Anton Bruckner
241 products
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Wagner Liaisons
$19.99CDBerlin Classics
Nov 28, 20250303973BC -
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Bruckner: Te Deum & Mass No. 3
$20.99CDSWR
Feb 13, 2026SWR19168CD -
Anton Bruckner: Symphony No. 9 in D Minor, WAB 109 - Live fr
$20.99CDProfil
Apr 17, 2026PH16063 -
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Bruckner: Symphonies Nos. "0"–9 / Poschner, Linz Bruckner Orchestra, ORF VRSO
CD$99.99$89.99Naxos
Sep 13, 20248501804 -
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Bruckner: Symphony No. 9
Bruckner: Symphony no. 4, 1874 Version / Schaller, Philharmonie Festiva
Bruckner: Symphony No. 4 in E flat Major "Romantic"
Wagner Liaisons
Legendary Recordings - SWRmusic 25th Anniversary
Bruckner: Symphonies 4 & 5 / Kempe, Munich Philharmonic
Bruckner's music embodies the visions of a devout, ordinary man. Parts of his expansive, shimmering musical landscapes are influenced by Wagner, but one can also detect Schubert, who began life in similar circumstances. The reposeful piety which runs through Bruckner's symphonic spectrum lends his music its unique power of attraction.
Recorded 1975-76.
Bruckner: Symphony No. 9 / Schaller, Philharmonie Festiva
On July 24th, Gerd Schaller conducted the Philharmonia Festiva in a performance of the Bruckner Symphony No. 9 in a "four movement version with Finale supplemented from original sources and completed by Gerd Schaller." The performance took place in the Ebrach Abbey in Ebrach, Germany as part of the Ebracher Musiksommer. As with Schaller's other Bruckner performances at Ebrach, the concert was recorded by Bavarian Radio Studio Franken and will be released on CD this December on the Profil label.
Gerd Schaller’s completion and performance gained long applause, the conductor repeatedly called back to take a further bow, and to my ears succeeded wonderfully in its aim of presenting a completed Ninth as a great musical event and a shattering, revelatory spiritual journey. Ken Ward on the original concert.
Bruckner: Te Deum & Mass No. 3
Anton Bruckner: Symphony No. 9 in D Minor, WAB 109 - Live fr
The Bruckner Symphonies, Vol. 10 - Organ Transcriptions
Eliahu Inbal Conducts Bruckner
Bruckner: 11 Symphonies / Thielemann, Vienna Philharmonic
Sony Classical releases the full cycle of Bruckner’s symphonies recorded by the Vienna Philharmonic under Christian Thielemann on 11 CDs. The box set, featuring the composer’s nine numbered symphonies, his ‘Study Symphony’, his ‘Nullified’ symphony, and a 172-page booklet. This release constitutes the first complete recording of the Austrian composer’s symphonies from the orchestra under a single conductor. Christian Thielemann enjoys a strong rapport with the Vienna Philharmonic and has established himself as one of his generation’s most esteemed interpreters of the Romantic Austro-German repertoire.
Past praise for previously released CDs included in this set:
Bruckner: Symphony No. 4 / Thielemann, Vienna Philharmonic
This new Bruckner Fourth deserves a strong recommendation. It is a reading of undeniable power and presence.
-- Fanfare
Bruckner: Symphony No. 8 / Thielemann, Vienna Ohilharmonic
Overall, there’s an aliveness to the music, inspired by the concert setting, which adds another reason this Bruckner Eighth is so satisfying. If you want to hear Thielemann at his best, conducting a stupendous orchestra, that’s precisely what we have here.
-- Fanfare
Bruckner: Symphony No. 9 . Thielemann, Vienna Philharmonic
Thielemann's interpretation has intimacies hard to find in other versions, and a vulnerability movingly communicated in the Vienna Philharmonic’s super-empathetic playing.
-- BBC Magazine
Bruckner: Symphony No. 9; Symphony in F minor "Study"
Bruckner: Symphony No. 3 (1877); Adagio (1876)
Bruckner: Symphony No. 5 / Thielemann, Vienna Philharmonic
Sony presents the next installment of Christian Thielemann’s complete cycle of Anton Bruckner’s symphonies with the Vienna Philharmonic - the orchestra’s first Bruckner cycle under a single conductor.
