Following a visit to Wagner in Bayreuth in 1873, Anton Bruckner dedicated his most recent symphony, No.3 in D minor, to ‘the unattainable world-famous noble master of poetry and music’ and would later refer to the work as his ‘Wagner Symphony’. Among Bruckner’s symphonies, it is the one with the most complicated genesis: the first version was followed by substantial revisions and it exists in two more versions, from 1877/78 and 1888/89. The first version was never performed in Bruckner’s lifetime – in fact, more than a century passed before the work was heard in the form that Wagner first knew and called ‘a masterpiece’. This is the version that Thomas Dausgaard has chosen to perform, as he and the Bergen Philharmonic Orchestra follow up on their recording of the composer’s Sixth Symphony, praised in Fanfare for having ‘all of Bruckner’s splendor and tenderness without any excess baggage’. Dausgaard explains the reason for his choice as follows: ‘The original version stands as a monolith … what you go through is musically so strong, swinging between timelessness and drive, despair and ecstasy, divine light and hellish fire, that in the end I feel you have to let yourself go and be won over by it.’

REVIEW:

Dausgaard's Bruckner symphonies tend toward the quick side, but he has never been quite as relatively fast as he is here; his original Symphony No. 3 is more than 12 minutes faster than a version by Kent Nagano from the early 2000s, and his reading comes in even shorter than some of the recordings of Bruckner's abridged versions. This is all to the good, even for listeners who prefer heavier Bruckner to Dausgaard's rather lithe style. Dausgaard's quick tempos catch the kaleidoscope of moods, and with them, the febrile quality of Bruckner's imagination in this work, really his creative breakthrough. Dausgaard's management of his Bergen musicians is, as usual, exemplary as they skitter through the difficult passages that bedeviled the symphony's early interpreters. A high point in Dausgaard's Bruckner project.

– AllMusicGuide.com (James Manheim)

Also available on Blu-ray

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Anton Bruckner expanded the concept of the symphonic form in ways that have never been witnessed before or since. Daniel Barenboim and the Staatskapelle Berlin follow the harmonic development of Bruckner’s Symphonies Nos. 4-9, revealing the breathtaking musical panorama of these exceptional masterpieces. According to Der Tagesspiegel, this unforgettable Bruckner cycle sets new standards and guarantees the Staatskapelle Berlin and their principal conductor “a place in the Bruckner pantheon.”

Anton Bruckner
THE MATURE SYMPHONIES
(6-DVD Box Set)

Symphony No. 4 in E-Flat Major, WAB 104, “Romantic” (1881 version, ed. R. Haas)
Symphony No. 5 in B-Flat Major, WAB 105 (1878 version, ed. L. Nowak)
Symphony No. 6 in A Major, WAB 106 (ed. L. Nowak)
Symphony No. 7 in E Major, WAB 107 (1885 version, ed. L. Nowak)
Symphony No. 8 in C Minor, WAB 108 (ed. R. Haas from 1887 and 1890 versions)
Symphony No. 9 in D Minor, WAB 109

Berlin Staatskapelle
Daniel Barenboim, conductor

Recorded live at the Berlin Philharmonie, 20–27 June 2010

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 7 hrs 8 mins
No. of DVDs: 6 (DVD 9)

Alongside those with Simone Young and Stanislaw Skrowaczewski, OehmsClassics is now offering the third Bruckner cycle here with Ivor Bolton. This time it includes ''only'' the Symphonies Nos. 1 and 9. In its April 2017 issue, the renowned Gramophone Magazine wrote the following about the Second Symphony: ''The overall impression is one of vividness and transparency, aided by the exemplary recording...Among single-disc offerings of the 1872 edition, Bolton's recording is hard to beat.''

Past praise of previously issued recordings included in this set:

Bruckner: Symphony No 3 / Bolton, Salzburg Mozarteum Orchestra:

There is a compelling sweep to Bolton’s interpretation, replete with an atmospheric and detailed recording. And the ending could hardly be more final, more unequivocal, just as Bruckner surely intended.

– MusicWeb International

Bruckner: Symphony No 6 / Ivor Bolton, Mozarteum Orchester Salzburg

An excellent recording overall. The focus on detail really justifies many of Bruckner's compositional decisions. More grandiose recordings make the work out to be more like the monumental Eighth or Ninth. It is always going to suffer by comparison with them, so in many ways Bolton's approach - to treat the often delicate textures with more care and attention - better represents its more modest aspirations.

