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Bruckner : Symphonie n° 5

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Détails sur le produit

  • Chef d'orchestre: Georg Tintner
  • Compositeur: Anton Bruckner
  • CD (15 avril 1997)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B00000148X
  • Autres éditions : CD  |  Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 158.458 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Symphonie n° 5, WAB 105 / Royal Scottish National Orchestra, dir. Georg Tintner

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Amazon.com: 17 commentaires
36 internautes sur 40 ont trouvé ce commentaire utile 
Individual and searching account 16 décembre 1999
Par Mike Willis - Publié sur Amazon.com
Format: CD
This was the first of a planned cycle of Bruckner cycle under the late Georg Tinter, a venerable Bruckner conductor who never really received his due until Naxos started to recorded his performances (an earlier Bruckner 6 does not begin to compare with the Naxos remake).
The present performance is rather typical of this conductor in Bruckner. First, there is the obvious love and dedication which have gone into the preparation of the score. The orchestra plays with fire and conviction. Second, there is Tinter's keen ear for detail and his ability to "place" the climaxes of each movement almost to perfection (a gift he shared with Karajan, Furtwanger and, on his day, Knappertsbuch). Third there is the clean, almost clinical orchestral sound which allows you to hear almost every note, and finally, there is a natural sense of pacing which enables the orchestral details to be laid out logically and systematically, yet never in a hurried or laboured fashion.
These ingredients combine to create a unique style in performing Bruckner. This is because Tinter somehows manages to combine the elemental force of a Furtwangler performance with the clinical ear of a Szell - and he does it in a way which seems to be quite individual (and natural; his style is never as forced as Szell). Tinter is always "his own man" and his insights and sincerity shine through in each movement.
These are not easy, slick or smooth performances; but they are questing, searching, individualised (without being mannered) and thought provoking ones, which speak of a life of studying these superb manuscripts. As such they should surely be judged on their own very considerable merits.
This fifth is thus an important and thought provoking document. Ultimately, it is the control of dynamic light and shade which is the most impact (for example as heard in the first movement, especially in the build of up the coda). Don't listen to this performance to be lulled to sleep: listen to it to experience a quest for sincerity and truth. This is a most interesting and thought provoking performance which may be underrated by some reviewers initially.
Tintner's cycle is due to be completed in 2000. It is well worth collecting - perhaps not as an only set - but as one person's quest to find his own way to the heart and soul of a composer he loved all his life. There should always be performances like this in the catalogue: they enrich our understanding of a composer and make us listen with new ears.
10 internautes sur 13 ont trouvé ce commentaire utile 
Hills are moved instead of mountains. 15 septembre 2003
Par Jeffrey Lee - Publié sur Amazon.com
Format: 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 with Jochum and the Amsterdam Concertgebouw or Bavarian Radio Symphony, Knappertsbusch with the Vienna or Munich Philharmonic and Schuricht with the Vienna Philharmonic. Each of these conductors reveals 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 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? 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. It's the absence of this aspect combined with a less than imposing AND probing Brucknerian characterization that leaves me somewhat unfulfilled. There is considerably more to this composer than Tintner offers here.
2 internautes sur 2 ont trouvé ce commentaire utile 
Good starter 5th. 23 février 2002
Par Ward Hilgers - Publié sur Amazon.com
Format: CD Achat vérifié
Jochum- DG, Klemperer- EMI, Skrow- A.N., Jochum- Phillips, Schuricht-DG are all great and all so different. I will keep them all! But this recording is only a clean and clear starter 5th. I really wish the Jochum/ Tahra 5th would be released by Harmonia Mundi so we who haven't heard it can experience it. Pressure them to get it out! I used to view this disc as much more enjoyable but I've been listening to the 5th alot and there are superior perfomances.
8 internautes sur 11 ont trouvé ce commentaire utile 
Tempo problems. 9 août 2003
Par ken yong - Publié sur Amazon.com
Format: 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.
1 internautes sur 1 ont trouvé ce commentaire utile 
"It's the Bruckner Fifth, Jim, but not as we know it!" 21 juillet 2015
Par Bernard Michael O'Hanlon - Publié sur Amazon.com
Grounded in Aquinas' teleological argument for the existence of God, Fred Hoyle writes:

"Would you not say to yourself, `Some super-calculating intellect must have designed the properties of the carbon atom, otherwise the chance of my finding such an atom through the blind forces of nature would be utterly minuscule.' Of course you would... A common sense interpretation of the facts suggests that a super-intellect has monkeyed with physics, as well as with chemistry and biology, and that there are no blind forces worth speaking about in nature. The numbers one calculates from the facts seem to me so overwhelming as to put this conclusion almost beyond question."

Likewise, this is true of Bruckner's Symphonies and the mighty Fifth in particular. It did not have to be and yet it is. How does one correlate its begetter - a bumpkin - with this visionary utterance with more luminosity than the Sombrero Galaxy? It's haunted by Real Presence - why so? What is a mere solar flare compared with the pyrotechnics of its finale?

None of these questions come to mind if you're armed with Tintner's Bruckner and nothing more. Worse still, it's a sucker-punch; many are called and few are chosen to join the Australian Knappertsbusch Association; the first question on the application form reads: "Do you like Tintner's Bruckner?" As President and Guardian of the Grail, I'm astounded by the number of applicants who fail this test. Verily, the Gramophone and Penguin Guide cannot be sufficiently despised.

Bombastic (trust me - I can make this call), noisy, unsubtle, shallow in the slow movement and literal to the point of being prosaic, this performance of the Fifth with the Royal National Scottish Orchestra incarnates the worst features of this Naxos cycle. Tintner's performances of the Sixth, Seventh and Ninth (et al) are vin ordinaire but at least they incarnate a degree of grip which is distressingly absent in this installment. From what I read, GT was a fine man and a dedicated musician; that does not mean one has to endure this crudity. Short of the Melbourne Symphony Orchestra, the RNSO is about as far removed from a Brucknerian ensemble as one can imagine.

Abjure this horror! Hunt down Bruckner: Symphony No. 5 instead! It's now my primary recommendation. Take a ride on a cosmic train!
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