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不知道什么时候可以得到富特万格勒的其他布鲁克纳录音？！
富特万格勒的布鲁克纳录音
9th Symphony
• Berlin Philharmonic, 1944/10/07, Music & Arts CD730; ; DG 445 4182
8th Symphony
• Vienna Philharmonic,1944/10/17, Japanese EMI CE285757/58; Music & Arts CD 764 ; DG 431878
• Berlin Philharmonic,1949/03/15,Music & Arts CD624; Seven Seas KICC 2352*
• Berlin Philharmonic, 1949/03/14, Toshiba TOCE 8514; Limited Edition SH 854
• (Schalk Ed), Vienna Philharmonic, 1954/04/10; Hunt CDWFE 355; Fonit Cetra FE 17
*The Bruckner 8th issued by "Originals" is the Oct 17, 1944 performance. It contains the characteristic drop in pitch in the first movement. They mistakenly(?) listed it as the March 1949 performance. The disk is filtered to the extreme and as such lacks some depth present in other Furtwaengler performances I have in the same period on M&A.
Craig Mirate
"Four recordings of Furtwaengler conducting Bruckner's Eighth exist (though the last one, captured on 10 April 1954 with the VPO in the Musikvereinsaal, is of doubtful authenticity). The two recordings with the Berlin Philharmonic were made on successive evenings, 14 and 15 March 1949 in the Gemeindehaus Berlin-Dahlem and the Titania Palast respectively. (Which one has Originals issued?) As fine as both of these performances are, neither in my opinion equals the war-time account with the Vienna Philharmonic from 17 October 1944. The venue is the Musikvereinsaal and the version is by Furtwaengler, based on Haas and earlier adaptations."
Herny Fogel writes:
I agree that the 1944 Bruckner 8th is the best of Furtwängler's performances of this piece to have been recorded. But the Music & Arts CD, and SOME DG versions, are in fact about a quarter-of-a-tone sharp, and have some flutter that is evident on sustained woodwind notes. The sharpness really affects the color of the orchestra and the whole sense of the span of the performance because of its slightly faster speed. The best transfer is a two-disc Japanese EMI CD version, but the recent DG Doubles set is also better than older DG versions and better than M&A's version.
While we're on FurtwänglerBruckner 8ths, let's clarify some things about that 1954 performance. It is (as many other posters have noted) not the Nowak edition but the 1892 edition of the score. What I have confirmed definitively, from the library of the vienna Philharmonic, is that on April 10, 1954, Furtwänglerdid perform the Bruckner 8th, and did, in fact, use the 1892 scorce, not the Haas version he had used earlier. Given that we now know that he did use that version on that date, and given that the performance recorded does have distinct Furtwänglerinterpretive touches throughout, I am certain it is genuine. However, it is the weakest, IMHO, of Furtwängler's recorded Bruckner 8ths -- lacking firmness of line and pulse, and lacking intensity.
And more ...
The doubts were, as Tony Movshon said, because this performance used the 1892 score, not the Haas version which (in a modified form) Furtwänglergenerally used. There was a second reason for the doubts, which is that this is not the strongest Furtwänglerperformance. Yes, it does have the general characteristics of his tempi, phrasing, and dynamics in this piece, but in fact it doesn't have the power and intensity of his other recorded performances. Given that fact, and the fact that it used a version that Furtwänglerdid not normally use, many people (including myself when it first came out) thought it was not authentic. However, it is now believed by virtually everyone to be authentic. I determined, from the archivist of the Vienna Philharmonic, that in his 1954 performances Furtwänglerdid, in fact, use the 1892 score, and not the Haas Edition. This is a matter of record with the VPO. Once we ascertained that fact, we were willing to accept this as a legitimate Furtwänglerperformance, though not one of his best.
7th Symphony
• Berlin Philharmonic; Gemeindehaus Dahlem, Berlin; 1949/10/18; Toshiba TOCE 8513
• Berlin Philharmonic; Rome; 1951/05/01; Arkadia, CDWFE 362.1; Fonit Cetra FE 42; Music & Arts CD 698
• Berlin Philharmonic; Cairo, Egypt; 1951/04/23; DG 445 418-2;
• Berlin Philharmonic; Berlin; 1942/04/07; Tahra FURT 1004/7 Teldec 9031764352 (Adagio only)
"This particular performance was issued on LP by EMI in many editions (Electrola's being one of them), it is from October 18, 1949. As far as I know, its only CD release is a Japanese Toshiba edition (that's a Japanese EMI-related company) which is very good in quality. I really like this performance and think it is probably the best Bruckner 7th with Furtwängler."
