Günter Wand Ndr

What a Brahms cycle! Günter Wand’s fairly brisk tempos, astute sense of linear clarity, and palpable dynamic intensity often hold a modern-day sonic mirror to Toscanini’s way with the composer. Listen to how the First symphony’s driving introduction ever so gradually eases into the incisively shaped main theme, or notice the fourth-movement introduction’s seamless yet almost improvisatory transitions. The Third’s difficult-to-balance first movement is all of a piece, with the sustained wind passages, brass outbursts, and often buried lower strings contoured in revelatory perspective.

What a Brahms cycle! Günter Wand’s fairly brisk tempos, astute sense of linear clarity, and palpable dynamic intensity often hold a modern-day sonic mirror to Toscanini’s way with the composer. Listen to how the First symphony’s driving introduction ever so gradually eases into the incisively shaped main theme, or notice the fourth-movement introduction’s seamless yet almost improvisatory transitions. The Third’s difficult-to-balance first movement is all of a piece, with the sustained wind passages, brass outbursts, and often buried lower strings contoured in revelatory perspective.

Suddenly, and not before time, the Sixth Symphony of Bruckner is riding high. And deservedly so since it is the tersest of his mature symphonies and the most openly exultant. Unlike the superficially more alluring Fourth, it needs a real musician to direct it, no mere master of orchestral ceremonies. What's more, it needs a Brucknerian with a passion for musical logic, a musical realist rather than a musical romantic. As such it is a work better suited to a Rosbaud, a Klemperer, or a Wand rather than someone like Jochum or Furtwangler however inspirational they may be at certain critical moments in the score.

This gigantic 33 CD boxset features Wand's stunning recordings with renowned orchestras such as the Berliner Philharmoniker, Chicago Symphony Orchestra and NDR-Sinfonieorchester. This edition contains magnificent recordings personally authorized by Wand himself, such as Beethoven, Brahms, Bruckner and Schubert symphonies.

The Japanese company, BMG Japan, sorted the original RCA RED SEAL CDs according to the composers and the year when the music pieces were created. BEST100 series are the best representative CDs, which were carefully chosen from those music pieces by acting and recording, and they were released again with the mark of RCA BEST100. These CDs are the most impressive records in the classical field at RCA’s best. Theoretically, we could find the single originals of those CDs, but BMG Japan reorganised excellently for everyone. During BMG Japan period, it was released for the first time in 1999 and for the second time in 2008 after SONY took over BMG. BEST100 series belong to the latter.

Günter Wand (1912-2002) left us dozens of gramophone records: complete symphonic cycles and impressive live recordings of his concerts with the NDR Symphony Orchestra and the Berlin Philharmonic. The archetypical anti-star all his life and for that very reason under-appreciated, this conductor only attained international recognition in his old age as an unequalled interpreter of classical music. Accordingly, most of these multiple-award-winning benchmark recordings date from his later years. Wand's music-making moved those who heard it with its impeccable balance of perfection coupled with faithfulness to the original, emotional fulfilment, intellectual control, utmost sensitivity and spiritual penetration. He described his mission as "serving music", a cause to which this totally unpretentious man remained committed for seventy years. He rose to be one of the true "greats" of the twentieth century, a figure standing head and shoulders above our restless times, his name synonymous with the highest musical quality.

Like Paavo Berglund’s Sibelius symphony recordings, also with the Chamber Orchestra of Europe, these Brahms performances inject a certain novelty that will be appreciated especially by the listener who has wearied of them due to excessive repetition. While these are not radically desiccated renditions in the manner of Chailly or Harnoncourt, the COE’s smaller-scaled string body does require a bit of time at first for your ear to adjust to the thinner timbres. But the reward is a harvest of inner detail, much of it barely audible in full-size orchestral performances (but well captured by Ondine’s vivid recordings), which continually surprises and delights.