– MusicWeb International

This recording of the Symphony No.8 (Edition Haas) marks the start and the first live recording of the Bruckner cycle tour, which began in October 2019 in the much-celebrated concert at the Musikvereinssaal in Vienna. The Vienna Philharmonic, who have premiered four out of Bruckner’s 9 symphonies are familiar to his music unlike any other orchestra. With Christian Thielemann they have one of the few Bruckner experts on their side who has since 2000 been a musical partner of the orchestra. Thielemann has also conducted the New Year’s Concert for the first time in 2019.

The Vienna Philharmonic initiated a new Bruckner symphony cycle with Christian Thielemann in 2019. The new cycle is planned to last until 2024, the the 200th anniversary year of Anton Bruckner’s birth. We will release the live performances from the Musikvereinsaal, Vienna.

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REVIEW:

Thielemann draws fulsome, richly burnished playing from the orchestra. Orchestral textures are transparent, and he has a full grasp of the work’s architecture. Each climax is carefully prepared and powerfully executed. Melodic phrases are shaped with great affection and he uses a wide color palette from his players. Every ingredient is there, carefully measured out and expertly blended, poured into the pan and placed into the oven with care. Sony’s engineers capture the Musikverein’s exalted acoustic and the orchestra’s glorious sound with enviable precision and warmth. This is an exceptionally beautiful performance, with orchestral playing that cannot be bettered.

– TheClassicReview.com

Considered by some to be the ‘Cinderella’ of his symphonies, the Sixth Symphony of Anton Bruckner was composed in 1879 – 81. It may well demonstrate a reaction to the severe criticism of the first Viennese performance, in 1877, of his Third Symphony, which Eduard Hanslick described as a vision of how Beethoven’s Ninth befriends Wagner’s Walküre and ends up being trampled under her horses’ hoofs’. Much the shortest of his mature symphonies, the Sixth also reverts to a more classical form than its predecessors. This recording was made in 2012, during the first season of Juanjo Mena as Chief Conductor of the BBC Philharmonic, and just a month before their acclaimed performance of the work at the BBC Proms. Classical Source commented: ‘Mena didn’t miss a trick and the result for the whole symphony was a revelation, and you don’t get many of those. This was a thrilling, delightful performance.’

Sir Roger Norrington has been chief conductor of the former Stuttgart Radio Symphony Orchestra RSO (today SWR Symphonieorchester) for thirteen years. During this time he caused internationally quite a stir with what got to be called "The Stuttgart Sound", a synthesis between historically informed performance and technical capabilities of a modern orchestra. Whether Mozart or Haydn, Bruckner or Brahms, Norrington's main focus laid on quick tempi, a "pure ton" (that is, vibratoless), articulation, seating plan and orchestra size as experienced by the composers themselves back in their time. With the present re-issue of his Bruckner SWR-recordings, Norrington sought to render the "human face" of Bruckner, not just the quasi-religious abstraction the public is sometimes given instead. His symphonies are secular works written with the Musikverein Vienna in mind. They contain descriptive music (journeys, nature, birds), dance music and humor, unexpected dramatic passages, and pauses. In his entirely individual style (culled from Beethoven, Schubert, Mendelssohn and Wagner, but rarely sounding like any of them), Bruckner echoes memories of his own violin playing as a youth at village weddings, quite as much as those of the St. Florian organ loft.

BRUCKNER: SYMPHONY NO. 1

Anton Bruckner is a composer with an unmistakable musical language: darkly glowing, overwhelmingly beautiful, but also energetic and innovative. For the Berliner Philharmoniker, this music has been part of their artistic identity for over a hundred years. The orchestra now presents Bruckner's symphonies in an exclusive edition, recorded over the last ten years together with some of the foremost Bruckner interpreters of our time. The Berliner Philharmoniker is a German orchestra based in Berlin which is consistently ranked among the top orchestras in the world, distinguished amongst peers for it's virtuosity and compelling sound.

This recording of Bruckner's 4th Symphony, lead by Domingo Hindoyan, was taken from live performances in the Philharmonic Hall, Liverpool. The excitement and drama of the concerts is superbly captured on this album. The symphony was completed in 1874 and underwent substantial revisions (including a new scherzo) in 1878 and 1880. The title 'Romantic' was applied after the composer added an informal programme for the pleasure of his friends.

