Anton Bruckner: Symphony No. 8 in C minor - Wiener Philharmoniker, Herbert von Karajan. Rec. 1988

Robert Haas Edition 00:00 - I. Allegro moderato 17:02 - II. Scherzo. Allegro moderato 33:35 - III. Adagio. Feierlich langsam, doch nicht schleppend 58:54 - IV. Finale. Feierlich, nicht schnell Recording: Wien, Musikverein, Grosser Saal, 11/1988 Esoteric Company – ESSG-90181 https://www.discogs.com/ru/release/1536211... https://www.amazon.com/Bruckner-Symphony-N... jt52 5.0 out of 5 stars Karajan’s 1975 and 1988 Bruckner 8th compared Reviewed in the United States on December 23, 2013 Herbert von Karajan made Anton Bruckner’s mammoth 8th Symphony a center of his large repertory, recording it for release four times, in 1944, 1957, 1975 and finally in 1988, shortly before the maestro’s death. Karajan’ s emotional connection with the 8th is obvious and, in comparing the last two of these releases, I’ve been very impressed with how an aging conductor could re-invent his interpretations. As one can tell from these two Karajan performances and those from other musicians, the 8th can support many different approaches, with an almost kaleidoscopic array of musical and emotional elements revealing different colors as its components are played in different ways. In this review, I’ve focused on two excellent recordings, both on Deutsche Grammophon. The 1988 interpretation is one of Karajan’s most famous and is celebrated, as you can see from the many other reviews here on Amazon. The 1975 release was acclaimed when first issued but has fallen a bit by the wayside, through no fault of its own. The 1975 Berlin Philharmonic version: This is an energetic 8th that is yet marked by the best Adagio – 25 minutes of music that stands one of Bruckner’s most inspired creations – I’ve heard anywhere. While Karajan doesn’t take the work as fast as certain earlier performers, it’s done with pace. The vitality is evident: the striking descending brass theme that takes the central place in the Finale possesses both grandeur and fury. The quasi-recap in the finale’s coda, with the swirling strings undergirded by the brass theme’s harmonies, is done with flair and a sense of how the section caps off the 8th’s preceding hour and half. As mentioned, the Adagio is one of the best of Karajan’s most memorable tracks. Taking it slowly, the Berliners play with immaculate ensemble combined with an intense vision of the Adagio’s spirituality. At times, paradise seems to open up. Such serenity makes the storm-cloud opening of Finale that follows only more impressive. Brilliance likes this overrides some of the criticisms I have, including a curiously unshaped conclusion to the opening Allegro and the Scherzo or the bizarrely out-of-synch ending of the Scherzo’s slow central B section provided by the BPO’s wind section. This is a very good performance throughout but the last two tracks vault into brilliance. And the Adagio in the 1975 8th is not to be missed by the hardcore inhabitants of the Bruckniverse. The 1988 Vienna Philharmonic version: About a year from death, Karajan tackled the 8th one last time. This is a serene, contemplative rendition from a sage nearing death. The performance at first struck me as being tired and lacking in focus, but I have grown to love it, although it is I think an unusual interpretation -- and it contrasts with the 1975 version, led by a vigorous Karajan at the peak of his career. Karajan presents the repetitious main theme of the Scherzo a little slower than normal and imbues it with a sense of nostalgia that I didn’t think it contained before I heard this interpretation. The way he takes the ascending chordal passage in the Adagio concluding in the harp arpeggios possesses a spirituality that is breathtaking. Similarly, the soft contrasting theme in the Finale (presented in the strings) has a tone of melancholy that is special. But there are moments of great energy at times, too, such as the big climax at around 9 minutes into the opening Allegro. This 8th is a terrific capstone to Karajan’s career and shows an aging musician able to find something new to say as he faces death. Sound engineering: The digital 1988 version would seem to have a natural advantage over the analog 1975 version but I found the two engineering jobs very close in quality. While the 1988 session has more precision and refinement than the 1975, the digital recording – which is really only average in the spectrum of digital technology – has a somewhat washed out color palette while the 1975 recording possessing more warmth and a larger palette. So both recordings are terrific, fully deserving of 5 stars. They show significantly different interpretive approaches and a depth of thought and musical growth, even at an advanced age, that I can only aspire to reach. https://www.amazon.com/Bruckner-Symphony-N... https://www.amazon.com/Bruckner-9-Symphoni...