Tintner Bruckner Third
David Hurwitz
in a diabolical, "commercial" attempt to force you all to visit my site,
thus contributing mysteriously but immeasurably to my personal and material
well-being. Just so you don't think I'm totally mercenary, I have received
an advance copy of the Tintner Bruckner Third, and despite the fact that the
review is running today, Monday, January 14, I regard that performance as so
extraordinary that I am willing to sacrifice the possibility of exploiting
you all to earn my first million and post it here:
REVIEW
Every so often a recording comes out that is so powerful, so comprehensive
in its interpretive vision, that it not only makes the music sound
completely new, it forces a complete reappraisal of the music's overall
significance. Georg Tintner's Bruckner Third is one such recording. In fact,
it offers such a fundamental reappraisal of this music that it's safe to say
that until you hear this recording, you have not heard Bruckner's Third
Symphony. In order to understand why this is so, it's necessary to
understand something of the history of the work. First composed in 1873 and
dedicated to Wagner, the symphony went through at least two major revisions
in the wake of its disastrous Vienna premiere. For the most part, these
revisions involved cuts, but also some recasting of the basic thematic
material of the first and last movement in a heavier, more "late Bruckner"
style. The final, truncated version published by Nowak is the one most
frequently played today, but the slightly less cut Oeser edition (the
"middle" version) has been gaining favor recently, and has been recorded by
conductors such as Haitink and Sinopoli.
Because Bruckner's later thoughts on the symphony reflect his more mature
orchestral practice, the Third has acquired a reputation as a hybrid, a
"magnificent failure" that falls between the Schubertian world of the early
symphonies and his monumental later achievement. This view was reinforced by
Robert Simpson's unsympathetic account of the work in his important English
language study of the Bruckner symphonies. Eliahu Inbal's first recording of
the original 1873 version for Teldec did nothing to dispel this impression,
being a rapid and not especially well played performance that merely set out
the notes that Bruckner wrote. Tintner's spacious, epic conception of the
symphony couldn't be more different. In the first place, it plays for more
than 77 minutes, making it Bruckner's longest symphony after the Eighth (and
in fact longer than many performances of that work). But the tempos never
sound slow. Rather, Tintner gives each thematic group time to breathe, to
present its themes in Bruckner's characteristic blocks of sound, and along
the way we make some fascinating discoveries. The first of these reveals the
exposition of the first movement to be the richest and most thematically
diverse that Bruckner ever wrote, with no less than four complete subject
complexes. The spaciousness of the exposition makes the development section
sound unusually concentrated for Bruckner, the movement's overall form
confidently poised and balanced.
After the 30-minute first movement, with its huge contrasts of dynamics and
texture, the lyrical adagio comes as the ideal contrast, and Tintner's
gracious phrasing, combined with his ability to find just the right tempo,
keeps the music moving with a real sense of inevitability. The Scherzo has
never been controversial, and Tintner captures its lightness and rustic
dance qualities as have few others, but it's the finale that offers the
final revelation. Here, Tintner's confidence in Bruckner's vision pays huge
dividends in a movement long regarded as almost a complete bust, formally
speaking. With all the "cyclical" elements that were later removed still in
place (the recollections of earlier themes), and a tempo that gives the
music time to reveal its clear derivation from the melodies and
accompaniments of the first movement, what we really have is one of
Bruckner's most ambitious and far reaching formal successes, an energetic
and satisfying counterbalance to the epic expanses of the symphony's
opening. Tintner's belief in this symphony reveals it to be not some sort of
unfortunate hybrid, but the product of a fully mature (he was 49 when he
wrote it!), even radical composer. This in turn makes its initial failure in
performance all the more understandable: there was certainly nothing even
remotely like it in 1873. The conventional wisdom that the "real" Bruckner
begins with the revised Fourth Symphony simply will not stand. It's this
work that is his symphonic manifesto, and no one hearing this performance
will doubt it for a second.
The Royal Scottish National Orchestra deserves a huge amount of credit for
sharing Tintner's patience and conviction. The light tone of the strings, in
particular, sounds especially "right" in this symphony, and in this case
preferable to the darker, heavier sound of many Continental orchestras in
this music. Tintner's Bruckner series has been almost uniformly excellent,
but I think that this recording is the finest of them all. Its importance to
our understanding of Bruckner's symphonic achievement is such that it
amounts to nothing less than a premiere performance of a newly discovered
masterpiece. Recordings this significant happen all too rarely. Don't miss
it.
