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ESOTERIC SACD ESSD-90307 BRUCKNER Symphony No. 8 HAITINK For Sale
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ESOTERIC SACD ESSD-90307 BRUCKNER Symphony No. 8 HAITINK:
$109.99
●Item TitleESOTERIC SACD ESSD-90307 BRUCKNER Symphony No. 8 HAITINK PSLThis is Pre-Order Item. We will ship after release. Please contact us for release Audio CD hybrid software with a unique commitment to ESOTERIC
This is a series of masterpieces reissued by ESOTERIC, which has been highly praised for its tireless commitment to the original master sound and the overwhelming improvement in sound quality achieved by the Super Audio CD hybrid. Since their release, these masterpieces have been considered definitive masterpieces and have never disappeared from the catalog to this day. They have been DSD mastered with technology and sensibility that have evolved from the original master, and have been made into the world's first Super Audio CD hybrid. This time, we will release famous performances and recordings that represent the analog and digital eras from the famous albums of the former Philips and former EMI in Super Audio CD hybrid.The quiet Dutch master who led the conducting world from the late 20th century to the 21st century
Bernard Haitink (1929-2021) retired from conducting at the age of 90 in September 2019, his last performance of Bruckner's Symphony No. 7 with the Vienna Philharmonic at the Lucerne Festival, and passed away two years later. Haitink started out as a violinist, studied conducting under Ferdinand Leitner, and became the second conductor of the Netherlands Radio Philharmonic in 1955, and then the principal conductor in 1957, beginning his conducting career. He attracted international attention in 1961, when he was appointed the principal conductor of the prestigious Amsterdam Concertgebouw Orchestra at the age of just 32. Although Jochum supported him as an assistant at the beginning of his tenure, Haitink worked with the orchestra for 28 years until 1988, developing it from a representative presence in the Netherlands to one of the world's leading ensembles. He was a master conductor who held posts at world-class orchestras and operas, including the London Philharmonic (1967-1979), the Royal Opera House (1987-2002), the Boston Symphony Orchestra, the Staatskapelle Dresden, and the Chicago Symphony Orchestra, and literally led the conducting world for over 60 years since the second half of the 20th century. The Bruckner interpretation that cemented the young Haitink's reputation for discs
What is characteristic of Haitink is his extensive recording activities, which were undertaken in parallel with his conducting activities. Since recording Beethoven's Symphony No. 8 and Mendelssohn's Symphony No. 4 with the Concertgebouw Orchestra in 1959 before he took up his post at the orchestra, he built up an extensive discography ranging from Haydn to Takemitsu Toru for Philips, a new label in the Netherlands after World War II. It was only natural that the best label in the Netherlands would support the recordings of the best orchestra in the Netherlands, and in a situation where new catalogs were desperately needed using the new technology of stereo, the young Haitink released one recording after another of standard repertoire with prestigious orchestras, becoming known worldwide. Among these, the most highly acclaimed were the complete symphonies of Bruckner (1963-72) and Mahler (1962-71), two great composers of the late Romantic period, which he began recording in the 1960s and completed in the early 1970s. The former was the second set of stereo recordings in history after Jochum's DG recording, but it was the first complete set to be recorded by a single orchestra including Symphony No. 0, and the latter was the third complete set in history after Bernstein's CBS recording and Kubelik's DG recording. This coincided with the spread of stereo playback systems to ordinary homes, and greatly improved Haitink's image as an artist as a master of Bruckner and Mahler on disc. Recording Bruckner and Mahler before the complete symphonies of Beethoven and Brahms was also different from previous conductors, and promoted the innovative part policy of the Philips label, which was unique to the younger generation at the time. A culmination of Bruckner recordings with the Vienna Philharmonic that began in the CD era
Haitink's meticulous and sincere musicality, which does not neglect the details, shows a strong affinity with Bruckner's works more than Mahler's, and perhaps for that reason, he continues to re-record as the years go by. In the late analog and early digital eras, he re-recorded the three late pieces, 7th to 9th, with the Concertgebouw Orchestra, demonstrating his large-scale maturity. Furthermore, in 1985, he began re-recording with the Vienna Philharmonic, and in 1988 he recorded the three middle pieces, 3rd and 5th, in what was billed as a "complete recording," and carved out a masterpiece that delves deeper into the essence of Bruckner's works than the previous recordings. After a seven-year break, he recorded Symphony No. 8 in 1995, which will be hybridized for the first time in this series. The recording session took place over four days from January 10th to 13th (probably also serving as a rehearsal), and immediately afterwards, the group performed two regular concerts, and also toured Linz, Paris, London, and Toulouse. The process of carefully organizing a session and recording before performing the concert, rather than recording live, is a luxurious recording system that is difficult to achieve these days, and shows the enthusiasm of Philips. In the end, this recording was the last Bruckner complete set with the Vienna Philharmonic at Philips, but Haitink himself has continued to perform Bruckner's symphonies with the Vienna Philharmonic, and has also performed the Eighth Symphony in 1998, 2002, and 2015.
The natural charm of the now rare old complete edition edited by Haas
Since the 1980s, the Vienna Philharmonic has recorded Bruckner's Symphony No. 8 with five conductors: Giulini, Karajan (discized in this series), Haitink, Boulez, and Thielemann. Among them, this Haitink recording is a very natural performance that allows you to fully immerse yourself in the charm of Bruckner's music without the conductor's arbitrary interpretation. The Vienna Philharmonic responds to Haitink's conducting with a warm sound, and you can enjoy the characteristics of the Vienna Philharmonic to the fullest, such as the woodwind instruments with unique tones including the oboe and clarinet, the rich sound of the famous Vienna horn, and the string section that is not too flashy but has depth. The tempo is neither slow nor fast, and it seems to carefully open the door to the charm of Bruckner's orchestration with the right pace. The editions and manuscripts used in Bruckner's symphonies are often a topic of discussion, but Haitink, who was basically a supporter of the old complete works, used the second manuscript of Robert Haas's edition published in 1939 for this 8th Symphony. Due to Haas's arbitrary changes, the revised score is not given much attention in the 21st century because it is in a form that was not revised by the composer. However, the transitional passage (created by Haas) that embodies the image of Bruckner up until the mid-20th century has a unique appeal not found in Nowak's revised edition, and in that sense it can be called a recording with historical value. [Tracklist]
Anton Bruckner
Symphony No. 8 in C minor
Edition: Robert Haas
1. 1st movement: Allegro moderato2. 2nd movement: Scherzo (Allegro moderato)3. 3rd movement: Adagio (Feierlich langsam, doch nicht schleppend)4. 4th movement: Finale (Feierlich, nicht schnell)
Wiener PhilharmonikerConducted by Bernard Haitink■Notes on this product●Shipping
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