@@moxyblackfiddler I agree, as a pianist and cellist it took a LONG time to be able to fluently read bass, tenor, and treble clefs and change between them. Worth it tho...
With a bit of exercise, it's rather easy to follow the movements upwards and downwards according to the higher of the lower sounds. Rythm is also simple to follow. More difficult is to read all notes at the good tempo, and even more to read it for each transposing instrument that plays in another "clef". But here it is noway necessary for the pleasure of listening. In this respect, it's also curious to see that Bruckner didn't indicate the "clef" but on the first page: you are supposed to know the appropriate ones for each transposing instrument (f.i. horn = c2d, clarinet = c4th etc.). But it's the conductor's problem !
These autograph scores always amaze me. This is the last version before it is going into actual print, so the composer is using his most clear handwriting to avoid mistakes. But imagine how long it takes to pin down just a single page in this writing. Even if you are not composing anymore and just making a clear copy. At a bare minimum it takes 5 minutes per page, depending on how much you have instruments doubling each other.
its incredibly labor intensive. The crazy thing is that composers still do this nowadays. Check out Thomas Ades' scores(such as In Seven Days, Tevot and such)
@@KinkyLettuce talking about labor intensive. Check the amount of frames I had to edit from the huge score. Not sure how much time I spent on making these, the addition of the audio takes about twice the time of the run time, and then I uploaded all 9 Symphonies, 3 Masses, smaller orchestral works plus choir works. There were times I thought I was nuts for doing this.
Thank you for your hard work. This was certainly a true labor of love to post these scores. The Eighth is my favorite Bruckner symphony, and it was very interesting to follow the manuscript even though I own the published score.
This Symphony never ceases to astound me. And this is the definitive recording, hands down. It could use a bit of conductor license, if you will: more nuance here and there; more liberties in general. But it's as perfect as can be otherwise.
The genius of Bruckner to follow the quite pp ending of the first movement with the scherzo and not the adagio . The balance of this symphony is perfect. In all the other symphonies he places the adagios second. Also the conductor Hermann Levi is the very same conductor who Wagner trusted to conduct the premier of his Ring Cycle in 1876.
@@Luca-yg5qx unfinished....and who knows how many versions Bruckner would have made if he'd lived. After a final movement he could well have put the adagio second. We'll never know.
This is THE last word in stereo recordings of the 8 th. Furtwangler's mono recordings are the standard for conducting Bruckner. But Haitink's is, well, perfect in stereo.
Sadly, YpuTube's compression does the sound no service. I have heard far worse though! Nothing compare with the power of standing in front of the orchestra ! Haitink gave me that delight in person several times.
The degree to which the quality of UA-cam videos affects the audio depends on a variety of factors, including the resolution, the file format, the settings that are used, and the computer or device that is being used.
Excellent performance. I must admit I have never been fully convinced by the final peroration with all the four themes superimposed - Haitink nails it thanks to his tempo, which is faster than I can remember. It works.
yes. I just learned of the four-themes play in the finale, in Constantin Floros's _Bruckner: the Man & his Work, as an the extreme example of B's playing with themes.
I have a feeling that I had this recording on the B8 in vinyl LP format. Long gone unfortunately. It introduced me to Bruckner at a young age. I was captivated by it from start to finish. I've worked out that Bruckner is a composer that you either love or hate. I can understand that. If you've grown up on a diet of Mozart and Beethoven, this is a different planet altogether. But once you get how Bruckner can interweave his ideas over the vast timescale of these works, then you've caught the Bruckner bug. The B8 is probably his greatest achievement. The B9 would have followed suit, had he finished it.
@@banjocracy did you listen his other recordings? there are at least 5 others and 2 otheres with RCO. I like the one with Wiener Phil and the latest RCO-Live recording from 2005.
Bruckner was much disdained for his rests he said once that he was like a runner after a long run he needed to take a breath you can see a beautiful example of the Bruckner rest at 1:13:55 of this beautiful glorious Bartje Bartsmans edition. thanks always, BB! xØx jd
thanks for the aboce links to the movements somebody new to Bruckner and brave enuf to listen for the better part of half.an.hour will find the Adagio more than interesting
@@vangel1443 I think, that the first movement shows the way to god. In the exposition you climb a mountain. The beginning is the dawn. The first theme shows the agony, the second theme shows the view to the mountains or to god, and the third theme shows the long and exhausting way to the summit. In the development we first can here silence on the mountain. Then we have the second theme, but the melodie goes down. And then with a large crescendo we have at 7.49 the climax of the symphony. The first and second theme fit together and build a fantastic music, the pain of the human (first theme) and the shine of god (second theme) are one. The rest of the symphony is also nice wonderful, but I hope I can show you a little bit, why this symphony isn't only a music, its a worldview and a short form of the evangelium.
