1938 Bruckner 7th Symph "Aryanized" Schuricht Berlin78

$

108

Ten years after the great JASCHA HORENSTEIN recording, in 1938 the Cultural Purity Laws of the Reichskulturkammer have caught up with Deutsche Grammophon and this re-recording of Bruckner's famous Symphony No 7 (the death of Wagner in the 3rd movement) has been done by the racially unquestioned Carl Schuricht.

This is a rare example of a politically motivated re recording, even using the same album covers as the Horenstein 7th (the Schuricht has one more record). Other condemned performers like Fried, Dajos Bela, Marekt Weber were just dropped, Odeon stopped selling Tauber, and Telefunken, with Selmar Meyrowitz on virtually every record in the program had the name of the conductor simply omitted. 

  

CARL SCHURICHT and the Berlin Philharmonic Orchestra on  8x12" Deutsche Grammophon PICTURE LABEL records

Filler Side: Reger Toccata D Minor Op 59 5 1928 recording of Prof Alfred Sittard at the famous St Micheal Church organ in Hamburg:

Condition: Records are BETTER than EXCELLENT, pristine, dusty need cleaning

 

  

Symphony No. 7 in E major was the most beloved of Bruckner's symphonies with audiences of the time, and is still popular. It was written 1881-1883 and revised in 1885. During the time that Bruckner began work on this Symphony, he was aware that Wagner's death was imminent, and so the Adagio is slow mournful music for Wagner, and for the first time in Bruckner's oeuvre, the Wagner tuba is included in the orchestra.

The famous entry of the C-Sharp Minor motive in the slow movement is the point where Bruckner received word of the Death of Wagner in Venice, 1883, as expressed in Bruckner's letter to Felix Mottl:  "I felt very sad. For the thought of the Master would soon die had occurred to me, and at that moment the C sharp minor theme of the Adagio came to me."

As an interesting note to the Bruckner Version Problem, Schuricht is NOT using the standard 1885 Edition, a 1885 version with some modifications by Bruckner under the influence of Schalk, Loewe, and Nikisch Ed. Albert Gutmann [1885]

This, of course makes this recording unique, as today the standard critical 1885 Edition is used.

 

Anton Bruckner faced a far crueler fate. At the height of his power, he spent his final years in a desperate struggle to craft a final masterpiece that would both epitomize his ideals and extend his art into a new realm, but died in 1896 unable to achieve it.  The destiny of the portion that would become his Symphony # 9 fell to others. At first compromised by the misguided efforts of well-meaning friends, ultimately it would be rescued and enriched through the diverse inspirations of a later generation of interpreters.

His peasant roots, strict upbringing and teaching career led Bruckner to be highly deferential and modest, with a deep respect for authority and an equally acute dread of criticism. Yet, he craved recognition.  When colleagues implored him to simplify his work in the hope of getting it performed, Bruckner readily agreed, both accepting their "help" and undertaking broad revisions of his own, through cuts, rescoring and conventional harmony, so as to conform to the brighter colors and overt drama of the emerging Wagnerian style. Consequently, the little notice his symphonies garnered during his lifetime was based on bowdlerized versions. (Significantly, the 1927 printing of Grove's Dictionary of Music and Musicians dismisses Bruckner with a single paragraph (one page later devoting eight to his contemporary Alfred Bruneau), and derided his "inordinate leaning toward the manner of Wagner." The balance is redressed in the 2001 edition – Bruckner gets 28 pages to Bruneau's 2.) Later advocates debate the superiority of the composer's initial concepts versus his subsequent reflections which, after all, could represent genuine attempts at refinement and growth rather than corruption under pressure.

 

 

Some great quotes about Bruckner

"They want me to write differently. Certainly I could, but I must not. God has chosen me from thousands and given me, of all people, this talent. It is to Him that I must give account. How then would I stand there before Almighty God, if I followed the others and not Him?"

-Anton Bruckner

"In the war waged in Vienna between the factions of Wagner and Brahms, Bruckner strayed into the battlefield and became the only casualty."

-Erwin Doernberg

"Why did they burn Brünnhilde at the end?"

-Bruckner, attending a performance of Wagner's Die Walküre, became so completely immersed in the music he lost track of the narrative.

"Bruckner: half simpleton, half God."

-Gustav Mahler

"a German writer has said that he was half a Caesar and half a village schoolmaster; such men are, in art or life, difficult to place."

-Percy Scholes

 

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