to the first movement of
Bruckner's Third, too. I wasn't fixated on the absence of the
orchestra because two pianos are capable of translating Bruckner's
ideas; the whole movement is mystical, voluptuous and arresting in its
beauty. I found the second movement downright seductive and sublime,
owing to Trenkner's and Speidel's coordinated dynamics and silky
touch. The Scherzo movement is given an emphatic performance and the
Finale is a pianistic tour-de-force. Those who have never heard
Bruckner's Symphony before might listen to this piano arrangement and
think it a monumental Piano Sonata for two pianos. And that is what
this arrangement should be admired for: a rendering of Bruckner's
symphonic work that sounds like a stellar piano composition.
Bottom line: In the execution of this Symphony, Trenkner and Speidel
are technically adroit and emotionally involved all the way through.
The arrangement itself effectively projects sonority, crystalline
lines, and the many nuances of this great symphonic work. And seeing
how this is the only recording of such a piano version of Bruckner's
Third, I can only support it further. It is a spellbinding realization
and certainly presents a new angle and fresh perspective to Bruckner's
music."
I do have a T&S MGD cd of 2-piano versions of the Mahler 6th and 7th
Symphonies, which I find unlistenable, but then I am no big fan of
either composer.
Rugby
At the IMSLP, they have the following scores, if wish you to make your
own recording... ":-/
Symphony No. 1, 2, 5, 6, 7, 8, 9
Piano 4 Hands
Piano Solo
Symphony No. 3
Piano 4 Hands
Symphony No. 4
2 Pianos
Piano 4 Hands
> I do have a T&S MGD cd of 2-piano versions of the Mahler 6th and 7th
> Symphonies, which I find unlistenable, but then I am no big fan of
> either composer.
I have T&S' recording of Grieg's "Peer Gynt" suites and of the Mozart sonatas
to which Grieg added a second piano part. The latter are worth hearing, if
only once.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers
I ordered a copy of the 2 piano Bruckner 3rd and and Bis recording of
the Organ transcription of the 8th (which sounded very impressive in
the brief little clips on Amazon). I love piano transcriptions, I
also love the orchestral originals. There's no reason why one can't
enjoy both. I'll have to look for the Mahler 6-7, 2 piano recording
as well. I am a huge fan of both Bruckner and Mahler :)
On an off-topic note, what the hell is it with all this crazy Hardmann
spam which makes up most of the posts on rec.classical.recordings now?
I actually have the Stradal piano solo scores to most of the
symphonies. My ability is not quite up to mastering these massive
pieces :)
>
> On an off-topic note, what the hell is it with all this crazy Hardmann
> spam which makes up most of the posts on rec.classical.recordings now?
>
>
Mr. Hardmann has a vociferous fan club. What you see is technically
trolling, not spam; they aren't advertising anything for sale. Mr
Harrington invited them to rmcr, and they stick like denizens of the La
Brea tar pits.
bl
> On an off-topic note, what the hell is it with all this crazy Hardmann
> spam which makes up most of the posts on rec.classical.recordings now?
One particular troll some years ago began to take potshots at Ward, who
simply could not resist replying. Apparently he still can't resist, and the
troll persists. I've long since killfiled Ward, as I've done with every
permutation of the troll. Somebody has too much time on his hands.
> On an off-topic note, what the hell is it with all this crazy Hardmann
> spam which makes up most of the posts on rec.classical.recordings now?
It's that you haven't filtered it out yet. I don't normally see that
stuff, except on "New Identity Day" which coincides with "New Killfile
Entry Day."
Kip W
> I actually have the Stradal piano solo scores to most of the
> symphonies. My ability is not quite up to mastering these massive
> pieces :)
Use two hands to do each staff, and via the magic of recordings, you can
play them along with yourself.
Kip W
I received the 2 piano transcription of the 3rd and listened to it. I
greatly enjoyed it, the rich piano textures during the massive
climaxes, how the trio of the Scherzo sounded like pure Schubert on
pianos. I would like to hear some of the other symphonies in
transcription, I'm hoping that Naxos will get around to them
eventually. :)
I also just listened to this. I have zero music training, but it seems to
me Mahler must have done a masterful job transcribing this. Unlike a lot of
other orchestral transcription for piano I've heard, it doesn't at all sound
like it is being forced onto the wrong platform.
Interesting.