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.
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.
Though it lacks a first movement, the 1944 Karajan Bruckner Eighth is both a notable performance and an astonishing piece of engineering. The finale, which was recorded in the studios of Berlin Radio in September 1944 in experimental 'two channel' sound, has occasionally been available on LP or CD, though never in such spectacular sound. For what we have here, as I understand it, is not the reproduction of a rough dubbing of the original mastertape but a transfer from the 30ips mastertape itself, part of a recently released hoard of tapes the Russians confiscated after the fall of Berlin in 1945. As for the second and third movements, recorded in mono towards the end of June 1944, these have never previously been released.
A wonderful reading it is, as authoritative as its predecessors and every bit as well played but somehow more profound, more humane, more lovable if that is a permissible attribute of an interpretation of this Everest among symphonies. […] It is the sense of the music being in the hearts and minds and collective unconscious of Karajan and every one of the hundred and more players that gives this performance its particular charisma and appeal.
"Even though Stefan Blunier's 2011 recording of Anton Bruckner's Symphony No. 8 in C minor is a lot to digest, timed at over 88 minutes and stretched almost to the breaking point, this is a deeply compelling performance and an impressive recording that deserves all the time listeners devote to it. (…) MDG's natural, unprocessed sound is a great aid to capturing the orchestra's subtle dynamics, and the live recording has very few extraneous sounds. Highly recommended." ~AMG
"Even though Stefan Blunier's 2011 recording of Anton Bruckner's Symphony No. 8 in C minor is a lot to digest, timed at over 88 minutes and stretched almost to the breaking point, this is a deeply compelling performance and an impressive recording that deserves all the time listeners devote to it. (…) MDG's natural, unprocessed sound is a great aid to capturing the orchestra's subtle dynamics, and the live recording has very few extraneous sounds. Highly recommended." ~AMG
"Even though Stefan Blunier's 2011 recording of Anton Bruckner's Symphony No. 8 in C minor is a lot to digest, timed at over 88 minutes and stretched almost to the breaking point, this is a deeply compelling performance and an impressive recording that deserves all the time listeners devote to it. (…) MDG's natural, unprocessed sound is a great aid to capturing the orchestra's subtle dynamics, and the live recording has very few extraneous sounds. Highly recommended." ~AMG