The 2015 Munich concert year began at the end of January with two highlights: two performances of Bruckner's Sixth Symphony with Mariss Jansons conducting the Symphonieorchester des Bayerischen Rundfunks. The live recording, previously reserved exclusively for subscribers to the orchestra, is now being released on album by BR-KLASSIK - an outstanding interpretation of one of the most important compositions in the Late Romantic symphonic repertoire.

For a long time, Anton Bruckner’s Sixth Symphony (along with his Second) was regarded as something of a ‘poor relation’ in his immense symphonic oeuvre, even though the composer himself had moodily referred to it as his "boldest". In view of its performance figures and recordings over the decades, this has now changed significantly, and the work has earned itself a permanent place in the repertoire. The Sixth Symphony forms part of the creative process of the two preceding symphonies, the "Romantic" Fourth (1874/1880) and the Fifth (1875), and is now seen as an important preliminary stage in Bruckner’s last great upsurge that followed the composition of the "Te Deum" and culminated in the sublime grandeur of his final symphonies, the Seventh, Eighth, and Ninth. Bruckner worked on his Sixth Symphony in A major (WAB 106) from September 24, 1879 to September 3, 1881. He was only able to hear the complete work at one orchestra rehearsal during his lifetime because only the two middle movements (Adagio and Scherzo) were publicly performed in the concert hall of the Vienna Musikverein on February 11, 1883. The first public performance of the symphony as a whole followed only on February 26, 1899 - two and a half years after the composer’s death. It was conducted by Gustav Mahler, who had, however, made changes to the score, presenting it in a radically shortened version.

This series of DVDs will make the publicly broadcast BSO concerts from this era available for the first time since they were broadcast. This rare material represents some of the earliest televised concerts with the Boston Symphony Orchestra and William Steinberg, and has been restored using the greatest care and state-of-the-art techniques. It is of exceptional musical interest and historic value. The BSO's Music Director for just three seasons, Steinberg spent a great deal of time in the USA, having left Europe following Music Director positions in Cologne, Prague and Frankfurt. He also co-founded the Palestine Orchestra, later the Israel Philharmonic. His time with the BSO came at the end of his career following his position as the Music Director of Pittsburgh Symphony, which he held for over 20 years. Steinberg recorded a great deal of material with the Pittsburgh Symphony Orchestra to great acclaim, but only a small selection of recordings with the BSO for DG. a live recording of Bruckner 8 with Steinberg and the BSO, from 1972, was issued as part of the orchestra's Centennial Celebration set, and has been described as a 'good, well paced and powerful reading, well played by the Bostonians'. Steinberg leads this Bruckner 8 performance from memory and with great subtlety and distinction in a sympathetic interpretation that provoked a rapturous response from the Boston audience.

Anton Bruckner is a composer with an unmistakable musical language: darkly glowing, overwhelmingly beautiful, but also energetic and innovative. For the Berliner Philharmoniker, this music has been part of their artistic identity for over a hundred years. The orchestra now presents Bruckner’s symphonies in an exclusive edition, recorded over the last ten years together with some of the foremost Bruckner interpreters of our time. Bruckner’s symphonies are a universe of immeasurable tonal, expressive, and metaphysical dimensions. It is precisely the changing perspectives of different conductors that make it possible to explore this diverse wealth. The edition is moreover a document of a successful artistic collaboration with highly esteemed partners of many years’ standing: Herbert Blomstedt, Bernard Haitink, Mariss Jansons, Paavo Järvi, Zubin Mehta, Seiji Ozawa, Christian Thielemann and Simon Rattle. The high-quality hardcover edition presents the recordings on nine albums as well as pure audio and video recordings. The extensive booklet contains an essay by the renowned musicologist Richard Taruskin plus portraits of the conductors, introductions to the individual symphonies and numerous photos.

REVIEW:

This may be a premium-priced product but the set undoubtedly offers premium quality, which justifies the price tag, with terrific audio and video as well as excellent documentation. Even more importantly, you get all nine symphonies played by a peerless orchestra. Furthermore, as I hope my comments on the individual performances have shown, there are some considerable interpretations in this set – and not one that is less than very good. I think it’s a decided asset that we see and hear at work not just one conductor but several, all of them excellent Bruckner interpreters.

So, though it’s an expensive proposition, this is a set that will grace any Bruckner collection. With it the Berlin Philharmonic has set out to celebrate their proud Bruckner tradition and they’ve certainly achieved that.