@@vangel1443 May I ask you, what's your intention, or what is your personal opinion? Do you agree with me? I like it to talk with people, who understand the music of Bruckner and who are profound interested in it.
if you can't read music, follow the score like a flowing image of the music. and if you're alone, conduct the music as you hear and watch it. this is Bruckner at the Master level, as are all his Symphonies--in this magnicent Bartjemans collection, which should be easy to find on UA-cam, the bountiful Lord of Classical Music. UA-cam is cool, unlike some place that begins with "F".
S. Celib. is too slow for me. This is great. I love the Wagner Tuben in F used so fully at the end of the third and the final movements, and, of course, the spine-tingling change to C-Major right at the end.
I think Celib's version is majestic, transcendent. Once the Celib train gets rolling you forget that it might be slower than other trains because it has such strength and power and locomotion and once it's moving nothing will stop it. Interpretation and our taste for them is such an idiosyncratic thing. I get nothing out of this recording like I do from the Gunter Wand or Celibidache versions. Others dislike those interpretations. To each his own. Thankfully we live in the era of recorded music and have so many versions to choose from.
I wonder how it can be if you were this wunnerful Ms Bartje working so hard matching score to sound perfectly BB is the Mastress of this kind of medium : to catch the moment of pause while hearing music so beautiful as this and make the mark O I'm sorry this music drives me out.of my heart to the place where pure Music plays and I HAVE.TO HEAR IT just listen, OK? then get back ut right now just listen
Bruckner is an under rated composer. Bruckner music is like Bach counterpoint with minimalist recursion and chromatic orchestral harmonies. Bruckner is better than Wagner. He is under rated because he was a simpleton with astounding music.
Ma come ha fatto? Madre Nature è riuscita a farlo diventare un musicista Mito dell'800.In questa sinfonia riesce nel suo capolavoro di coniugare fede ed arte,come pochissimi altri.Per me ottima anche l'interpretazione di Haitink,non lenta e né veloce.Un testamento musicale.
It seems Haitink may be using the 1939 Haas edition. Haas, according to Wikipedia, has been accused of composing some passages himself, but others have pointed out that he just added back in measures that Bruckner had crossed out. It looks like some crossed out passages are being played here and others not, which can be confusing when reading the score (not that trying to follow Bruckner isn't confusing enough with all the countless repeated measures!)
I remember only one crossed-out passage not being played. I could've erased it, but as I already took liberties by condensing the score in many frames I left it alone.
So, for purposes of clarification (please correct me if I am wrong), this is the Haas edition being performed by Haitink and so this video therefore uses some autograph pages from the 1887 version, as reinstated by Haas. For example the ten bars from 44:40 to 45:25.
Karajan is great too. They all are. They all have their pros and cons. But it is not a competition with winners and losers. Be glad there are all these choices.
This is the "autograph-score" of Bruckner himself? I mean, the score written by Bruckner himself, I dont know how to say that in English. All these videos with Bruckner´s symphonies in the playlist are with the original score written by Bruckner? Thank you very much for your work doing that, is very useful and interesting.
you should copy a page of the score on music paper or in Mind's eye quivering all the quavers of 8ths & 16ths while listening to The Adagio. a moment in the music is a minute in the copying. this like all Bruckner Symphonies will drive you to hear it again was it really so glorious? Cor blimey it is !!! xØx jd
La octava sinfonía en do menor de Bruckner fue estrenada el 18 de diciembre de 1892 bajo la batuta de Hans Richter. El crítico vienés judío Eduard Hanslick tuvo que tragarse sus críticas debido al gran éxito del estreno de ésta sinfonía.