The Vienna Philharmonic premiered four of Anton Bruckner’s nine symphonies, including No. 4 in 1881 and has enjoyed a unique relationship with the Austrian composer’s music since 1873. Christian Thielemann, Principal Conductor of the Staatskapelle Dresden, Artistic Director of the Salzburg Easter Festival since 2013 and Music Director of the Bayreuth Festival, is his generation’s most esteemed interpreter of the Romantic Austro-German repertoire. In the midst of a mutually stimulating relationship with the Vienna Philharmonic, he conducted his first New Year’s Concert with the orchestra in 2019.
REVIEW:
From expectant pizzicatos and hallowed strings to the blazing brass at the finish, for eighty-two minutes Christian Thielemann and the Vienna Philharmonic engage and illuminate us with this majestic, sonorous and deeply expressive account of the mighty Fifth (Nowak’s edition), captured during March last year in the Golden Hall of the Musikverein, resplendently and with focus within the generous acoustic.
It’s an eloquent and powerful performance, detailed, dynamic, as capable of cathedral hush and awe as being sonically magnificent in Heaven-reaching fortissimos, the latter avoiding coarseness and brass-heavy balances. Drama, too, in the way Thielemann adjusts tempos without losing the movements’ threads and invests such as a quiet bass line with significance.
-- Colin's Column
Bruckner: Symphony No. 2 / Poschner, ORF VRSO
Bruckner’s Second Symphony is a rare enough encounter in its 1877 version, but it’s virtually unperformed in the 1872 original version. This is not owing to some deficiency of the earlier ideas compared to the later alterations. It’s mainly habit and convenience because to get new parts and re-learn something ostensibly known, that differs in a great many details, means an extra expense of effort and resources. That’s a shame, really, because it is decidedly worth discovering the original, not-yet-ironed-out rawness of Bruckner’s early masterpiece, which was something unheard of at the time – but needn’t remain unheard now.
Bruckner: Symphony No. 1 / Poschner, Linz Bruckner Orchestra
Anton Bruckner finally received the award of an honorary doctorate of the University of Vienna on 11 December 1891. For Bruckner, receiving the doctorate fulfilled a long-time wish. He had spent most of his life pursuing academic credentials and applied for honorary doctorates at Cambridge University in 1882 and at the Universities of Pennsylvania and Cincinnati in 1885. Two days later, Hans Richter conducted the Vienna Philharmonic in the first performance of the second or so-called “Vienna” version of the composer’s First Symphony, which he had dedicated to the university in gratitude for the degree. The changes Bruckner made in the revised version of the First Symphony are not as extensive as those he made to the Third, Fourth, and Eighth Symphonies during the late 1880s and early 1890s. His revisions to the First Symphony did not affect the overall form of any of the movements. He changed many details of orchestration, articulation, and phrase length, some of which are difficult to notice on first hearing. The 1891 autograph score is, nevertheless, the composer’s final word on how he wanted his First Symphony to be performed and understood.
Bruckner: Symphony No. 5 / Poschner, ORF Vienna Radio Symphony
Among Bruckner’s Symphonies, the Fifth is his contrapuntal masterpiece; the grandest until the Eighth. The tour-de-force of a finale gives us an idea of what the finale of the Ninth might have been like. Its magnificent dark and halting opening with the descending bass line – so effectively recalled in the finale – is inimitable. Although long available only in a disfigured version by Franz Schalk, it is also distinct for never having been the subject to revision or, perhaps, even doubt on the part of Bruckner – who never heard it performed with an orchestra. And yet, when Bruckner wrote this masterpiece, he was still far from establishing himself as a composer in Vienna and his spirits were as low as ever, writing a friend that “my life has lost all joy and delight – in vain and for nothing.” A radiant pinnacle from amid darkness.
Bruckner: Symphony No. 1 / Poschner, Linz Bruckner Orchestra
By his own reckoning, Bruckner began his career as a professional composer when he was thirty-nine years old. With a mere exercise for a symphony under his belt – the unnumbered one in F minor – he was now ready to write his first true symphony. The world was not. First performed in 1868 in Linz – badly – the work flopped and was put aside until nine years and five symphonies later, when it was gently adjusted. A subsequent performance in 1884 was Bruckner’s “most successful Viennese performance to date”, prompting, perplexingly, a thorough revision that would be the 1891 “Vienna” version. This recording uses the unadulterated 1868 “Linz” version.
Bruckner: Symphony No. 7 / Poschner, ORF Vienna RSO
“Since Beethoven, nothing has been written that even comes close!”
The great conductor Arthur Nikisch made this remark to Bruckner’s former student, Joseph Schalk and also his fellow conductor, Hermann Levi, described the piece as “the most significant symphonic work since Beethoven’s death.”