— MusicWeb International

Also available on Blu-ray

Thielemann‘s brilliant interpretation of Bruckner´s Symphony No. 2 is performed wonderfully by the Staatskapelle Dresden, completing their critically acclaimed Bruckner cycle with a concert at the Elbphilharmonie Hamburg. “In the Elbphilharmonie Thielemann once again proved to be the unrestricted Ruler on his ancestral territory, German Romantic repertoire” (Hamburger Abendblatt) and critics praised how lucent and with how much musical intensity Thielemann conducted this symphony in the acoustics of this hall – an exceptional positive example for subsequent conductors and orchestras. Christian Thielemann has been Principal Conductor of the Staatskapelle Dresden since the 2012/2013 season. As a UNITEL exclusive artist, Thielemann has a comprehensive catalogue of recordings.

“Venzago amazes us with his idiosyncratic and wholly novel performances of Bruckner. The sound of his Bruckner is thrillingly lean...His intelligent conducting focuses our attention on the chamber-music aspect of Bruckner's music.” –Pizzicato. In this Vol.2, Venzago devotes himself to the beginnings of Bruckner's symphonic output, the so-called “No. 0” and the 1st.

The present release is the most comprehensive Bruckner Symphonies cycle, including all 19 available versions. Anton Bruckner burst out of the confines of the cathedral using that most secular of musical forms, the symphony. The creator of some of the 19th century’s greatest orchestral music, Bruckner cut a singular figure among his contemporaries. This new complete Bruckner Symphonies edition from Capriccio reassesses these enduringly enigmatic and complex works. Presented by the Bruckner Orchestra Linz and the ORF Vienna Radio Symphony Orchestra, and featuring all 19 available versions, the cycle is scheduled for completion in 2024, Bruckner’s 200th birthday. The second release, of Symphony No. 8 (1890 version) is performed by Bruckner Orchestra Linz conducted by Markus Poschner.

Start of the most comprehensive Bruckner Symphonies Edition incl. all available 19 versions. Bruckner burst out of the confines of the cathedral using that most secular of musical forms: the symphony. It is with reflexive reoccurrence in music history that supposed performance traditions burn themselves into a score as if they were a given… and the more so, the further we get from the work’s creation. So many clichés and truths about his person and his work are at last being questioned or, if they aren’t yet, are overdue some scrutiny. It is an essential aspect of this album edition to read and understand the text fresh and anew. Whence does Bruckner’s music come and whereunto does it point? With the Bruckner Orchestra Linz and the ORF Vienna Radio Symphony Orchestra Capriccio could engage two of the best Austrian orchestras for this in total 19 versions counting cycle. With about 1065 minutes of music this complete symphonic edition will be finished in 2024, when we will celebrate Bruckner’s 200th Birthday.

REVIEW:

This is the first release in what promises to be a complete cycle of all of the Bruckner symphonies in all of their various versions. It would be more exciting if the industry hadn’t already been spitting out Bruckner symphony recordings like a baseball dugout chewing tobacco, but perhaps when this series concludes, in 2024, the 200th anniversary of Bruckner’s birth, the mania will subside for a while and we can move on to other things. Of course, this assumes that the moronic apparatus known as Bruckner “scholarship” stops issuing new editions of the symphonies.

Markus Poschner’s view of the Sixth reminds me of Jochum’s. It’s a lively, rhythmically alert interpretation that permits a welcome flexibility of pulse, reserving the moments of gravity for the Adagio and such intimate passages as those in the finale’s second subject. Poschner’s careful attention to rhythm pays big dividends in the first movement’s development section, and especially in the scherzo, which is unquestionably one of the finest on disc. I do wish he had made a bit more out of the finale’s closing pages. He just plows straight through them, accepting the slight feeling of anticlimax that results; but then, that’s really Bruckner’s fault.

Of course, the Bruckner Orchestra of Linz knows the music as well as any group in existence, but what impresses most is its ability to keep it sounding so fresh. I mean, imagine growing up on a diet of Bruckner and Philip Glass symphonies. Kill me now. So good job all around, including the clean and clear engineering. Up next: the 1890 Eighth in Nowak’s edition. Keep your fingers crossed.

