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Bruckner: Symphonies Nos. 3-5; 7-9
Sergiù Celibidache
Classical - Released September 15, 2004 | Deutsche Grammophon (DG)
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Bruckner: The Symphonies
Bernard Haitink
Symphonies - Released March 1, 2019 | Decca Music Group Ltd.
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Robert Schumann : G Minor Sonata - Waldszenen - Gesänge der Frühe
Mitsuko Uchida
Classical - Released January 1, 2013 | Decca Music Group Ltd.
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Gramophone Editor's Choice -
Choc de Classica
Japanese-British pianist Mitsuko Uchida continues to impress with recordings that are not so much intellectual as simply well thought out, making a challenging yet extremely satisfying overall impression. Consider the three works by Robert Schumann recorded here. Only the Waldszenen, Op. 82 (Forest Scenes), are well known. The Piano Sonata No. 2 in G minor, Op. 22, is an early but not immature work, composed in 1830 and supplied with a new finale in 1838 at the suggestion of Clara Schumann, who pointed out that while she could play the original version, few others would be able to. There is already plenty to chew on here, for Schumann incorporates motivic links to the first movement in the new finale. Clara was lukewarm about the work (calling it "not too incomprehensible"), but Schumann himself thought highly of it. The genesis of the work is fascinating; it began with a song Schumann composed in his student days, and Schumann incorporated it into an inner voice of the slow movement. Rather like Beethoven's theater music, it does have the feel of an innovative composer's ideas being forced into an older mold. But Uchida, with her precise yet explosive style, is the perfect interpreter of the work, which seems to spill over the boundaries of sonata form with quasi-improvisatory ideas. Her performance connects the work to the rest of the output of the young Schumann in an ideal way. Also interesting are the Gesänge der Frühe, Op. 133 (Dawn Songs), one of the last things Schumann finished before going insane: they are strangely serene little miniatures. The Waldszenen themselves are full of fresh, even daring interpretations. Decca's engineering staff outdoes itself with its capture of an ideal sound environment for the work: not the usual concert hall or studio but the well-known audiophile venue the Reitstadel in the German city of Neumarkt. An essential Schumann release.© TiVo
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Anton Bruckner : Symphony No. 9 In D Minor
Lucerne Festival Orchestra
Classical - Released January 1, 2014 | Deutsche Grammophon (DG)
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Gramophone Record of the Year -
Gramophone Award
In his final performances with the Lucerne Festival Orchestra in August 2013, Claudio Abbado conducted Anton Bruckner's unfinished Symphony No. 9 in D minor, and this recording is drawn from the best takes from those concerts. Considering that this rendition came near the end of Abbado's life and stands as a worthy testament to his achievements, it's easy to read too much into the interpretation, and to view it as a mystical or transcendent reading because of the circumstances. On the one hand, Abbado's understanding of this symphony was as thorough as any conductor's, and the Lucerne musicians played with seriousness and dedication, offering a version that has impressive power and expressive depth. On the other hand, there are many competitive recordings that either match Abbado's for strength and feeling, or surpass it in purely technical terms of sound quality and reproduction. Certainly the sound is exceptional, according to Deutsche Grammophon's high standards, and this stereo recording is exceptionally clean and noise-free. Yet there are several audiophile recordings of the Ninth available that provide deeper and clearer sound and offer a richer listening experience. So as compelling as Abbado's last recording is on many levels, for Brucknerians and fans of state-of-the-art recording, it's still a contender among many.© TiVo
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Bruckner:Symphonies No. 4 - No. 9
Herbert von Karajan
Symphonies - Released June 28, 2019 | Deutsche Grammophon (DG)
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Bruckner: Symphonies Nos. 1-9 (Live)
Symphonieorchester Des Bayerischen Rundfunks
Classical - Released April 5, 2019 | BR-Klassik
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Bruckner: Symphony No. 9 in D Minor, WAB 109 (Ed. L. Nowak)
Manfred Honeck
Classical - Released August 23, 2019 | Reference Recordings