@@garrysmodsketches Primero, es de mala educación responder a una publicación en un idioma diferente al que se usa. Segundo, no estoy interesado en sus estereotipos antisemitas.
just asking -- it would be grand if videos like this could be separated into their movements "O horrors we would violate the wholeness of the work" but for serious students of these Master Symphonies it would help us to explore the various movements particularly the Adagios of which Anton Bruckner is the reigning Master still a CEntury later
@@Tucker.Showkeir just.askin - I want a way to clip a beautiful minute from this beautiful hour ; and move the moment. surely there is such a way, but I can't find it. to clip the minute (among so many) that my heart sings, we need a button. somebody give us a clip-button.. meanwhile get back to hearing Bruckner flying over the top of the nest
You could just write down times you want and then manually fast forward to said "clips" in the video. Stop trying to make everyone else do much harder work for something that you could solve in seconds by yourself. Also, no clip button. Because if there were clip buttons, any one could steal any work that these people have done for their channel. So, no. No clip button for you.
is it possible? to collect only the Bruckner Syms of this magnificent site somewhere where we could also forum our impressions of this Master of the Symphonic form. the Syms are a collectivity, one big work, a huge Symphonic Etude. the proof of this is that he replaced (rather than revised) the Second. the Nullte, or Zero, or whatever, was originally the Second so to have a place in networld --just the syms (and the Quintet?)-- would be a pleasant place (like 05.20 on the tape) to hear more in these masterpieces a place to say what U hear
Wagner didn't write any orchestral music of significance. All his important works were operas. There are lots of performances of Wagner's music in concert without voices, but it's not what the composer planned. Bruckner admired Wagner and was inspired by him, so he used similar tricks in his symphonies - long build-ups into brass fanfares or string section playing in faster time underneath brass passages.
a note by the commentator Floros on B*c Floros on B8c Bruckner was beset by mental pictures that largely determined his musical shapings ... not to be understood as worked-out or tightly organized programs but rather resembled {? re-assembled?} sequences of "strung-together genre pictures". Psychology defines imagination as "series of fantasies", which resemble dreams and can be located in a no man's land between the conscious and unconscious. ... in a copy of the Romantic Symphony {B4Eb} Brucknerpersonally entered the cues "night", "dreams", and "confused dreams".... After the Bayreuth performance of Ring of the Nibelung ... many contemporaries were greatly impressed by the Todesverkündigung, the Death Annunciation scene in Die Walküre (II.iv), in which Brünnhilde, against her own wishes, tells Siegmund that he will soon die and be gathered into Valhalla.... The scene must have left an indelible impression on Bruckner, inasmuch as the opening movement of the Eighth ... at the climax of the recapitulation ... the horns and trumpets jointly intone ten times in a row, fortissimo, the dotted rhythm of the main theme- a passage of truly elemental force, which Bruckner ... referred to rxpressly as "die Todesverkündigung". A general pause then marks an abrupt break, followed by three tympani rolls, pianissimo. Then commences the epilogue, taking up, dirge-like ... the main subject and dying away in a triple piano. Gustav Mahler ... was familiar with the concept of the "Todesverkündigung"... I voiced the surmise 25 years agothat Mahler conceived the short third movement {of the Tenth}-the Purgatorio-after having read the notorious letter of Walter Gropius to Alma, in which the young artist begged Mahler's wife to leave everything behind and come to him... In a more recently published particello {short score} sketch for this eerie movement, the word Todesverkündigung appears written in Mahler's hand... B8c 3.Scherzo Bruckner wanted the Scherzo to be understood as a portrait of "the German Michel" ... The figure of the "German Michel" had political tones... {from CE17} St. Michael, as the embodiment of heroism and strength ... the patron saint of the German nation. ... St. Michael morphed into ... "the German Michel"- an embodiment not only of courage and bravery but also of "high-mindedness".... Michel is patient, bears humiliations and insults with a smile. At the crucial moment, bowever, he turns into "a berserk, who assaults his slanderer with irresistible rage and spreads fear and trembling about him." ... The Michel figure connoted hope, disappointments and anxieties: the hope for the creation of a German Reich, the disappointment about the political lethargy of the Germans, and the anxiety about losing out in the political game of the global powers. ... Carl Almeroth was indefatigable in championing {Bruckner}. Bruckner esteemed him not least for his straightforwardness and sincerity and saw in him the personification of the German Michel. In the sketches to the Scherzo ... he significantly jotted down the name of Almeroth ... as a way of indicating the theme of the movement... Bruckner himself was characterized as the German Michel in 1892... Anton Bruckner's Victory Allegory shows him seated in the form of the German Michel, with peaked nightcap, woolen gaiters and mountain boots, peering out into the landscape, while at hios feet snakes, hatching their eggs, dart their tongues up at him. Constantin Floros: Anton Bruckner: The Man and The Work, 2 rev.ed., trans. Ernest Bernhardt-Kabisch
Dude, why are you copy pasting huge sections of books to a comment section? This isn't discussion about yours and others opinion. Its just copying for no reason. Don't do this anymore. Its infuriatingly annoying.