--
David Hurwitz
Executive Editor
http://www.classicstoday.com
dhur...@classicstoday.com
Raymond Hall
recording as one of your nominations. I submitted Tintner's Bruckner 2nd
to the above, and another Tintner recommendation would be apt and
timely.
Regards,
Ray Hall, Sydney
Andrys D Basten
David Hurwitz <hurw...@worldnet.att.net> wrote:
>review is running today, Monday, January 14, I regard that performance as so
>extraordinary that I am willing to sacrifice the possibility of exploiting
>you all to earn my first million and post it here:
>
>REVIEW
>
>Every so often a recording comes out that is so powerful, so comprehensive
>in its interpretive vision, that it not only makes the music sound
>completely new, it forces a complete reappraisal of the music's overall
>significance. Georg Tintner's Bruckner Third is one such recording
David, thanks for posting this, because it gave me the
opportunity to forward it to Tintner's wife Tanya, who has
posted here for him in the past and for herself.
What's so awful about this is that even with cover articles in
Fanfare and Gramophone when he was 80, he was still not taken
seriously by symphony orchestras in the U.S. and in most parts of
Europe in that they showed little or no interest in his conducting
with them. Norman Lebrecht wrote about this in October. Sad state
of affairs.
Very glad to see his rare abilities acknowledged in such a
beautiful way.
And this is as good a time as any to remind people that if they
have enjoyed Tintner's recordings and haven't yet joined the online
petition for a memorial set by Naxos, the petition is at
http://tintnerpetition.tripod.com
- A
--
Andrys Basten, CNE http://www.andrys.com/ PC Network Support
http://www.andrys.com/books.html - Classical-Music Searches on one page
Search VIDEOS, SHEET MUSIC (good), CDs, Gramophone reviews
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Thomas Deas
"David Hurwitz" <hurw...@worldnet.att.net> wrote in message
news:85u8i1$a4o$1...@bgtnsc03.worldnet.att.net...
> I know that many of you think that I only post notices referring to
reviews
> in a diabolical, "commercial" attempt to force you all to visit my site,
> thus contributing mysteriously but immeasurably to my personal and
material
> well-being. Just so you don't think I'm totally mercenary, I have received
> an advance copy of the Tintner Bruckner Third, and despite the fact that
the
> review is running today, Monday, January 14, I regard that performance as
so
> extraordinary that I am willing to sacrifice the possibility of exploiting
> you all to earn my first million and post it here:
Careful, David, you're laying yourself open to charges of wasting bandwidth,
if not breach of copyright.
David Hurwitz
bandwidth,
> if not breach of copyright.
You're right, of course. First thing tomorrow I'll trot on down to small
claims court and sue myself.
--
David Hurwitz
Executive Editor
http://www.classicstoday.com
dhur...@classicstoday.com
Thomas Deas <tj...@spam.ac.uk> wrote in message
news:85vanq$776$1...@pegasus.csx.cam.ac.uk...
>
> "David Hurwitz" <hurw...@worldnet.att.net> wrote in message
> news:85u8i1$a4o$1...@bgtnsc03.worldnet.att.net...
Simon Roberts
: > Careful, David, you're laying yourself open to charges of wasting
: bandwidth,
: > if not breach of copyright.
: You're right, of course. First thing tomorrow I'll trot on down to small
: claims court and sue myself.
You should do it right and make sure both sides hire attorneys.
Simon
Marc Perman
I'm not sure the damages limit in small claims court will suffice in a
case of this magnitude.
Marc Perman
August Helmbright
"David Hurwitz" <hurw...@worldnet.att.net> wrote:
recordings of the unfamiliar first version of the 2nd and the nearly
unfamiliar first version of the 8th.
Is this recording available in the US yet?
--
Join the petition for a memorial edition CD for the late Georg Tintner
at http://tintnerpetition.tripod.com
August Helmbright
Sent via Deja.com http://www.deja.com/
Before you buy.
Matthew B. Tepper
>
> > Careful, David, you're laying yourself open to charges of wasting
> > bandwidth, if not breach of copyright.
>
> You're right, of course. First thing tomorrow I'll trot on down to
> small claims court and sue myself.
Be sure to let us know who wins.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
"Compassionate Conservatism?" * "Tight Slacks?" * "Jumbo Shrimp?"
Matthew B. Tepper
> >: > Careful, David, you're laying yourself open to charges of wasting
> >: > bandwidth, if not breach of copyright.
> >
> >: You're right, of course. First thing tomorrow I'll trot on down to
> >: small claims court and sue myself.