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In 2019, Manfred Honeck and the Pittsburgh Symphony Orchestra released their second Bruckner recording as a hybrid SACD on Reference Recordings, a powerful interpretation of the unfinished Symphony No. 9 in D minor that shows these musicians' remarkable affinity for the composer. In choosing the unfinished, three-movement version of the work, thereby avoiding any controversy over the various completions of Bruckner's intended finale, Honeck adheres to the long-established 1951 edition by Leopold Nowak, so there are no textual surprises. What is somewhat unexpected for a performance of the Ninth is Honeck's careful analysis of the material Bruckner incorporated, such as the "Miserere" from the "Gloria" of his Mass in D minor, the "Annunciation of Death" motive from the Eighth Symphony, and references to the Latin text of the Agnus Dei which influenced the design of the Adagio, among other internal evidence that sheds light on Bruckner's religious motivation in composing this symphony. Many conductors recognize the significance of Bruckner's dedication of the work to God, yet Honeck has identified the particular instances in the symphony that, like the structure of the Fifth Symphony, clearly reveal Bruckner's faith, and that the Ninth is far from being absolute music without programmatic content. This no doubt adds power to the music and clarifies its somewhat mystifying content. The wide-open sound of this audiophile recording goes far in conveying the expressive depth and sweep of the performance, capturing the orchestra in a spacious acoustic that adds true grandeur to Bruckner's most personal paean to God.
© TiVo
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Bruckner: Symphonies Nos. 8 & 9
Otto Klemperer
Classical - Released April 10, 2024 | Warner Classics
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Bruckner: Symphony No. 9 in D Minor, WAB 109 (Original Version)
Gürzenich-Orchester Köln
Classical - Released April 19, 2024 | Myrios Classics
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Bruckner: Symphony No. 9 in D Minor, WAB 109 (Edition Nowak)
Christian Thielemann
Classical - Released March 3, 2023 | Sony Classical
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OPUS Klassik
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Bruckner: Symphony No. 9 - 4 Movement Version (Édition StudioMasters)
Sir Simon Rattle
Symphonic Music - Released May 16, 2012 | Warner Classics International
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Bruckner: Symphony No. 9 in D Minor, WAB 109 (Live)
Mariss Jansons
Classical - Released February 1, 2019 | BR-Klassik
Hi-Res
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The prolific Latvian conductor Mariss Jansons, despite his general orientation toward the late Romantics, rarely conducted Bruckner over most of his long career. That all changed in the late 2010s with a series of Bruckner recordings, including a cycle with Jansons' current band, the Sinfonieorchester des bayerischen Rundfunks (Bavarian Radio Symphony Orchestra). Some believe that conductors should wait until late middle age before attempting Bruckner, and indeed they can point to this fine recording of the Symphony No. 9 in D minor, WAB 109, as evidence. The work was left unfinished at Bruckner's death; various completions of the partially finished finale exist, but Jansons makes a powerful case for performing only the torso. Sample the 22-minute finale, which seems to end on a mystical plane in Jansons' deliberate reading. Jansons actually recorded the Ninth just three years before the 2019 release of this album, with the Royal Concertgebouw Orchestra, but Bruckner lovers may wish to have both versions, for Jansons does not repeat himself. This reading is several minutes slower than the RCO version, as if Jansons wanted to broaden the scope of the earlier limpid, transparent reading. He keeps the transparency, though, and both of the 20-minute-plus outer movements unfold with a deep pulse that is essential to Bruckner. The music moves along in waves that may bring to mind the work of Jansons' first major teacher, Yevgeny Mravinsky. The Bavarian Radio players are native to the music of this period, and they realize Jansons' level of detail in a way that even other top-rank orchestras might not. Special praise must be directed toward the orchestra's house engineering staff (the album appears on the orchestra's own BR Klassik label), who separate out the various strands of this complex work with awesome clarity.© TiVo
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Bruckner: Symphonies Nos. 1 & 9
Claudio Abbado
Classical - Released September 6, 2019 | Accentus Music
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In 2003, following a delicate operation for stomach cancer which won him a long remission, Claudio Abbado was able to realise his last dream, the creation of a "super-orchestra" made up of the greatest musicians of Old Europe. For ten years, that great Italian conductor would lead the Lucerne Festival Orchestra every summer, giving audiences some lovingly recorded and published performances that memorably included cycles of Bruckner and Mahler which have now entered into legend. We know how Abbado's illness allowed him to open the door of the great mystery of death, rendering his musical vision profoundly human, at once intimate and metaphysical. Published by the Lucerne Festival in a sober and stripped-down