@@cobblestonegenerator (1) I'm not a "dude", whatever you mean by the term. Don't use this term anymore. It betrays a weak intellect. (2) The quotation was not a copy/paste, but a typed copy the passage from a book on my bookshelf, meant for deeper thinkers than a dude like you.
I always wondered what would be the reaction of a classical music's expert if I'd just told him/her that I used Bruckner's symphony as my background cleaning music 🤔
I've tried using classical music as background music several times. It's impossible. I love it too much. I inevitably stop what I'm doing and sit down and listen....or do air conducting... but don't let people see you lol..
I prefer Jochum's treatment of all Bruckner symphonies. This performance couldn't listen for more than ten minutes. Too disjointed. The orchestra is not all together, the violins and wind instruments sound like they are in two different worls, not playing one coherent piece.
What makes you think I don't know about Bruckner, his versions, conductors and performance practice? I studied his music since 1970's. My uploads should give you ample evidence of that.
![Rachmaninoff: Symphonic Dances, Op 45 (with Full Score) [4K UHD]](/img/n.gif)
I love this Symphony so much, one of my absolute favorites.
Favorite Bruckner symphony
I envy all you guys who can read a score ! But I know great music when I hear it. And I love it.
Well it's not that difficult.
@@bravulo arrogant much? The true masters can hear the music while reading it. That IS difficult.
Just like learning a language. Once you learn it. Then you're ok. You know each clefs and location of the instruments. The tough thing is CONDUCTING!
@@moxyblackfiddler I agree, as a pianist and cellist it took a LONG time to be able to fluently read bass, tenor, and treble clefs and change between them. Worth it tho...
With a bit of exercise, it's rather easy to follow the movements upwards and downwards according to the higher of the lower sounds. Rythm is also simple to follow. More difficult is to read all notes at the good tempo, and even more to read it for each transposing instrument that plays in another "clef". But here it is noway necessary for the pleasure of listening. In this respect, it's also curious to see that Bruckner didn't indicate the "clef" but on the first page: you are supposed to know the appropriate ones for each transposing instrument (f.i. horn = c2d, clarinet = c4th etc.). But it's the conductor's problem !
0:53:10 and 1:05:29 left me speechless. The brass has so much freaking power.
Love your concertos Max Bruch, Scottish fantasy beginning brass I love.
That was written by Bruckner under the impression of the Don Cossack races during the joint Austro-Russian maneuvers at Olmütz.
34:08 and 40:55 melts my heart every time
at 34:08, I almost thought it was the Brahms 1rst (moreover, it the same tonality)
44:58 is the most overlooked part of the movement yet one of the most finely balanced. Sadly excised in the Nowak edition.
These autograph scores always amaze me. This is the last version before it is going into actual print, so the composer is using his most clear handwriting to avoid mistakes.
But imagine how long it takes to pin down just a single page in this writing. Even if you are not composing anymore and just making a clear copy. At a bare minimum it takes 5 minutes per page, depending on how much you have instruments doubling each other.
its incredibly labor intensive. The crazy thing is that composers still do this nowadays. Check out Thomas Ades' scores(such as In Seven Days, Tevot and such)
@@KinkyLettuce talking about labor intensive. Check the amount of frames I had to edit from the huge score. Not sure how much time I spent on making these, the addition of the audio takes about twice the time of the run time, and then I uploaded all 9 Symphonies, 3 Masses, smaller orchestral works plus choir works. There were times I thought I was nuts for doing this.
@@bartjebartmans you are doing god's work my man
@@bartjebartmans that's mindblowing... thank you so much for your work!
@@KinkyLettuce Yes, because autograph scores are valuable. Who would pay big money for a print-out from Sibelius (the program!)?
1. Allegro moderato
2. Scherzo: Allegro moderato - Trio langsam (14:07)
3. Adagio: Feierlich langsam, doch nicht schleppend (27:46)
4. Finale: Feierlich nicht schnell (53:09)
note the coffee stains about 37:00!
what a gem! thank you as always, BB, for this magnificent project!
Thank you for your hard work. This was certainly a true labor of love to post these scores. The Eighth is my favorite Bruckner symphony, and it was very interesting to follow the manuscript even though I own the published score.
