C1340. SIEGMUND von HAUSEGGER Cond. Munich Phil.: Symphony #9 in d [Original Edition] (Bruckner). (Canada) St Laurent Studio YSL 78-259, recorded 1938, the first recording of the complete work. [A remarkable transfer from pristine copies of the 1938 Victor shellac pressings] Transfers by Yves St Laurent.
“ What could be more appealing than this swan song, swaying as it does between suffering and promise before fading away into a vision of peace and serenity? In its original version, the work is an exemplary interpretation of one of the most important compositions of the Late Romantic symphonic repertoire. Bruckner’s extraordinary Symphony #9 in d minor, while free from the composer's own misgivings and second thoughts, its posthumous 1903 publication was ‘edited’ by his disciple Ferdinand Löwe, who reduced the dissonances, added transitional modulations and tempered the brittle climaxes with smooth swells of sound. Fortunately, despite a lifetime of submission to others' tastes, Bruckner bequeathed his original manuscripts to the Austrian imperial library, thus ensuring their future availability. The contrast was first unveiled in a revelatory 1932 Munich concert, when Siegmund von Hausegger conducted the Ninth twice - first the Löwe edition and then, to huge acclaim, the world premiere of the autograph. To Hausegger also fell the honor of the first recording. His 1938 set of HMV 78s with the Munich Philharmonic Orchestra is thoroughly convincing, idomatic and solidly shaped. Steeped in German tradition, it projects an unmistakable image of repressed feeling seething beneath a superficially placid surface. Ever since, Bruckner’s Ninth has been an essential part of the Late Romantic symphonic repertoire – in its original version with one of the numerous reconstructions of the final movement, or followed by Brucker’s ‘Te Deum’ as a finale replacement.”
- Peter Gutmann, Classical Notes
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011