– ClassicsToday.com (David Hurwitz)

Ondine is proud to release its 17th album together with the award-winning Latvian Radio Choir and conductor Sigvards Kļava dedicated to a cappella words by Anton Brucker. Anton Bruckner (1824–1896) is known as one of the greatest of 19th century symphonists. Yet, also choral music formed an integral part of the composer’s output. This album includes a selection of smaller choral works written between the years 1848 and 1892. Many of these works were long forgotten. Yet after a long stretch on the periphery of the choral world, Bruckner’s motets have now finally returned to a broader consciousness. The Latvian Radio Choir (LRC) ranks among the top professional chamber choirs in Europe and its refined taste for musical material, fineness of expression and vocal of unbelievably immense compass have charted it as a noted brand on the world map. The repertoire of LRC ranges from the Renaissance music to the most sophisticated scores by modern composers; and it could be described as a sound laboratory –the singers explore their skills by turning to the mysteries of traditional singing, as well as to the art of quartertone and overtone singing and other sound production techniques. The choir has established a new understanding of the possibilities of a human voice; one could also say that the choir is the creator of a new choral paradigm: every singer is a distinct individual with his or her own vocal signature and roles in performances.

REVIEW:

It is probably heretical to say so, but I have to confess that I listen to Bruckner’s choral music far more often (and with more satisfaction) than I listen to his symphonies. In part this is because I generally find more delight in the sound of a choir than in that of a symphony orchestra. But another – more important - factor is that the relative brevity of, say, Bruckner’s motets offers the composer less opportunity for the kind of prolixity which, to my mind, is all too common in his symphonies (I feel sure that by now, I shall have offended some readers!).

The ‘concise’ Bruckner is to be found, above all, in his motets. In the symphonies the affirmations of glory and the passages of spiritual radiance have to be discovered amidst very different materials, whereas they permeate every bar of the best of his motets. This, it seems to me, is a context in which that over-used slogan “small is best” really rings true. The thirty-four extant motets by Bruckner were written between 1835 (as an 11/12 year- old) and 1892 (four years before his death). Where Brahms, being a Protestant, found primary inspiration for his motets in those of Bach, the ardent Roman Catholic Bruckner turned to Renaissance polyphony, and to Palestrina in particular, for his models. Bruckner does not seem to have had, at any point, a formal relationship with the Cecilian movement for the reform of church music, but he clearly seems to have shared some of that movement’s important principles – such as the admiration of Palestrina and the belief that the structures of Gregorian chant should be fundamental to church music; Bruckner also shared the Cecilian dislike of over-theatrical church music. Such affinities are evident in motets like ‘Os Justi’, ‘Ave Maria’, ‘Locus iste’ and ‘Tota pulchra es Maria’.

Simple (though some have called it only ‘deceptively simple’) yet sublime, ‘Locus iste’ is a well-nigh perfect example of the motets written by the mature Bruckner, characteristic, that is, of the realization of those Brucknerian/Cecilian principles outlined above. The performance here by the Latvian Radio Choir brings out the distinctive qualities of the piece (and of the choir) – precise yet intense, fervent yet restrained, voices perfectly blended, with the basses wonderfully rich without the vocal balance being disturbed. Under the direction of Sigvards K?ava the result is both prayer-like and exalted, in the certainty of the faith expressed. ‘Locus iste’ was written for the dedication of theVotivkapelle (a beautiful chapel well worth visiting) at the new Cathedral in Linz (the building of which began in 1862). It was written in Vienna during Bruckner’s time as Professor of Harmony and Counterpoint at the Conservatory. It sets a three-line text – “Locus iste a Deo factus est, / inestimabile sacramentum, / irreprehensibilis est.”. (The text is drawn from Genesis 28:16 and Exodus 3:15). Bruckner’s setting begins in quiet calm, but still has a strong sense of confident affirmation. The strength of feeling gradually increases, but Bruckner avoids any sense of the excessively dramatic – the loudest dynamic marking is only mf. Yet, given the quietness around it, this is powerfully effective. Bruckner’s effects, indeed, are achieved very economically, as, when the first line is repeated, one is startled to find that the closing phase (“factus est”) is omitted and its place is taken by a beautiful melisma (the only one in the piece) on the word “Deo”. Lovely as the motet is, its power resides, in part, in what is not done, what is, as it were, held in reserve – a musical strategy which recognizes the divine power by being humble before it.

