Carl  Schuricht, Vol. II  - Bruckner 7th   (Haas Ed.)  (St Laurent Studio YSL T-781)
Item# C1725
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Carl  Schuricht, Vol. II  - Bruckner 7th   (Haas Ed.)  (St Laurent Studio YSL T-781)
C1725. CARL SCHURICHT Cond. Statsradiofoniens S.O.: Symphony #7 in E (Bruckner; 1885 Haas Version, ed. Albert Gutmann). (Canada) St Laurent Studio YSL T-781, Live Performance, 30 Sept., 1954, Copenhagen. Transfers by Yves St Laurent.


“According to the online discography devoted to Carl Schuricht, the conductor has nine surviving performances of the Bruckner Seventh, more than for any other Bruckner symphony. Of these, only four have achieved varying degrees of general circulation to date: the two studio recordings and the live performances with the Stuttgart and NDR (Hamburg) orchestras. The 2014 Testament release of the 1964 Berlin performance seems to have flown completely under the radar, while the three performances with the French and Swiss orchestras are recent releases on Japanese labels that rarely appear in the U.S… might well expect a straightforward endorsement of the Stuttgart performance as the one of choice in the Schuricht discography among the five that I have heard. But, contrary to expectation, I wish to put in a strong word for this Copenhagen performance. Why? In a word, intensity. While both the Stuttgart and NDR performances feature committed playing, with the Danish RSO the listener palpably senses that the players were totally caught up in the moment, absolutely pouring their hearts out into the music with passionate ardor and glowing instrumental timbres. When one encounters such ardent devotion, the two or three slightly cracked notes in the brass and few rough smudges in the strings are easily overlooked and quickly forgotten. This is utterly moving and convincing music-making to a degree that one seldom encounters, and hence this disc is very strongly recommended to fans of Bruckner and Schuricht alike.”

- James A. Altena, FANFARE

“Carl Schuricht was among the most distinguished German conductors of the inter- and post-War years. He studied composition with Engelbert Humperdinck at the Hochschule für Musik in Berlin, and then with Max Reger in Leipzig. He became music director in Wiesbaden in 1911 and elected to stay there until 1944. From this base he made frequent guest conducting appearances elsewhere and appeared at many summer music festivals. He was known for his interest in French music and other modern compositions, and frequently played music of Debussy, Ravel, Schönberg, and Stravinsky.

He toured abroad often, and made his first U.S. appearance in 1927. For many years he conducted annual summer concert series in Scheveningen, Holland, a resort town next to the capital city, The Hague. In recognition of this, the Dutch government gave him the Order or Orange-Nassau in 1938.

In 1942 he was appointed conductor of the Dresden Philharmonic Orchestra. He often opposed the Nazi government's policies, and in 1944 fled to Switzerland, where he resided thereafter. As many German conductors who had favored modern music in the inter-War years did, he settled firmly to the traditional symphonic repertory in the post-War years and thereafter became strongly associated with performances in the Romantic tradition, with rhythmic freedom and a smooth, beautiful and expressive sound.

He was chosen to conduct the re-opening, after the War, of the Salzburg Festival in Austria in 1946, and continued his frequent guest conducting appearances and associations with summer festivals, including the Ravinia Festival in Chicago and the Tanglewood Festival with the Boston Symphony Orchestra in Massachusetts. He often conducted the London Philharmonic and the BBC Symphony Orchestra. He was chosen to share conducting duties with André Cluytens when the Vienna Philharmonic made its first American tour in 1956. In later years he often took the podium with that orchestra and the Berlin Philharmonic and frequently conducted the Stuttgart Radio Symphony Orchestra.”

- Joseph Stevenson,