> >
>
> I'm not sure the damages limit in small claims court will suffice in a
> case of this magnitude.
I suppose they should take it to the World Court in The Hague?
Matthew B. Tepper
>
> David Hurwitz (hurw...@worldnet.att.net) wrote:
> : > Careful, David, you're laying yourself open to charges of wasting
> : > bandwidth, if not breach of copyright.
>
> : You're right, of course. First thing tomorrow I'll trot on down to
> : small claims court and sue myself.
>
> You should do it right and make sure both sides hire attorneys.
And some people wonder why the dockets are so crowded.
Tony Duggan
news:85vr2u$sao$3...@netnews.upenn.edu...
| David Hurwitz (hurw...@worldnet.att.net) wrote:
| : > Careful, David, you're laying yourself open to charges of wasting
| : bandwidth,
| : > if not breach of copyright.
|
| : You're right, of course. First thing tomorrow I'll trot on down to small
| : claims court and sue myself.
|
| You should do it right and make sure both sides hire attorneys.
The great benefit of posting URLs IS that you save on bandwidth. I'm very glad
I read Dave's review of the Tintner Bruckner Third as, coincidentally, I
purchased said CD this very morning. But I would have gone to Dave's site to
read it quite happily and made up my own mind as to whether to look at the ads
or not.
--
Tony Duggan, England.
My developing Mahler recordings survey:
Now containing Symphonies 1,2,4,5 and DLVDE:
http://www.musicweb.force9.co.uk/music/Mahler/index.html
Marc Perman
>Marc Perman wrote:
>>
>> si...@dept.english.upenn.edu (Simon Roberts) wrote:
>>
>> >David Hurwitz (hurw...@worldnet.att.net) wrote:
>> >: > Careful, David, you're laying yourself open to charges of wasting
>> >: > bandwidth, if not breach of copyright.
>> >
>> >: You're right, of course. First thing tomorrow I'll trot on down to
>> >: small claims court and sue myself.
>> >
>> >You should do it right and make sure both sides hire attorneys.
>>
>> I'm not sure the damages limit in small claims court will suffice in a
>> case of this magnitude.
>
>I suppose they should take it to the World Court in The Hague?
Not a bad idea; after the trial, the lawyers can head over to
Amsterdam and drop in on Victor Kuijper.
Marc Perman
David Hurwitz
--
David Hurwitz
Executive Editor
http://www.classicstoday.com
dhur...@classicstoday.com
August Helmbright <alhe...@my-deja.com> wrote in message
news:8607i6$1ls$1...@nnrp1.deja.com...
Matthew B. Tepper
> of the World Court.
>
> Philip
Gee, then I've been near your home. (I visited Den Haag in 1990, and
made a point of taking a look at the building housing the World Court.)
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
rkha...@adnc.com
per...@mindspring.com wrote:
> "Matthew B. Tepper" <o...@earthlink.net> wrote:
> >
> >I suppose they should take it to the World Court in The Hague?
>
> Not a bad idea; after the trial, the lawyers can head over to
> Amsterdam and drop in on Victor Kuijper.
Will Samir be on the defense team? I imagine he could use very
persuasive arguments. :-)
RK
Philip Peters
Marc Perman wrote:
> "Matthew B. Tepper" <o...@earthlink.net> wrote:
>
> >Marc Perman wrote:
> >>
> >> si...@dept.english.upenn.edu (Simon Roberts) wrote:
> >>
> >> >David Hurwitz (hurw...@worldnet.att.net) wrote:
> >> >: > Careful, David, you're laying yourself open to charges of wasting
> >> >: > bandwidth, if not breach of copyright.
> >> >
> >> >: You're right, of course. First thing tomorrow I'll trot on down to
> >> >: small claims court and sue myself.
> >> >
> >> >You should do it right and make sure both sides hire attorneys.
> >>
> >> I'm not sure the damages limit in small claims court will suffice in a
> >> case of this magnitude.
> >
> >I suppose they should take it to the World Court in The Hague?
>
> Not a bad idea; after the trial, the lawyers can head over to
> Amsterdam and drop in on Victor Kuijper.
>
Karl Schuster
hurw...@worldnet.att.net says...
> Not available in the US yet, but coming soon--I believe February.