The use of the idiom of traditional chant – a fondness for which, as suggested earlier, Bruckner shared with the Cecilians – is especially successful in ‘Os Justi’. It is worth noting that this motet is dedicated to Ignaz Traumhiler, Regens Chori at The Abbey of St. Florian and an enthusiastic advocate of the Cecilian movement. As the booklet notes by J?nis Torg?ns observe, “in a feature that is quite striking for this period in Bruckner’s output (c.1875-1885), the piece combines the archaic colours of ancient modes (Lydian, Phrygian, etc.) with his [i.e. Bruckner’s] characteristic harmonic language.” The setting also includes, as Torg?ns points out, a clear allusion to the “‘faith’ motto from Parsifal” and “a marked and extensive fugato”. This, then, is a far more complex piece than ‘Locus iste’, a perfect example of multum in parvo, with so much happening, musically speaking, in a piece that takes little more than four minutes to sing. Such a mixture of ancient and modern in the work of one of our own contemporaries might seem like sophisticated postmodernism; in Bruckner it speaks of the pursuit of an idiom which is ‘outside time’. Put side by side, ‘Os Justi’ and the utter simplicity of Bruckner’s ‘Ave Maria’, and it is very clear how variously Bruckner makes use of the motet form. So, for example, in other motets Bruckner uses Phrygian resources to create pieces which are very much in the spirit of ancient chant, even if they don’t quote it directly – such as ‘Pangelingua et Tantum Ergo’, ‘Tota pulchra es Maria’ and ‘Vexilla Regis’ (all three are discussed in perceptive detail in Anthony F. Carver’s article ‘Bruckner and the Phrygian Mode’ in Music and Letters, 86 (1), 2005, pp.74-99).

Bruckner is, at times, both harmonically and dynamically adventurous in his motets. One vivid example of this is ‘Christus factus est’, in which violent dynamic contrasts (of a sort which Ignaz Traumhiler might not have approved of), such as that between the fff climax at “quod est super omne nomen” and the ppp at the very close of the motet. ‘Virga Jesse’ (written for Traumhiler) is also very dramatic. It begins quietly (p) and ends even more quietly (pp); in between there are several climaxes, each followed by a fermata. The result is highly expressive, a vivid musical embodiment of the emotions of the text – the gradual Virga Jesse floruit – not least in the wonderful closing Alleluia (bars 63-91).

The Kronstorfer Messe – an a cappella setting, minus Gloria and Credo – is an early work, written when Bruckner was a schoolteacher’s assistant in Kronstorf in Upper Austria in his twenties. It makes very clear his attachment to Palestrina – the brief discussion in James Garratt’s Palestrina and the German Romantic Imagination (CUP, 2004) is worth reading. It is performed very infrequently and has rarely been recorded. Even in a performance by a high-quality choir such as the Latvian Radio Choir, it isn’t hard to see why. The young Bruckner’s respect for tradition seems to inhibit him and the resulting work is relatively lifeless; it lacks the variety and vitality necessary to bring its four movements (Kyrie-Sanctus-Benedictus-Agnus Dei) fully alive. It is useful to have a well-sung recording of the work available (primarily as an aid to understanding Bruckner’s later development), but I can’t help wishing that the choice had been made to record more of Bruckner’s motets (perhaps ‘Inveni David’ and ‘Afferentur regi - see also below), rather than this pleasant but rather limited work.

The singers of the Latvian Radio Choir impress in every work on this disc. If I have a ‘complaint’ it concerns a matter of omission rather than commission. I very much regret the absence of ‘Ecce sacerdos magnus’, a favourite of mine since I first heard it more than 50 years ago.

Hitherto, I have most often turned to recordings of Bruckner’s motets on two Hyperion discs: by the Corydon Singers conducted by Matthew Best (CDA66062) and by Polyphony, directed by Stephen Layton (CDA67629). In future I shall be at least as likely (if not more so) to take this disc from my shelves.

– MusicWeb International (Glyn Pursglove)

With the present CD, OehmsClassics releases the “Linz Version” of Anton Bruckner’s First Symphony. It is part of the complete symphony cycle being recorded by the Salzburg Mozarteum Orchestra under Ivor Bolton, its Chief Conductor since 2004. This live recording from the Large Festival Hall in Salzburg was realized in October 2013. The 91-regular member Mozarteum Orchestra is one of Austria’s leading symphonic organizations, presenting two concert series of its own throughout the year as well as playing the Sunday Matinees concerts at the annual Salzburg Festival.

