- Compositor: Bruckner
- CD de audio (12 de junio de 2015)
- Ten en cuenta: Necesita un material compatible con Super Audio CD
- Número de discos: 1
- Formato: Audiolibro, SACD Híbrido - DSD, Super audio CD - DSD
- Sello: Pentatone
- ASIN: B00442M13O
- Ediciones a la venta: Música MP3
- Valoración media de los clientes: 4.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
- Clasificación en los más vendidos de Amazon:
Bruckner: Sinfonia Nº 8 / Orchestre De La Suisse Romande - Janowski Audiolibro, SACD Híbrido - DSD, Super audio CD - DSD
AutoRip solo está disponible para CDs y vinilos vendidos por Amazon.es (salvo para pedidos de regalos o pedidos de PrimeNow). Consulta Condiciones del servicio para más información, como los costes de las versiones MP3 en caso de devoluciones o cancelaciones.
Los clientes que compraron este producto también compraron
Descripción del producto
Descripción del producto
Janowski,Marek/Orchestre de la Suisse Romande
To my surprise, I really enjoyed this recording. My experience with Maestro Janowski's conducting has not been very good of late. His Bruckner 6th was mediocre as was his Brahms 1st and Berlioz Symphonie Fantastique. Here, however, he turns in a solid and, at times, even exciting performance of this monumental symphony that ranks as Bruckner's best in my estimation (had Bruckner been able to complete his ninth, that verdict may have changed). Appropriate tempos are chosen for all four movements with just the right amount of nervous urgency in the Scherzo followed by a languid and beautiful third movement Adagio. The orchestra playing is superb and is filled with excellent dynamic contrasts. There were a few places in the long Adagio movement where I felt the energy flag just a bit but not for long enough to ruin the overall momentum and pace. The build up to the climax near the end of the Adagio is very fulfilling followed by a languid coda. The finale follows with a vengeance full-throated tuttis that Bruckner soon reigns in for more dreamy episodes. Janowski shapes the music very well on a 23 minute journey to a bracing conclusion. Another surprise for me was the sound. The earlier Bruckner 6th was also recorded in Victoria Hall in Geneva, Switzerland and was less than first rate. This, however, shows improvement. It was recorded by balance engineers Erdo Groot and Jean-Marie Geisjen in April, June and July, 2010. Despite the lapse in time between sessions, the sound coheres quite nicely. I suspect that most of the symphony was laid down in the April sessions with patch sessions in the subsequent months though listening to the result does not betray any discontinuities at all. The massed violins and woodwinds sound very natural. The brass are never shouty but possess the requisite bite. The low end foundation of the orchestra is adequately presented and is not muddy sounding. Dynamics are very good if not the widest I ve heard for a large orchestra. There is an excellent mix of direct and hall sound such that no detail is ever obscured. Very nice indeed! I would place this recording right up there with numerous others I ve heard on RBCD. A very worthy addition to the Bruckner discography and to the hi-rez canon. Recommended. --http://www.sa-cd.net/showreviews/6820#7942
Detalles del producto
Digital Booklet: Bruckner: Symphony No. 8 (1890 Version)
Digital Booklet: Bruckner: Symphony No. 8 (1890 Version)
Opiniones de clientes
Principales opiniones de clientes
Opiniones de clientes más útiles en Amazon.com (beta)
While the scherzo might be a tad too fast for Bruckner's "Allegro Moderato" marking, I especially liked that hurried sense of urgency in the first movement (truly one of Bruckner's greatest movements). Then again, one could argue that the scherzo needs to have a quick tempo to deal with Bruckner's numerous repeats. Personally, I like the scherzo to be somewhat slower and with some of the repeats left out, ala Klemperer (Giulini was particularly good in the scherzo as well). And while that's truly an unorthodox view, I think it helps to bring out more of the rustic Laendler feel that's there behind the notes. Whether it's to his credit or not, Janowski makes a strong contrast between the middle trio section, and the trio proper. I must say, those nice harps really 'make it' for me.
The Adagio runs at the usual 26 minute pace. The Geneva strings may not glow quite the way they do in Berlin and Vienna, but neither are they a hindrance. More to the point, Janaowski sustains a sharp concentration throughout the Adagio, and kicks up plenty of steam throughout its powerful yet draining climactic passage. Perhaps this isn't as powerful as Karajan or Giulini, but it's not far behind either.
The finale is where I feel Janowski really makes this a competitor. Like Klemperer, he begins the finale with a slower tempo that strongly emphasizes the rhythms and not just the hysteria. The timpani make nice crescendos on each of their answers to the brass (rather than just starting out too loud). About four minutes in is where Janowski's more forward woodwinds truly help Bruckner's somewhat rambling proceedings (I'm with Klemperer - this isn't one of Bruckner's most cogent finales). Those same woodwinds again lend a hand at the eight minute mark; and so it goes, all the way to the end. As with the first movement, Janowski brings a great sense of urgency around the 15 minute mark - it doesn't just lie there. The coda itself - arguably Bruckner's greatest - is another example of Janowski's expert pacing. There's also plenty of lung power without one having to be bowled over ala Chicago.
In the final analysis, Janowksi won't make you forget the golden oldies. But he also presents a very cogent and very 'musical' offering in a symphony that can sometimes sound too bombastic and elephatine. Let's give him credit for that much.