>
David -- maybe you could post an .MP3 file of the first half bar so we
can all tell if it's REALLY "great" or not :-)
Thanks for the lead; will try to find it next month,
karl
Andrys D Basten
August Helmbright <alhe...@my-deja.com> wrote:
>In article <85u8i1$a4o$1...@bgtnsc03.worldnet.att.net>,
> "David Hurwitz" <hurw...@worldnet.att.net> wrote:
>An excellent review -- but not surprising after Tintner's revelatory
>recordings of the unfamiliar first version of the 2nd and the nearly
>unfamiliar first version of the 8th.
>
>Is this recording available in the US yet?
For those who want it now, Crotchet in UK has it for American
$6 and shipping to the US is about $4 as I remember. Price for
UK types is more as they have the tax added.
As an affiliate, I've got a customized search box for it on my
books page but you can go straight to Crotchet. However you use
it, they have a very good rep.
Matthew Silverstein
"Philip Peters" <phi...@p-peters.demon.nl> wrote in message
news:3883D458...@p-peters.demon.nl...
> After they have been applauded by me who actually lives around the corner
of
> the World Court.
Ah, you live so close to that Girl with a Pearl Earring. I'm jealous . . .
Matty
Philip Peters
"Matthew B. Tepper" wrote:
> Philip Peters wrote:
> >
> > Marc Perman wrote:
> >
> > > "Matthew B. Tepper" <o...@earthlink.net> wrote:
> > >
> > > >Marc Perman wrote:
> > > >>
> > > >> si...@dept.english.upenn.edu (Simon Roberts) wrote:
> > > >>
> > > >> >David Hurwitz (hurw...@worldnet.att.net) wrote:
> > > >> >: > Careful, David, you're laying yourself open to charges of wasting
> > > >> >: > bandwidth, if not breach of copyright.
> > > >> >
> > > >> >: You're right, of course. First thing tomorrow I'll trot on down to
> > > >> >: small claims court and sue myself.
> > > >> >
> > > >> >You should do it right and make sure both sides hire attorneys.
> > > >>
> > > >> I'm not sure the damages limit in small claims court will suffice in a
> > > >> case of this magnitude.
> > > >
> > > >I suppose they should take it to the World Court in The Hague?
> > >
> > > Not a bad idea; after the trial, the lawyers can head over to
> > > Amsterdam and drop in on Victor Kuijper.
> > >
> > > Marc Perman
> >
> > After they have been applauded by me who actually lives around the corner
> > of the World Court.
> >
> > Philip
>
> Gee, then I've been near your home. (I visited Den Haag in 1990, and
> made a point of taking a look at the building housing the World Court.)
Really. There *are* rather more interesting things in our city. For instance, the
Gemeentemuseum (a 3 minute walk from the *World Court*) houses by far the *best*
Mondrian collection in the world. I hope you didn't miss that.
Philip
Matthew B. Tepper
>
> "Matthew B. Tepper" wrote:
>
> > Gee, then I've been near your home. (I visited Den Haag in 1990,
> > and made a point of taking a look at the building housing the World
> > Court.)
>
> Really. There *are* rather more interesting things in our city. For
> instance, the Gemeentemuseum (a 3 minute walk from the *World Court*)
> houses by far the *best* Mondrian collection in the world. I hope you
> didn't miss that.
I was there for the 1990 World Science Fiction Convention, and much of
my spare time I spent at the three Albersens music stores!
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
Philip Peters
"Matthew B. Tepper" wrote:
> Philip Peters wrote:
> >
> > "Matthew B. Tepper" wrote:
> >
> > > Gee, then I've been near your home. (I visited Den Haag in 1990,
> > > and made a point of taking a look at the building housing the World
> > > Court.)
> >
> > Really. There *are* rather more interesting things in our city. For
> > instance, the Gemeentemuseum (a 3 minute walk from the *World Court*)
> > houses by far the *best* Mondrian collection in the world. I hope you
> > didn't miss that.
>
> I was there for the 1990 World Science Fiction Convention, and much of
> my spare time I spent at the three Albersens music stores!
>
Ah, our *best* CD store. Still, it's nothing like New York's Tower, is it?
Philip
jh
David Hurwitz wrote:
>Tintner's Bruckner series has been almost uniformly excellent,
>but I think that this recording is the finest of them all. Its importance
to
>our understanding of Bruckner's symphonic achievement is such that it
>amounts to nothing less than a premiere performance of a newly discovered
>masterpiece. Recordings this significant happen all too rarely. Don't miss
>it.
>
Agreed. It is a geat performance, and one which I hope will, like
his 2nd will become a reference point. Tintner's first movement
, in particular, is indeed a revelation.
Jim Humphreys