Mravinsky conducts Bruckner

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John F
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Mravinsky conducts Bruckner

Post by John F » Wed Nov 07, 2018 6:54 am

Years ago I picked up Mravinsky's recording of Bruckner's 8th symphony on the Soviet MK lab3l - very impressive indeed, not just for his interpretation but the brilliant playing of the Leningrad Philharmonic. It's now on YouTube, along with Mravinsky recordings of the 7th and 9th. I've just listened to the 9th, which is sensational. Here it is:


https://www.youtube.com/watch?v=d7IuheU9FcE

There were big gaps in Mravinsky's repertoire, such as choral and vocal music, and he never conducted opera, but he wasn't just the man for Tchaikovsky, and I've liked pretty much everything I've heard from himl.
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Re: Mravinsky conducts Bruckner

Post by Lance » Wed Nov 07, 2018 4:22 pm

Never really knowing for sure the repertoire that Mravinsky duplicated or more on discs, the Bruckner Symphony No. 8 in C Minor, recorded 1959, was issued on Volume 2 of the RCA/Melodiya Edition [29458, Disc 13). The Symphony No. 9 in D Minor, recorded in 1980 ssued in the RCA/Melodiya Edition [25189, Disc 4]. Both were with the Leningrad Philharmonic Orchestra. In two sets, these 20 volumes of Mravinsky's Melodiya recordings is priceless. All these recordings may have since been reissued on other labels, however, RCA did a masterful job in remastering these discs.
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THEHORN
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Re: Mravinsky conducts Bruckner

Post by THEHORN » Mon Nov 12, 2018 3:49 pm

Mravinsky's Bruckner recordings are remarkable, but the rough brass playing full of vibrato is just not idiomatic . This takes some getting used to

John F
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Re: Mravinsky conducts Bruckner

Post by John F » Tue Nov 13, 2018 1:25 am

THEHORN wrote:
Mon Nov 12, 2018 3:49 pm
Mravinsky's Bruckner recordings are remarkable, but the rough brass playing full of vibrato is just not idiomatic . This takes some getting used to
I don't hear much vibrato in the brass playing in this recording, but in general it's a characteristically Russian sound, related to the old French style of brass playing. Used to be that you could tell where an orchestra was from by its sound. Nowadays they sound pretty much the same, except for the difference between French and German oboes. The French style predominates, especially in America, but the German style survives in Germany (but not Austria).

Anyway, one doesn't go to Mravinsky for "idiomatic" Bruckner, whatever that is - the most important Bruckner recordings are stylistically all over the lot - but for what this important musician and his great orchestra can bring of their own to this music.
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THEHORN
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Re: Mravinsky conducts Bruckner

Post by THEHORN » Fri Nov 16, 2018 7:12 pm

No, orchestras do not sound like today . I've never hear things this way . There have been CHANGES in the way individual orchestras sound as their personnel changes , but they still do not sound alike .
True, French orchestras no longer use the same instruments they used decades ago , but they still don't sound indistinguishable . Gergiev's Mariinsky orchestra still sounds very Russian, though not exactly the same as Russian orchestras during the Soviet era .
Russian orchestras before the breakup of the Soviet Union were forced to play on the local instruments ; but now they have the option of using won and brass i instruments form other countries .

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Re: Mravinsky conducts Bruckner

Post by John F » Sat Nov 17, 2018 3:24 am

No doubt the physical instruments had their effect on orchestral sound, but that's not what I'm talking about. Russian horn players used to use constant vibrato, as did French players; today they don't.

Here, for example, is Valery Polekh playing Gliere's horn concerto, which was dedicated to him. There's also a Brahms horn trio in which he joins David Oistrakh, I forget the pianist. Polekh was principal horn of the Bolshoi Theater orchestral in the 1950s and perhaps earlier; they certainly don't sound like that today.

What distinguishes the sound of Russian orchestras today, or other orchestras under Russian conductors, is a very strong bass line. When Yuri Temirkanov was conducting the Baltimore Symphony he had 8 double basses, even in concertos, while most western orchestras have no more than seven.
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