format, this edition offers the Alpha and Omega of Anton Bruckner's works. This is a way for Abbado to close his own story, because Bruckner's First Symphony was his very first collaboration with the Vienna Philharmonic Orchestra in 1969. Taking inspiration from the founding idea of Ernest Ansermet, who wanted, in 1938, to create a temporary orchestra in Lucerne in order to provide summer work for musicians from the Orchestre de la Suisse romande, Abbado created a veritable musical utopia by bringing together musicians who were completely devoted to the pleasure of making music, with no hierarchy or frippery. The result was this miracle that we can see and hear today. This performance of Bruckner's Ninth Symphony was recorded on 23 August 2013: the last concert conducted by Abbado. Although much weakened, he seems to want to stretch out time to infinity, as if to stave off the fatal moment which would come just a few months after this farewell concert. This is a serene treatment, possessed of a great calm and inner peace that has nothing to do with religion, but rather with pure music. © François Hudry/Qobuz
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Bruckner: Symphony No.9
Wiener Philharmonic Orchestra
Classical - Released January 1, 1989 | Deutsche Grammophon (DG)
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Bruckner: Symphony No. 9
Nikolaus Harnoncourt
Classical - Released August 4, 2003 | RCA Red Seal
Booklet
Anyone who loves Bruckner's music will want to hear this recording since it contains the Finale of his Symphony No. 9, the music which, according to Bruckner's musical executors, never existed except in the mind of the dying composer. But while that story fooled generations of conductors into performing a three-movement version of the Ninth, musicologists have long known that most of the Finale existed in score and sketch at Bruckner's death. But what the musicologists knew to be true has been almost completely ignored until this recording. Almost completely ignored because there have been three previous recordings of Ninth's Finale over the past 20 years and all of them are far more compelling than this one by Nikolaus Harnoncourt and the Vienna Philharmonic. For one thing, all the other recordings of the Finales have been completed with the bits that Bruckner didn't finish filled in, while Harnoncourt's recordings only have the bits that Bruckner finished and interpolates a lecture to describe what's missing. While this may be musicologically more accurate, in performance it is at best disruptive, at worst dull. For another thing, all the other Finales are performed with the overwhelming need to compel belief in the Finale while Harnoncourt himself seems unconvinced of its merits. But then, Harnoncourt's recording of the three completed movements are just as unconvincing. In Harnoncourt's performance, his opening movement alternates long stretches of quiet tedium with short bursts of loud bombast, his Scherzo alternates long stretches of loud hammering with short bursts of quiet inanity, and his Adagio alternates long stretches of loud, painfully dissonant music with shot bursts of louder, more painfully dissonant music. Harnoncourt's recording doesn't make a case for a four-movement Ninth; it doesn't even make a case for a three-movement Ninth.© TiVo
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Bruckner: Symphony No. 9
Minnesota Orchestra
Classical - Released November 4, 1997 | Reference Recordings CD
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Bruckner: Symphony No. 9
Bernard Haitink
Symphonic Music - Released February 10, 2014 | LSO Live
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Booklet
Bernard Haitink's recordings on the LSO Live label have yielded extraordinary performances of the Romantic symphonic repertoire, and this 2013 performance of Anton Bruckner's Symphony No. 9 in D minor is a perfect example of what he has been able to achieve with the London Symphony Orchestra. Together, they perform the music with the precision and clarity of chamber musicians, and the fine details they bring out in Bruckner's monumental last symphony are captured with high fidelity in the super audio multichannel format. The score is one of Bruckner's most austere, but paradoxically, it is also one of his densest, yet Haitink balances the orchestral sections with exemplary care so the inner parts can be heard clearly, and the DSD recording renders the counterpoint with absolute separation of lines, which is especially needed in Bruckner's heavy brass chorales and the loudest tutti passages. Haitink follows the 1951 edition by Leopold Nowak of the three-movement version of the symphony, which might make this recording seem passé, in light of the gradual acceptance of the completed Finale by Bruckner experts Nicola Samale, Giuseppe Mazzuca, Benjamin-Gunnar Cohrs, and John Alan Phillips. Even so, among performances of the unfinished version, which will fill the catalog for years to come, this one surely ranks among the best ever recorded, and it is recommended with the highest marks.
