I attended a live performance of Bruckner 8 with Maazel and the Pittsburgh Symphony at the finale concert of the season. I believe it was 1991. That is one of the most thrilling live concerts I have ever attended. The applause lasted so long our hands stung.
I'm listening to this one right now, on YOUR say-so. And...WOW. You're right about Maazel...he was awfully inconsistent, but when he nailed it, BOY did he nail it. Thanks for this recommendation!
A top favourite of mine too for all the reasons you give, this is not only a great Maazel performance but is also a superb studio recording that beats the supposed more 'eminent" versions of the 8th out there & perhaps only the Suitner coming close with its own compelling qualities.
Great call. Ranks among my favorite recordings of this exquisite symphony. Maazel was kind of like a baseball power hitter who strikes out a lot, but when he does connect, it's a home run, like this one.
Amazing symphony. I love both versions of No. 8. This is a very good recording indeed, but my fav is the Cleveland Orchestra, with Christoph von Dohnanyi. They have made a name for themselves performing Bruckner's Smphonies. Off topic, but No.5 is another knockout performance. Back to No. 8, the disc is paired with Symphony No. 3. Both recordings are the revised editions.
I predicted off the title you’d go for Karajan’s Vienna live recording. I’m glad you picked Maazel because I haven’t heard it, will check out, thank you!
Ooo. I have that version too. It got it ultra cheap in a remainder bin. I was a wonderful surprise when I played it. It was fantastic and it cost a couple of bucks.
Yes!!! If a composer writes ff, play it fortissimo! Don't turn it into fp cresc, or fluff around with self-conscious swells or echo effects. I haven't heard this Maazel (my gold standard is the VPO Karajan) but clearly I need to.
Quite! A prime example: in Bernstein‘s first (NYPO) recording of the Missa Solemnis, at the moment in the Gloria where everyone bursts in fff, he does exactly that: fp-crescendo. Otherwise, I love that recording.
@@hendriphile an affectation which too many conductors indulge in - Jansons, Rattle, Nelsons come to mind. But you are quite right - it's entirely possible to love a recording despite its flaws or lapses of taste!
Vienna Staatsoper aka. the Palace Of Intrigues. More Drama offstage than onstage. Never mind the pit: no conductor is guaranteed to encounter the same players with whom (s)he has rehearsed when entering the pit for the performance. You can read it in Claus Helmut Dreses' memoir of his years as Staatsoperndirektor.
A really great 8th. I was so surprised. He doesn’t do anything Maazelish! One of the last recordings of the old Karajan band, before retirements, and Abbado…
What a great symphony ❤
I attended a live performance of Bruckner 8 with Maazel and the Pittsburgh Symphony at the finale concert of the season. I believe it was 1991. That is one of the most thrilling live concerts I have ever attended. The applause lasted so long our hands stung.
I've never heard the Los Angeles Philharmonic sound better than when Maazel conducted Bruckner 8 with them, maybe about 20 years ago.
I'm listening to this one right now, on YOUR say-so. And...WOW. You're right about Maazel...he was awfully inconsistent, but when he nailed it, BOY did he nail it. Thanks for this recommendation!
The same recording issued on the Seraphim budget label also, making it all the more a great value.
I do love the Guilini performance too
A top favourite of mine too for all the reasons you give, this is not only a great Maazel performance but is also a superb studio recording that beats the supposed more 'eminent" versions of the 8th out there & perhaps only the Suitner coming close with its own compelling qualities.
Didn't see this coming, at all. When the Berliners voted for Abbado instead of him, it broke his heart.
Happy Hanukkah, Dave! With best wishes from Oxford UK.
Great call. Ranks among my favorite recordings of this exquisite symphony. Maazel was kind of like a baseball power hitter who strikes out a lot, but when he does connect, it's a home run, like this one.
Alas, I don't own it. From what I've heard of it, it has a real immediate inspired concert-like electricity.
@OuterGalaxyLounge I'm not sure of the recording venue, but the acoustics are outstanding and just what you want for Bruckner.
Amazing symphony. I love both versions of No. 8. This is a very good recording indeed, but my fav is the Cleveland Orchestra, with Christoph von Dohnanyi. They have made a name for themselves performing Bruckner's Smphonies. Off topic, but No.5 is another knockout performance. Back to No. 8, the disc is paired with Symphony No. 3. Both recordings are the revised editions.
Looking forward to comparing it to the Suitner recording. Can't have enough great recordings of the 8th.
If I didn’t hear those words coming out of your mouth, I wouldn’t have believed it, but fair enough! I’ll give it a listen!
I predicted off the title you’d go for Karajan’s Vienna live recording. I’m glad you picked Maazel because I haven’t heard it, will check out, thank you!
Maazel Tov!
Ooo. I have that version too. It got it ultra cheap in a remainder bin. I was a wonderful surprise when I played it. It was fantastic and it cost a couple of bucks.
I have Jochum's 1981 recording. I really don't need more recordings of anything but I am intrigued. Nice review.
Yes!!! If a composer writes ff, play it fortissimo! Don't turn it into fp cresc, or fluff around with self-conscious swells or echo effects. I haven't heard this Maazel (my gold standard is the VPO Karajan) but clearly I need to.
Quite! A prime example: in Bernstein‘s first (NYPO) recording of the Missa Solemnis, at the moment in the Gloria where everyone bursts in fff, he does exactly that: fp-crescendo.
Otherwise, I love that recording.
@@hendriphile an affectation which too many conductors indulge in - Jansons, Rattle, Nelsons come to mind.
But you are quite right - it's entirely possible to love a recording despite its flaws or lapses of taste!
Vienna Staatsoper aka. the Palace Of Intrigues. More Drama offstage than onstage. Never mind the pit: no conductor is guaranteed to encounter the same players with whom (s)he has rehearsed when entering the pit for the performance. You can read it in Claus Helmut Dreses' memoir of his years as Staatsoperndirektor.
A really great 8th. I was so surprised. He doesn’t do anything Maazelish! One of the last recordings of the old Karajan band, before retirements, and Abbado…