Classical Music

Classical Music

Gunter Wand conducts the BBC Symphony Orchestra.

16.99

Sanderling’s German tradition brings great insights to Bruckner’s 3rd Symphony, though he conducted the composer infrequently. It is a rare recording has never been issued before. (ICA Classics)

Mari Kodama celebrates the Bruckner bicentenary year with a collection of piano works, most of which are rarely heard. While some of them, such as the Fantasie, Erinnerung and Stille Betrachtung, reveal the serious symphonist and church composer, the many dances included on this album illuminate a lighter side of the composer. In general, hearing his approach to the piano enriches our understanding of this enigmatic genius. As much of the material was taken from study sketch books, these pieces allow us a look into the workshop of this ever-searching spirit. To Kodama, the Bruckner that appears from his works is in many ways more interesting than the various, cliche-ridden accounts of his life and character. Instead, Kodama aims to paint a nuanced Bruckner portrait, gaining in depth thanks to the original selection and perspective. Mari Kodama is one of the most extraordinary pianists of our age, and has an impressive Pentatone discography, featuring Beethoven's complete piano sonatas (2003-2014), piano concertos of Loewe and Chopin (2003), Tchaikovsky Ballet Suites for Piano Duo (2016), de Falla's Nights in the Gardens of Spain (2017), Martinu's Concerto for Two Pianos (2018), Kaleidoscope, Beethoven Transcriptions and MON AMI Mon amour (both 2020), New Paths (2022) and Mozart & Poulenc Double Concertos (2024).

This is one volume in a multi-volume set. Find the complete box set here.

On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.

“Two symphonies that document Bruckner's path to mastery quite excellently. (…) Conclusion: The next interesting Bruckner milestone in the cycle.” (Kurier) / “Masterly, kapellmeisterlike, dreamlike.” (Der Standard) / Beautiful to weep for and artistically accomplished. [...] The interpretation of the Fifth may be considered a milestone. The way the musicians realized this work was simply grand." (Kurier)

This is one volume in a multi-volume set. Find the complete box set here.

On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. “With the First, they [...] provided an hour of happiness. [...] An overwhelming event, entirely of philharmonic sound”. (Kronen Zeitung) “Thielemann conducted Bruckner's Seventh as a human drama in philharmonic splendour”. (Die Presse)

Quatuor Diotima celebrates the bicentennial anniversary of Anton Bruckner with a recording of his String Quartet in C Minor, Rondo in C Minor and Theme with Variations in E-Flat Major, alongside the String Quartet in E-Flat Major from his pupil Friedrich Klose. Bruckner wrote these pieces as composition exercises, yet they adumbrate the originality and power of his later works, as well as pay tribute to the glorious Viennese quartet tradition. Like Bruckner, Klose strongly sympathized with Wagner and the proponents of programme music, and chamber music had not appealed to him very much up until the moment he embarked on his only string quartet composition. Sarcastically, he subtitled it a "tribute paid in four instalments to my stern German schoolmasters", yet he demonstrates a full mastery of the conventions of musical form, paired with an almost unprecedented wealth of musical ideas. This album, recorded at and in close cooperation with the Brucknerhaus Linz, shall be one of the most original contributions to the Bruckner year 2024, highlighting his achievements in the field of chamber music as well as his compositional legacy. Quatuor Diotima is one of the most in-demand chamber ensembles in the world today, and has worked in close collaboration with several of the greatest composers of the late twentieth century. Reflected in the mirror of today's music, the quartet projects a new light onto the masterpieces of the 19th and 20th centuries. The quartet returns to PENTATONE after their acclaimed Metamorphosis Ligeti, released in 2023.

This is one volume in a multi-volume set. Find the complete box set here.

On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. “Orchestra and conductor impressed with Anton Bruckner's Second.” (Der Standard on Bruckner 2) “Only the highest musical perfection sounds like this.” (Die Presse)

This is one volume in a multi-volume set. Find the complete box set here.

On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.

Taken from a rapturously received and critically acclaimed performance at The Bridgewater Hall (with The Times' 5* review describing a 'splendid night' and hailing the magnificent sound of the 'blazing Halle) this recording will prove essential for those wishing to hear the work in the intended four movement form. The recording is accompanied by a booklet containing a personal introduction from Kahchun Wong and a note from Dr. John A. Phillips, surveying the material Bruckner left for the Finale and detailing the work done on reconstructing it for performance.