1:11:21 until the end made me cry a little
This Symphony never ceases to astound me. And this is the definitive recording, hands down. It could use a bit of conductor license, if you will: more nuance here and there; more liberties in general. But it's as perfect as can be otherwise.
Absolutely Carl. This recording has always been my favorite Bruckner as well...This and the Celibidache 4th.
I love that you used the original score! Beautiful, thanks so much! :)
As the other person said previously, truly glad to follow Bruckner's manuscript. Thank you for your great contribution.
“Feierlich, nicht schnell” is an anthem of the new world. Those french horns and furious trombones...
The genius of Bruckner to follow the quite pp ending of the first movement with the scherzo and not the adagio . The balance of this symphony is perfect. In all the other symphonies he places the adagios second. Also the conductor Hermann Levi is the very same conductor who Wagner trusted to conduct the premier of his Ring Cycle in 1876.
9th?
@@Luca-yg5qx unfinished....and who knows how many versions Bruckner would have made if he'd lived.
After a final movement he could well have put the adagio second. We'll never know.
Hans Richter conducted the Ring Cycle in 1876. Levi conducted the premier of Parsifal.
Marvelous, stunning symphony, thank you very much!
This is THE last word in stereo recordings of the 8 th. Furtwangler's mono recordings are the standard for conducting Bruckner. But Haitink's is, well, perfect in stereo.
Sadly, YpuTube's compression does the sound no service. I have heard far worse though! Nothing compare with the power of standing in front of the orchestra ! Haitink gave me that delight in person several times.
The degree to which the quality of UA-cam videos affects the audio depends on a variety of factors, including the resolution, the file format, the settings that are used, and the computer or device that is being used.
Excellent performance. I must admit I have never been fully convinced by the final peroration with all the four themes superimposed - Haitink nails it thanks to his tempo, which is faster than I can remember. It works.
yes. I just learned of the four-themes play in the finale, in Constantin Floros's _Bruckner: the Man & his Work, as an the extreme example of B's playing with themes.
Epic! Thanks for sharing.
I have a feeling that I had this recording on the B8 in vinyl LP format. Long gone unfortunately. It introduced me to Bruckner at a young age. I was captivated by it from start to finish. I've worked out that Bruckner is a composer that you either love or hate. I can understand that. If you've grown up on a diet of Mozart and Beethoven, this is a different planet altogether. But once you get how Bruckner can interweave his ideas over the vast timescale of these works, then you've caught the Bruckner bug. The B8 is probably his greatest achievement. The B9 would have followed suit, had he finished it.
I grew up on a diet of Mozart and Haydn, but still found Bruckner in my early 20s... an enduring love for 25 years now.
Impressive account by Haitink. Probably this is the 1969 Philips recording. In my opinion actually his best rendition of this masterpiece....
It is the 1969 and I agree it's his best and also the best of any conductor that I have heard. And it's the Haas edition.
Ben Legebeke It IS!
one of the joys of Bruckner Syms is the versions. when you, Monsieur Berlioz, first heard this, it opened the door of your music. xØx
jd
The most interpretations of this symphony are bad, but this one is absolutely great.
@@banjocracy did you listen his other recordings? there are at least 5 others and 2 otheres with RCO. I like the one with Wiener Phil and the latest RCO-Live recording from 2005.
Great Post--thanks!
Bruckner was much disdained for his rests
he said once that he was like a runner
after a long run he needed to take a breath
you can see a beautiful example of the Bruckner rest
at 1:13:55 of this beautiful glorious Bartje Bartsmans edition.
thanks always, BB!
xØx
jd
Grandioso.
5:14 just wow 🥲
thanks for the aboce links to the movements
somebody new to Bruckner and brave enuf to listen for the better part of half.an.hour will find the Adagio more than interesting
The best symphony ever written...
I'd be very interested to know why do you think so... Maybe in a couple of lines… Subjective opinions could be made more objective if fundamented : )
Of course, you could always quote Pascal and say that your heart has its own reasons ; )
@@vangel1443 I think, that the first movement shows the way to god. In the exposition you climb a mountain. The beginning is the dawn. The first theme shows the agony, the second theme shows the view to the mountains or to god, and the third theme shows the long and exhausting way to the summit.
In the development we first can here silence on the mountain. Then we have the second theme, but the melodie goes down. And then with a large crescendo we have at 7.49 the climax of the symphony. The first and second theme fit together and build a fantastic music, the pain of the human (first theme) and the shine of god (second theme) are one.