© TiVo
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Anton Bruckner: Symphony No. 9 & Symphony No. 7 (Adagio)
Berliner Philharmoniker
Symphonies - Released May 1, 2017 | Praga Digitals
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Bruckner: Symphony No. 9, WAB 109 (Original 1894 Version)
Chicago Symphony Orchestra (CSO)
Classical - Released June 16, 2017 | CSO Resound
Hi-Res
Booklet
For this 2017 CSO-Resound release, Riccardo Muti and the Chicago Symphony Orchestra present Anton Bruckner's unfinished Symphony No. 9 in D minor in a monumental performance that impresses with its marmoreal weight, poignant lyricism, and brutal volatility. Not widely known for his few Bruckner recordings, Muti nonetheless delivers this symphony with the passion and sensitivity of an experienced Brucknerian, and possibly because he hasn't recorded it before, this live rendition of the Ninth seems like an attempt to make up for lost time. Muti's intensity and the orchestra's ferocious power combine to make a memorable reading that may remind listeners of performances by such greats as Günter Wand, Eugen Jochum, and particularly Carlo Maria Giulini, whose recordings of the Ninth are recognized benchmarks. While Muti only performs the three completed movements, and eschews any attempted reconstructions of the surviving Finale sketches, the performance has a genuine feeling of wholeness, and the Adagio particularly has the grandeur and pathos that make it feel like a convincing ending, albeit one that the composer did not intend. CSO-Resound's recorded sound is superb and approaches the highest audiophile standards.
© TiVo
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Bruckner: Symphony No. 9
Nikolaus Harnoncourt
Classical - Released August 4, 2003 | RCA Red Seal
Anyone who loves Bruckner's music will want to hear this recording since it contains the Finale of his Symphony No. 9, the music which, according to Bruckner's musical executors, never existed except in the mind of the dying composer. But while that story fooled generations of conductors into performing a three-movement version of the Ninth, musicologists have long known that most of the Finale existed in score and sketch at Bruckner's death. But what the musicologists knew to be true has been almost completely ignored until this recording. Almost completely ignored because there have been three previous recordings of Ninth's Finale over the past 20 years and all of them are far more compelling than this one by Nikolaus Harnoncourt and the Vienna Philharmonic. For one thing, all the other recordings of the Finales have been completed with the bits that Bruckner didn't finish filled in, while Harnoncourt's recordings only have the bits that Bruckner finished and interpolates a lecture to describe what's missing. While this may be musicologically more accurate, in performance it is at best disruptive, at worst dull. For another thing, all the other Finales are performed with the overwhelming need to compel belief in the Finale while Harnoncourt himself seems unconvinced of its merits. But then, Harnoncourt's recording of the three completed movements are just as unconvincing. In Harnoncourt's performance, his opening movement alternates long stretches of quiet tedium with short bursts of loud bombast, his Scherzo alternates long stretches of loud hammering with short bursts of quiet inanity, and his Adagio alternates long stretches of loud, painfully dissonant music with shot bursts of louder, more painfully dissonant music. Harnoncourt's recording doesn't make a case for a four-movement Ninth; it doesn't even make a case for a three-movement Ninth.© TiVo
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