Arthur Nikisch conducted the first performance in the Stadttheater, Leipzig, on 30 December 1884, with Bruckner in the audience. While the performance was not a total triumph, it brought the sixty-year-old composer significant international recognition for the first time. During the composer’s lifetime, the Seventh, especially its Adagio, was his most popular symphony, and it remains among his most beloved and frequently performed works.
Bruckner: Symphony No. 3 / Poschner, Linz Bruckner Orchestra
Bruckner’s Third Symphony had always been something of a problem child among Bruckner’s symphonies, from its disastrous first reception (an enthused youthful Gustav Mahler notwithstanding) until well into the 20th century. In its original form, it is the longest, most Wagnerian of his symphonies – and often considered, rightly or not, the first truly Brucknerian symphony. While some cherish the uncompromising originality of the first version, Bruckner himself wanted the third, much tightened Edition performed, finding it “incomparably better”. It is that final version that is here recorded – and listeners can now easily decide for themselves.
Bruckner: Symphonies Nos. "0"–9 / Poschner, Linz Bruckner Orchestra, ORF VRSO
Anton Bruckner 200 (1824-2024)
Released to coincide with Bruckner's 200th birthday in 2024, this 18-CD set brings together the entire recorded cycle of Bruckner's symphonies in the Capriccio label's The Complete Versions Edition. Markus Poschner's acclaimed recordings of Bruckner's symphonies feature all of the versions identified as having significant revisions and changes in the authoritative Neue Anton Bruckner Gesamtausgabe (New Anton Bruckner Complete Edition), making this the most comprehensive Bruckner Symphonies cycle available today.
Bruckner: Symphony No. 4 / Poschner, ORF Vienna Radio Symphony
Bruckner’s frantic revisions of his symphonies Nos. 3, 4, and 8 were borne out of his disappointment with Hermann Levi rejecting the original version of the 8th symphony. Helping in this large-scale revamping effort were former Bruckner-students Franz and Joseph Schalk, Ferdinand Löwe, Max von Oberleithner, and Cyrill Hynai, which resulted in these versions’ reputation – and especially that of the last version of the 4th – being varnished as something not quite Echt-Bruckner.
It wasn’t until the discovery of photographs of the 1888 version’s manuscript score and the subsequent publication of Benjamin Korstvedt’s edition thereof that it became clear: This late edition really did reflect Bruckner’s intentions. To ears familiar with the still better-known 1881 version, the result might sound mystifying, even troubling, but it also surprises with many particularly exquisite passages!
Lucerne Festival, Vol. 16: Karl Böhm conducts Hindemith & Bruckner (Live) / Vienna Philharmonic
Bruckner: Symphony No. 2 in C Minor / Thielemann, Vienna Philharmonic Orchestra
Sony Classical releases the fourth installment of Christian Thielemann’s complete cycle of Anton Bruckner’s symphonies with the Vienna Philharmonic – the orchestra’s first Bruckner cycle under a single conductor. “The claim that this orchestra is essentially the only genuine original sound ensemble for the music of Anton Bruckner should remain beyond dispute” raves Die Presse. The Vienna Philharmonic premiered four of Bruckner’s nine symphonies and has enjoyed a unique relationship with the Austrian composer’s music since 1873, when it gave the first performance of his Symphony No 2.
Thielemann has come as close as possible to the ideal Bruckner sound with the Vienna Philharmonic: full-toned, warm, with registrations that are full of countless colours, clear without sounding harsh and well-contoured without seeming angular. Thielemann’s interpretations of Bruckner’s music are rooted on deep expertise and sympathy. Few conductors can match the solemnity and patience he finds in composer’s symphonies, or his ability to draw on the unparalleled beauty of the orchestra’s sound and the special acoustic of its home in Vienna, the Musikverein.
Christian Thielemann, Principal Conductor of the Staatskapelle Dresden and Artistic Director of the Salzburg Easter Festival since 2013, is his generation’s most esteemed interpreter of the Romantic Austro-German repertoire. In the midst of a mutually stimulating relationship with the Vienna Philharmonic, he conducted his first New Year’s Concert with the orchestra in 2019.
The Vienna Philharmonic will issue the final release of the live cycle in 2024, marking 200 years since the Bruckner’s birth.
Bruckner: Symphony in D minor "Nullte", WAB 100
Bruckner: Symphony No. 9
Bruckner: Symphony No. 9
Bruckner: Symphony No. 2