The rest of the symphony is also nice wonderful, but I hope I can show you a little bit, why this symphony isn't only a music, its a worldview and a short form of the evangelium.
@@vangel1443 May I ask you, what's your intention, or what is your personal opinion? Do you agree with me? I like it to talk with people, who understand the music of Bruckner and who are profound interested in it.
伝統のコンセルトヘボウの音響をまとめる指揮にハイティンクの穏やかな良さが素晴らしい。このコンビで、ずっといて欲しかった。
if you can't read music, follow the score like a flowing image of the music. and if you're alone, conduct the music as you hear and watch it. this is Bruckner at the Master level, as are all his Symphonies--in this magnicent Bartjemans collection, which should be easy to find on UA-cam, the bountiful Lord of Classical Music. UA-cam is cool, unlike some place that begins with "F".
S. Celib. is too slow for me. This is great. I love the Wagner Tuben in F used so fully at the end of the third and the final movements, and, of course, the spine-tingling change to C-Major right at the end.
Celibidache is half an hour slower. Or Haitink is half an hour faster....
Celi always preferred slower tempos for some reason
I think Celib's version is majestic, transcendent. Once the Celib train gets rolling you forget that it might be slower than other trains because it has such strength and power and locomotion and once it's moving nothing will stop it. Interpretation and our taste for them is such an idiosyncratic thing. I get nothing out of this recording like I do from the Gunter Wand or Celibidache versions. Others dislike those interpretations. To each his own. Thankfully we live in the era of recorded music and have so many versions to choose from.
I wonder how it can be
if you were this wunnerful Ms Bartje working so hard
matching score to sound perfectly
BB is the Mastress of this kind of medium
:
to catch the moment of pause
while hearing music so beautiful as this
and make the mark
O
I'm sorry
this music drives me out.of my heart to the place where pure Music plays
and I HAVE.TO HEAR IT
just listen, OK? then get back ut right now just listen
Bruckner is an under rated composer. Bruckner music is like Bach counterpoint with minimalist recursion and chromatic orchestral harmonies. Bruckner is better than Wagner. He is under rated because he was a simpleton with astounding music.
Bruckner's 8th is one of the very hew symphonies where my favorite movement is the finale; rarely so with Raff, much as I like Raff.
Shostakovich no 5
@@gregoryf4186 Shostakovich no 7 too!
@@jaymian2257 agreed
Bravo😊
Ma come ha fatto? Madre Nature è riuscita a farlo diventare un musicista Mito dell'800.In questa sinfonia riesce nel suo capolavoro di coniugare fede ed arte,come pochissimi altri.Per me ottima anche l'interpretazione di Haitink,non lenta e né veloce.Un testamento musicale.
the recording is clearly Haas, as we can see in the score, as Haitink always recorded Haas so far.
It seems Haitink may be using the 1939 Haas edition. Haas, according to Wikipedia, has been accused of composing some passages himself, but others have pointed out that he just added back in measures that Bruckner had crossed out. It looks like some crossed out passages are being played here and others not, which can be confusing when reading the score (not that trying to follow Bruckner isn't confusing enough with all the countless repeated measures!)
I remember only one crossed-out passage not being played. I could've erased it, but as I already took liberties by condensing the score in many frames I left it alone.
So, for purposes of clarification (please correct me if I am wrong), this is the Haas edition being performed by Haitink and so this video therefore uses some autograph pages from the 1887 version, as reinstated by Haas. For example the ten bars from 44:40 to 45:25.
@@banjocracy correct!
somewhere around 0:23 there's a transition worth watching
1:11:44 - end
Holy cow
Thanks a lot for uploading this excellent performance (though I'll always prefer Celibidache's and Furtwängler's). And aspecial thank for the score!
I prefer Haitink. Also in Mahler.
Karajan has been the best
Karajan is great too. They all are. They all have their pros and cons. But it is not a competition with winners and losers. Be glad there are all these choices.
I would throw the more recent recording by the late Pierre Boulez into the mix.
Boulez ??? Well, now I'm curious. I'll believe it when I hear it. Not to slight Boulez. Fine conductor.
This is the "autograph-score" of Bruckner himself? I mean, the score written by Bruckner himself, I dont know how to say that in English. All these videos with Bruckner´s symphonies in the playlist are with the original score written by Bruckner? Thank you very much for your work doing that, is very useful and interesting.
Yes they are in Bruckner's own handwriting. He used this unique numbering under the score, bottom page, that gives it away.
