C0068. THE VIENNA PHILHARMONIC, w. Furtwangler (Symphony #8), Bohm (Symphony #7), Karajan (Symphony #9) Cond. Bruckner. (E.U.) 4-Andante 4070, recorded on a Selenophone, a device that used the photoelectric properties of selenium to etch a soundtrack on 8mm film. Lavish Edition features elaborate sturdy hardcover deluxe 111pp book. Very long out-of-print, final ever-so-slightly used copy! - 699487407022 1-931893-18-7
"This CD box represents a dream combination of orchestra, composer and conductors. Everything Bruckner could become in Europe in the 20th Century is represented in this box. The Bohm and Karajan performances are very spontaneous-sounding and exemplify their work in Bruckner. Like his commercial recording of the same time, Bohm's 7th Symphopny is highly Viennese. Karajan uses the same dramatic tendencies in this concert recording of the 9th Symphony.
The Furtwangler 8th is revelatory, a performance that shows why the conductor is remembered mythically nearly a half-century after his death, when Brucknerians the stature of Bohm, Karajan, Jochum, Wand and Tintner have traversed these symphonies in the stereo era. The 8th symphony is a lesson in what Jochum learned from Furtwangler - how to manage a repetitive theme while never saying the same thing twice; how to scale a repeating motif the same way a mountain climber scales peaks; how to vary tempo and modulate sound to create interest beyond the printed score and familiar message. If you have read about Furtwangler's Svengali-like grip over audiences, this recording will help you understand the legend.
This box should not replace your favorite late Bruckner symphony recordings, for it does not compete directly with stereo CDs created in the late 20th century (although the sound is exemplary throughout and no apology must be made for anything herein). An indispensable set for Bruckner fans and those who want to better understand Bruckner interpretation during mid-to-late century."
- Larry VanDeSande, VINE VOICE, 23 Dec., 2003
"[Böhm had a] natural, essential music-making….the magical ease and naturalness of transition from one tempo to another, the human warmth, the humor, restrained pathos, the aristocratic and refined taste in final ritardandos and the incredible energy of the man."
- Walter Legge, THE NEW YORK TIMES, 5 Feb., 1995