This method may wear poorly on me, as I generally much more prefer Bruckner on the lyrical, gentle and smooth side, but this rough hewn approach is rather interesting, nonetheless. The tempi are steady and the transitions fairly smooth, but Janowski shaves seconds off the time, by not languishing between important statements and ideas, as does, say Giulini, Wand and Tennstedt or Sanderling, in his 7th. As a Bruckner conductor, I am totally unfamiliar with this Polish Maestro but I liked what I heard so far, though, as I said, this is not the version I would opt for. Still, it moves right along with purpose and drive. The Scherzo runs only for 14:44, longer usually in most other readings. Somethying I noticed that displeased me was this. At the very last instant of the ending of the first two movements, I did not get the impression of these notes being the final ones, You know how most conductors do a infinitesimally tiny "taper" in say, the last one to three notes to clearly mark the last notes of the movement? He ends these movements so abruptly that it sounds almost as if someone just tripped over the power chord, killing the sound. This I found a tad hash and crude, but perhaps that is his conducting style or as it may be done in his homeland, I don't know. I found this curious.
Janowski's Adagio is not too long, but about 26:05, kind of short to me. With Wand and Karajan and certainly Giulini, this Adagio, regardless of the version, has an even more noticeable tapering to it's edges and "end notes", not present in Janowski. This lends to the music a sense of coldness and harshness I disliked. This is supposed to be, above all, tender and gentle music, very fragile in nature. Handle it too roughly, and it may break in your hands. Janowski is a bit gruff with the material, in the interests, I guess, of playing it "straight," and avoiding over-sentimentality. However, you MUST have some sentiment to this music or it's deep meanings may be lost. One must keep in mind that the composer is on his knees in this gorgeous Adagio and trembling with piety, he is almost in a prayerful trance. The conductor shoulod be likewise in a similar frame of mind, in order to do this great music justice. Janowski doesn't seem to be quite on the same page as Bruckner. But, there are a couple of items I want to talk about in this Adagio. The frist is a long, stair-case like ascension if the orchestra, starting around the 09:42 mark. Janowski takes this upward trek with a spiritual fervor that is good, and not far from my favorite Giulini, who does this Nowak Adagio better than anyone.
This trek levels off at a high pleateau at the 12:07 mark and, after a short well presented transition, we get a FFF piercing octave chord, of searing grandure and dramatic effect, at exactly the 14:17 point, but spilling over into the next few seconds (14:17 thru 14:35) Later on, Janowski pulls back a few times from the climax that will contain the percussion (timpani and those rarely used cymbals) These two "pull backs" serve two purposes. First, each prolongs the general suspense of the music and secondly, each enhances our understanding of the composer's great piety, zeal and fire for his Heavenly Father. This second rational has two of it's own meanings as well. That is, we must remenmber, Bruckner is , in a very musical sense, on his knees and he is really writing a "liturgical Symphony" . Religious music doesn't necessarily need a choir to be sacred in concept or effect. The climax, when it comes, at the 20:30 mark is big, grand and crystal clear and clean. The Super Audio presentations of cymbals are one of this technology's best features as these disks sound as if they're 36 inches in diameter, instead of 18 , (L.O.L.) WOW!
Janowski concludes the Adagio with a nice recovery, in a peaceful and pastoral mood, flowing out from within the forte orchestra in a pleasant and natural manner, not at all forced and he tapers it down to piano beutifully. The harps, by the way, are gorgeous, in what I think is a three player grouping.
The Finale, seems a bit anti-climactic to me, as it always has. Not my favorite last movement. Haas helps it more thasn does Nowak, but it is still to me, weak and a little messy in it's structure. Bruckner spoke about the meetings of the great emperors in this finale, but with such a spiritual conception centered in the preceding Adagio, how does one move from the Heavenly kingdom of the Adagio to a political rally in the same Symphony? Janowski's Finale is pretty good, imbued with a healthy sense of grandure and scope so important in this final 23 + minutes. As in the Adagio, Janowski pulls back again in this finale for preservation of it's integrity, not prematurely bringing the energy of the music into the station ahead of schedule but after a natural sounding build up of tension. The early pacing of this finale is broarder than normal, heightening the sense of the massiveness of the canvas and the weight of the OSR is nicely hefty .It occured to me that this finale, is finally a REAL 8th Finale! It has plenty of raw power and even sounds aggressive and a bit combative, prepared to fight for it's territory. I cant recall the OSR ever sounding this big, this bold, this husky. it plays this closing with vigor, swagger and, at times, it roars like a lion. Why, these folks almost may think they're playing Ring caliber music. CI must say, I enjoyed this Bruckner Finale better than many in the past at 20:42, Janowski begins his coda, and the mid-range and deep brass, including the Wagner tubas are jaw-dropping. the FFF rampaging gallop to the final chord must of brought, in the pre-recording live concerts, the audience leaping to their feet in a torrent of applause and cheers, WOW!
A very interesting performance of a great Romantic Symphony. It is , to recap, rugged, brawny, bold, eloquent, sometimes harsh sometimes mellow and always interesting. This Super audio sound stage is wide, deep and as advertised, thrilling. The Pentatone engineers did a splendid job with the miking, the booklet is very helpful and well written and if the several other Bruckner Symphonies in this cycle are anything like this one, we're all in for a real treat. This may well be one of the most important cycles of recent years. Best wishes for much happy listening and run out NOW and get this release, God bless you all, Tony.
Janwoski is a capable conductor who can't be accused of originality or imagination. Here he manages his fores well enough, but the reading is completely foursquare. If anyone needs a definition of what it means to put one foot ahead of the other, this is a prime example. Nothing goes wrong, yet nothing really happens. If you need a straight-ahead Eighth because you demand SACD, this is a one-disc version that meets the requirements. For myself, I'll stick with Karajan, Tennstedt, Boulez, and Harnoncourt, with Furtwangler as the supreme historical interpreter of this masterpiece.