Bartje Bartmans Thanks.
Fortunately Bruckner hid the original score away for safe keeping, "for the future." Why so many lavish praise on the 1890 revision here is beyond me.
@@billyh4068 True
すばらしすぎる！from Japan
you should copy a page of the score on music paper or in Mind's eye
quivering all the quavers of 8ths & 16ths
while listening to The Adagio.
a moment in the music is a minute in the copying.
this
like all Bruckner Symphonies
will drive you to hear it again
was it really so glorious?
Cor blimey it is
!!!
xØx jd
Do you know where i can get a printed version of this score in the Haas edition? Ive been looking all over to no avail.
It used to be published by Breitkopf and Haertel but not sure if they do any more.
try wikipedia Bruckner. scroll down to external resources.
La octava sinfonía en do menor de Bruckner fue estrenada el 18 de diciembre de 1892 bajo la batuta de Hans Richter. El crítico vienés judío Eduard Hanslick tuvo que tragarse sus críticas debido al gran éxito del estreno de ésta sinfonía.
¿Por qué incluso mencionar que la crítica es judía?
@@pod831 to remind you what jews are like
@@garrysmodsketches Primero, es de mala educación responder a una publicación en un idioma diferente al que se usa. Segundo, no estoy interesado en sus estereotipos antisemitas.
@@pod831 when "stereotype" corresponds to reality almost perfectly, ignoring "stereotypes" becomes stupidity.
01:01:17 Wow
just asking --
it would be grand if videos like this could be separated into their movements
"O horrors we would violate the wholeness of the work"
but for serious students of these Master Symphonies
it would help us to explore the various movements
particularly the Adagios
of which Anton Bruckner is the reigning Master still
a CEntury later
Jiva Das the description does tell you where to skip to find each movement
I've found this is actually quite common in these videos' descriptions
@@Tucker.Showkeir just.askin - I want a way to clip a beautiful minute from this beautiful hour ; and move the moment. surely there is such a way, but I can't find it. to clip the minute (among so many) that my heart sings, we need a button. somebody give us a clip-button.. meanwhile get back to hearing Bruckner flying over the top of the nest
You could just write down times you want and then manually fast forward to said "clips" in the video.
Stop trying to make everyone else do much harder work for something that you could solve in seconds by yourself.
Also, no clip button. Because if there were clip buttons, any one could steal any work that these people have done for their channel.
So, no. No clip button for you.
Timps go for it 58:18
53:08
ua-cam.com/video/S49FEnkeFsQ/v-deo.html
is it possible?
to collect only the Bruckner Syms of this magnificent site
somewhere where we could also forum our impressions
of this Master of the Symphonic form.
the Syms are a collectivity, one big work, a huge Symphonic Etude.
the proof of this is that he replaced (rather than revised) the Second.
the Nullte, or Zero, or whatever, was originally the Second
so to have a place in networld
--just the syms (and the Quintet?)--
would be a pleasant place (like 05.20 on the tape)
to hear more in these masterpieces
a place to say what U hear
Bartje Bartmans Am I allowed to use this recording, like you, for the use in a new UA-cam-Video?
If audio only, of course! Share the great performance. The more the better.
@@bartjebartmans Thank You for the prompt reply, I want to create an analysis
14:09 game of throne theme!
29:55
🤗
Armonías desprevenidas
gut
53:10 三菱サイクロンエンジンのコマーシャルを思い出します
If I didn't know this work and someone told me it was written by Wagner, after hearing the first few minutes I would have certainly agreed.
Wagner didn't write any orchestral music of significance. All his important works were operas. There are lots of performances of Wagner's music in concert without voices, but it's not what the composer planned. Bruckner admired Wagner and was inspired by him, so he used similar tricks in his symphonies - long build-ups into brass fanfares or string section playing in faster time underneath brass passages.
56:31
56:44
57:13
Voglio dire.....,era autodidatta e praticamente contadino...
1:10:37 !!!
a note by the commentator Floros on B*c
Floros on B8c
Bruckner was beset by mental pictures that largely determined his musical shapings ...
not to be understood as worked-out or tightly organized programs
but rather resembled {? re-assembled?} sequences of "strung-together genre pictures".
Psychology defines imagination as "series of fantasies", which resemble dreams
and can be located in a no man's land between the conscious and unconscious.
...
in a copy of the Romantic Symphony {B4Eb} Brucknerpersonally entered the cues
"night", "dreams", and "confused dreams"....