"DGG has a 1951 tour performance with the BPO from Cairo, which I find just a bit less taut (where tension is needed), and a few labels have released another performance from that same 1951 tour from a week later in Rome (Arkadia, FOnit Cetra and Music and Arts have all released that one). That one is a bit more inspired, in my view, than Cairo but I think you've got the best of them all."
"There is also more than one 1950's recording with WF, btw. There is a studio recording with the Vienna PO (no cat number yet) on EMI, a live performance (4/14/53) with the Berlin PO on DG, and an Orfeo disc, apparently. I know the EMI and DG recordings, and prefer the DG performance. It has all those intangible qualities that separate a WF live performance from a studio effort. The only reasons to more seriously consider the EMI recording are (a) better recorded sound (the DG is from a radio broadcast) and (b) coupling (the EMI disc has a respectable 5th; the DG is coupled with what strikes me as a mediocre, heavy-handed 8th)."
6th Symphony - last three movements only
• Berlin Philharmonic; ? ; 1943/11/16; Music & Arts CD 805
5th Symphony
• Vienna Philharmonic; Festspielhaus, Salzburg; 1951/08/19; EMI 565750 2; Seven Seas KICC 2116
• Berlin Philharmonic; Philharmonie; 1942/10/28; DG 427 7742;
"This is also EMI(5 65750 2; and the box lists no US number,which might be ominous).This comes from the original Austrian radiotapes, and is a vast improvement over the M&A and other issues that were taken from off-the-air copies of the broadcast.The sound is a bit too bright and hard, but far more listenable than prior versions. I would agree, however, with Dr. Liu, that this performance, even when heard in its better sonic state, does not measure up to the 1942 Wartime one issued by DG (427 774), though that is hard to find these days."
"There is an intensity and consistent forward motion to the 1942 BPO version that is not quite equalled here. This Bruckner Fifth seems a bit soft-grained incomparison, though the slow movement is lovely to be sure. I can stil lrecommend it if you cannot find the 1942 performance, but if you have the ས, this would be something to be owned only by those of us who admit to being "completists" when it comes to this conductor Schubert Symphony #9; Berlin PO (I guess the EMI set is the one out, though someone mentioned the Jesus-Christus-Kirche studio performance being out again on DG)."
Fourth Symphony (Schalk/Loewe Ed)
• Vienna Philharmonic; Deutsches Museum, Munich; 1951/10/29; Music & Arts CD796
• Vienna Philharmonic; Stuttgart; 1951/10/22; DG 427 4032 (better sound than 10/29 perf from Munich); DG 415 6642
Both performances are taken from the same tour of the Vienna Philharmonic under Furtwängler; the DG performance is taken from October 22, 1951, in Stuttgart; the Music & Arts performance (CD-796) is from a week later, October 29, in Munich. The two performances are, as you might expect, similar, but the sound on the DG is much better. HOWEVER, it is important to have the right DG pressing. 427 503-2 is quite wonderful; 415 664-2 has some rather serious flutter that is quite annoying on sustained woodwind notes. I have not heard 445 415-2, nor the Japanese DG POCG 9499. Despite their similarity in interpretive approach and general outline, I feel that the Munich performance (Music & Arts) has a bit more intensity, a bit more hushed beauty and mystery in the slow movement, and seems a bit more improvisatory. The differences are not significant, but they are present. Unfortunately, of couse, if you can find the right DG pressing, the sound is markedly better (this is not Music & Arts' fault; the differences are on the original recordings; Music & Arts has actually done a good job with this release, and I find it preferable to earlier releases of the same performance). The M&A is constricted, with less recorded at the high and low ends of the frequency spectrum than on the DG version.
"Furtwaengler conducted Bruckner's final version from 1888, published in 1889. I also have concerns about the 1888 version of the Fourth, especially the cut in the reprise of the Scherzo, which Furtwaengler ignored in his 1951 performances. Nevertheless, I would suggest that this edition should stand next to the Haas and Nowak editions with equal justification." Schricht的布鲁克纳没有听过，是不是真的一般？他的勃拉姆斯我还挺喜欢。除了众所周知的大公司名版以外，我认为，Abendroth（Berlin Classics）、朝比奈隆、Tintner（NAXOS）、斯克洛瓦杰夫斯基（ARTE NOVA，RR）、Suitner（Deutsche Schallplatten）的布鲁克纳确实是不可或缺的。稍后一代的指挥家里，阿巴多的布鲁克纳我比较喜欢，不太习惯的是哈农库特的，我还是喜欢听哈农库特的巴赫、海顿和莫扎特。总的来说，听布鲁克纳，还是喜欢老一代的指挥家多一些，那种神性的气息和安详的虔诚，在他们的棒下表达到了极致。德奥的音乐、理性、宗教传统和德奥的指挥传统在布鲁克纳作品的演绎上真的是达到了水乳交融的地步。 俺认为布鲁克纳6最合心意。;)
