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Which Bruckner 4th to choose from Karajan?, December 31, 2005
Reviewer: Santa Fe listener
Karajan made two classic recordings of the Bruckner Fourth, one in 1970 for EMI--he had briefly jumped ship from DG over a cntract dispute--then again in 1975 when he returned to his home company. Both recordings are with the Berlin Phil., and both aspire to be the greatest Fourths in the catalog. Which one should you choose?
EMI 1970: Karajan is noticeably slower here, adding two min. to each movement compared with his later reading, except for the thrillingly fast Scherzo, which is the same on both. The broader pace allows for more expressive shaping, and the orchestra responds magnificently--just the opening string tremolos and hushed horn solo will have you holding your breath. Karajan was a sophisticate, the mirror opposite of the naive Bruckner, yet somehow he could clothe himself in simplicity and directness in this music. The Berlin strings are very sweet and tender when need be. The brass is enormous without being bombastic. As for sonics, the EMI version was recorded in the BPO's best location, the Jesus Christe Kirche, and the sound is clear and wide-ranging. At times the horns are a bit too recessed for maximum impact, but the climaxes come across without mircophone distortion.
DG 1975: This recording is out of print except in Karajan's complete Bruckner set. As a performance it is faster than the earlier one, which Karajan uses to achieve more immediate excitement. In all other respects the two readings are identical--Karajan tended to make up his mind once an interpretation was set. The deciding factor will probably be the sound. Recorded in the problematic Berlin Philharmonie, the orchestra sounds pinched and restricted compared to the EMI account, and there is a muffled haze in climaxes. In the loudest passages there is also a "crunch" that is not pleasant. These flaws aren't crippling, but they can't be overlooked, either.
Sometimes I feel it's worthwhile to own all of Karajan's various Bruckner interpretations--that's certainly true for Sym. 7, 8, and 9--but his EMI Fourth is so artistically complete that one should own it first and foremost. I can hardly imagine a more satisfying account, but this DG alternative comes close.
Which Bruckner 4th to choose from Karajan?, December 31, 2005
Reviewer: Santa Fe listener
Karajan made two classic recordings of the Bruckner Fourth, one in 1970 for EMI--he had briefly jumped ship from DG over a cntract dispute--then again in 1975 when he returned to his home company. Both recordings are with the Berlin Phil., and both aspire to be the greatest Fourths in the catalog. Which one should you choose?
EMI 1970: Karajan is noticeably slower here, adding two min. to each movement compared with his later reading, except for the thrillingly fast Scherzo, which is the same on both. The broader pace allows for more expressive shaping, and the orchestra responds magnificently--just the opening string tremolos and hushed horn solo will have you holding your breath. Karajan was a sophisticate, the mirror opposite of the naive Bruckner, yet somehow he could clothe himself in simplicity and directness in this music. The Berlin strings are very sweet and tender when need be. The brass is enormous without being bombastic. As for sonics, the EMI version was recorded in the BPO's best location, the Jesus Christe Kirche, and the sound is clear and wide-ranging. At times the horns are a bit too recessed for maximum impact, but the climaxes come across without mircophone distortion.
DG 1975: This recording is out of print except in Karajan's complete Bruckner set. As a performance it is faster than the earlier one, which Karajan uses to achieve more immediate excitement. In all other respects the two readings are identical--Karajan tended to make up his mind once an interpretation was set. The deciding factor will probably be the sound. Recorded in the problematic Berlin Philharmonie, the orchestra sounds pinched and restricted compared to the EMI account, and there is a muffled haze in climaxes. In the loudest passages there is also a "crunch" that is not pleasant. These flaws aren't crippling, but they can't be overlooked, either.
Sometimes I feel it's worthwhile to own all of Karajan's various Bruckner interpretations--that's certainly true for Sym. 7, 8, and 9--but his EMI Fourth is so artistically complete that one should own it first and foremost. I can hardly imagine a more satisfying account, but this DG alternative comes close.
отспасибивших мало, может есть у кого?