After the Bayreuth performance of Ring of the Nibelung ... many contemporaries were
greatly impressed by the Todesverkündigung, the Death Annunciation scene in Die Walküre (II.iv), in which Brünnhilde, against her own wishes, tells Siegmund
that he will soon die and be gathered into Valhalla....
The scene must have left an indelible impression on Bruckner, inasmuch as
the opening movement of the Eighth ... at the climax of the recapitulation ... the horns and trumpets jointly intone
ten times in a row, fortissimo, the dotted rhythm of the main theme-
a passage of truly elemental force, which Bruckner ... referred to rxpressly as "die Todesverkündigung".
A general pause then marks an abrupt break, followed by
three tympani rolls, pianissimo.
Then commences the epilogue, taking up, dirge-like ... the main subject and dying away in a triple piano.
Gustav Mahler ... was familiar with the concept of the "Todesverkündigung"...
I voiced the surmise 25 years agothat Mahler conceived the short third movement
{of the Tenth}-the Purgatorio-after having read the notorious letter of Walter Gropius
to Alma, in which the young artist begged Mahler's wife to leave everything behind
and come to him...
In a more recently published particello {short score} sketch for this eerie movement, the word Todesverkündigung appears written in Mahler's hand...
B8c 3.Scherzo
Bruckner wanted the Scherzo to be understood as a portrait of "the German Michel" ...
The figure of the "German Michel" had political tones... {from CE17} St. Michael, as the embodiment of heroism and strength ... the patron saint of the German nation.
... St. Michael morphed into ... "the German Michel"-
an embodiment not only of courage and bravery but also of "high-mindedness"....
Michel is patient, bears humiliations and insults with a smile.
At the crucial moment, bowever, he turns into
"a berserk, who assaults his slanderer with irresistible rage and spreads
fear and trembling about him."
... The Michel figure connoted hope, disappointments and anxieties:
the hope for the creation of a German Reich,
the disappointment about the political lethargy of the Germans,
and the anxiety about losing out in the political game of the global powers. ...
Carl Almeroth was indefatigable in championing {Bruckner}. Bruckner esteemed him
not least for his straightforwardness and sincerity and saw in him the personification of
the German Michel. In the sketches to the Scherzo ... he significantly jotted down
the name of Almeroth ... as a way of indicating the theme of the movement...
Bruckner himself was characterized as the German Michel in 1892...
Anton Bruckner's Victory Allegory shows him
seated in the form of the German Michel,
with peaked nightcap, woolen gaiters and mountain boots,
peering out into the landscape,
while at hios feet
snakes, hatching their eggs, dart their tongues up at him.
Constantin Floros: Anton Bruckner: The Man and The Work,
2 rev.ed., trans. Ernest Bernhardt-Kabisch
Dude, why are you copy pasting huge sections of books to a comment section? This isn't discussion about yours and others opinion. Its just copying for no reason.
Don't do this anymore. Its infuriatingly annoying.
@@cobblestonegenerator (1) I'm not a "dude", whatever you mean by the term. Don't use this term anymore. It betrays a weak intellect. (2) The quotation was not a copy/paste, but a typed copy the passage from a book on my bookshelf, meant for deeper thinkers than a dude like you.
.
I always wondered what would be the reaction of a classical music's expert if I'd just told him/her that I used Bruckner's symphony as my background cleaning music 🤔
I've tried using classical music as background music several times. It's impossible. I love it too much. I inevitably stop what I'm doing and sit down and listen....or do air conducting... but don't let people see you lol..
mr sneaky2010 haha😅 good one, keep listening👊🏻
@@mr-wx3lv I agree. No other music can stop me in my tracks and make me pay attention like Classical music.
Probably like using a Ferrari to transport pigshit.
I prefer Jochum's treatment of all Bruckner symphonies. This performance couldn't listen for more than ten minutes. Too disjointed. The orchestra is not all together, the violins and wind instruments sound like they are in two different worls, not playing one coherent piece.
Score does not coincide with music((
Where? Be specific.
@@bartjebartmans For example start at 11:20 and look at 4th measure on right page. Horns are not playing what is written
OK they must be using different version.
Bartje Bartmans Every conductor performs his own almost always when it comes to Bruckner)
What makes you think I don't know about Bruckner, his versions, conductors and performance practice? I studied his music since 1970's. My uploads should give you ample evidence of that.
48:25
30:15