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  • Bruckner: Symphony No. 9 (with reconstructed Finale)
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Bruckner: Symphony No. 9 (with reconstructed Finale)


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Audio CD, September 30, 2003
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Disc 1:

Samples
Song Title Time Price
listen  1. Symphony No. 9 in D minor, WAB 109 (1894 version): I. Feierlich; misterioso23:16Album Only
listen  2. Symphony No. 9 in D minor, WAB 109 (1894 version): II. Scherzo: Bewegt; lebhaft - Trio: Schnell, Scherzo da capo10:57Album Only
listen  3. Symphony No. 9 in D minor, WAB 109 (1894 version): III. Adagio: Langsam; feierlich25:01Album Only


Disc 2:

Samples
Song Title Time Price
listen  1. Symphony No. 9 in D minor, WAB 109 (1894 version): IV. Finale: Misterioso, nicht schnell23:28Album Only


Product Details

  • Orchestra: New Philharmonic Orchestra of Westphalia
  • Conductor: Johannes Wildner
  • Composer: Anton Bruckner
  • Audio CD (September 30, 2003)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Naxos
  • ASIN: B0000BX5KD
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #198,953 in Music (See Top 100 in Music)

Editorial Reviews

Customer Reviews

4.5 out of 5 stars
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4 star
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See all 14 customer reviews
This performance, it seems to me, is the best of the three.
Good Stuff
The recorded sound, while having great impact, isn't perfect.
Mark E. Farrington
Bruckner's music should have real impact, and it's all here.
Neil E. Schore

Most Helpful Customer Reviews

36 of 36 people found the following review helpful By A Customer on February 12, 2004
Format: Audio CD
`Authenticity' is a vague idea where Bruckner's symphonies are concerned. There remain undecidable questions of text and versions in the case of most of the nine. These uncertainties are not all on account of `friends' meddling with Bruckner's scores after he had achieved what satisfied him as a definitive form of the work. Bruckner was himself a persistent, dissatisfied reviser.
The indisputable fact that the `reconstructed' finale cannot be considered `definitive' is therefore of no overwhelming significance. The facts of the case are that the finale of the 9th was completed by Bruckner in full score up to the beginning of the coda (a fact H. F. Redlich pointed out 50 years ago: `Bruckner and Mahler', Master Musicians, Dent). The finale of Bruckner's 9th was therefore left in a more complete state than Mahler's 10th. The thorough notes accompanying this recording present a strong and largely convincing musicological case for this reconstruction.
But what matters more for the listener is whether the reconstruction in the setting of the entire symphony is emotionally and psychologically sound. From that perspective the reconstruction is a resounding triumph. It places the symphony as a whole firmly in the authentic stream of Bruckner's symphonic visions of faith triumphant; the finale's coda bringing the symphony, and therefore Bruckner's entire symphonic output, to a moment of glorious and resplendent magnificence, a summit of transfigured splendour and arrival.
The themes Bruckner builds with in this most magisterial finale are wonderfully characteristic products of his most mature contemplations, certainly there is no evidence of any diminution of his creative skills.
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31 of 31 people found the following review helpful By Mark E. Farrington on June 21, 2006
Format: Audio CD
For 100 years after Bruckner's death, it was assumed that the "sketches" of the 9th's fourth movement were the disjointed, disturbing scribblings of a desperate, arteriosclerotic mind. This misunderstanding was the result of Bruckner's feeble end-stage demeanor, as well as a musicological "perfect storm":

1) There was a long-standing "traditional" disinclination to grant this movement the attention it needed, borne of intellectual laziness as well as misguided "Beethovenian" romanticism as to the symphonic number "NINE". Never mind that the "9th" is actually Bruckner's 11th symphony - counting the early F minor & D minor symphonies ("00" & "0"). These may not be "canonical", but nevertheless they were preserved by Bruckner, in spite of his notorious self-doubts and revisionism.

2) In Bruckner's Belvedere cottage, immediately after his death, there was much, shameless scavenging of this movement's sketches and manuscripts. It took the better part of a century to bring enough of them together for cohesive analysis and reconstruction. Prior to this, any attempts at taking the true measure of the 4th movement were doomed to failure.

Benjamin Gunnar Cohrs writes that the 1934 Orel "study volume" for this movement "omitted several sources, scattered as they were to the four winds." Later attempts at "completing" the 4th movement foundered on the omission of "significant original passages....(and) a high proportion of 'free Brucknerian' writing...One arranger, for example, filled a demonstrably 16-measure-gap in the score with no less than 100 measures of his own composition!"

No wonder, then, that even the most erudite Brucknerians mis-read the 4th movement, finding it "unmotivated" and "momentumless".
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31 of 32 people found the following review helpful By Neil E. Schore on April 8, 2005
Format: Audio CD
Having read the negative review on this page, I put this recording on again. (I've already written about it at some length in comparing it to Harnoncourt's recent recording--see that listing). Lookit, people, everybody is entitled to their opinion. Nonetheless, there are a few performances out there that really get my heart rate up, and this is one of them. Bruckner's music should have real impact, and it's all here. Wildner's tempos are NOT slow; his timings are 23-11-25=59 min for movements 1-3 (for slow, try Giulini on DG from 1989--which is a superb accomplishment in its own peculiar way, if you can handle 28-11-30=69 min). Compare, for example, Harnoncourt's 24-11-24=59, Walter's 24-12-23=59, Horenstein's 25-11-24=60 (BBC), and Furtwangler's legendary and unique performance at 24-9-26=59. By the way, that 9-minute Scherzo on the Furtwangler is about as terror-inducing a performance of anything as has ever been recorded. No, what Wildner does is shape the music, allowing it to breathe quite naturally. The recording is technically effective, dynamic shadings are quite apparent, secondary lines come out because the orchestra is together and very good, and the recording (and the recording space) very clear but not dry. And you also get the substantial bonus of an effective performing version of the 4th movement. Your call, but for 12 bucks I don't think you can go wrong.
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31 of 33 people found the following review helpful By Good Stuff on February 29, 2004
Format: Audio CD Verified Purchase
How does one discuss a recording of a Bruckner symphony in which the portion of most interest wasn't actually composed by Bruckner? At least not all of it.
Well, this happens to be, even without the completion, a darned good Bruckner 9th. I'm not too familiar with the work of conductor Johannes Wildner, except to say he does a fine job on this set.
However, the special interest here, of course, is the completion.
Of course, any completion of Bruckner's 9th Symphony must be speculative. I've own the recordings by Kurt Eichhorn and Yoav Talmi. Both are good. The Eichhorn somehow seems a bit more "authentic", if that is the right word. The Talmi, though a bit scrappy, is, at least to these ears, more exciting, with a brighter arrangement of the existing music written by Bruckner for the finale. I must admit to liking both, but for the different reasons stated above.
This performance, it seems to me, is the best of the three. The orchestra isn't quite as polished as Eichhorn's, but seems a bit more comfortable with the music than Talmi's Norwegian forces, although, again, what they may slightly lack in finesse they more than make up for in exhuberance. Wildner's orchestra seems to fall comfortably in the middle. It is fully capable of playing Bruckner's immensely difficult music, and it seems to fully enjoy doing so.
I found Wildner's conducting to be impassioned, nuanced, insightful, and fully up to the challange.
This version of the finale is probably the best yet. Of course, none can ever be definitive. But this, I would think, barring further discoveries, is probably as close as we are likely to get.
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