Bruckner 4

These three masses are early works but Bruckner had already gestated into Bruckner by the time of their composition. His symphonies regularly quote motifs from these works; they resonated in his mind down the years (and in fact, the F Minor Mass was written as a palliative gesture when the poor bugger was madder than usual).

One of the most celebrated conductors of the 20th century, Eugen Jochum was a leading interpreter of the works of Anton Bruckner. Famous for his fleet and impassioned Bruckner style, Jochum also perfectly captures the spirituality of each of the symphonies, from the first Schubertian strides of No. 1 to the bleak expanses of the unfinished Ninth.

George Tintner's sudden, untimely death in the fall of 1999 coincided with the completion of his Naxos cycle devoted to Bruckner's complete symphonies. In nearly every case where more than one Bruckner version exists, Tintner favors the composer's first thoughts. Thus we have the first recording of Symphony No. 1 in its unrevised 1866 version, the original 1872 Second, plus the seldom heard 1873 Third and 1887 Eighth. By contrast, Tintner preferred Bruckner's revised Fourth of 1878/80, with its new and beloved "hunting" Scherzo.

Bruckner's early string quartet is more a composition exercise than a full-fledged work of art, but the quintet is something else entirely: a chamber music masterpiece to rank with the great symphonies in expressive intensity and sheer musical grandeur. Indeed, there are a few places where Bruckner seems to demand an almost orchestral volume of tone, and the slow movement has been successful performed (and recorded) by a full string orchestra. The Intermezzo is none other than an alternative scherzo for the quintet, composed because the original players at the premier found Bruckner's first thoughts too difficult. Well, the members of L'Archibudelli certainly don't find the music too difficult–you won't find better performances anywhere.

A CD containing Bruckner’s music for piano may come as something of a surprise, since you either need to know a lot about Bruckner, or conversely very little, to expect such a thing. Yet here it is, and very interesting it is too. Fumiko Shiraga plays very well, and her performances can be described as dedicated and thoroughly prepared. In addition the BIS recorded sound is as good as we have come to expect from this reliable company: full toned and atmospheric, with due attention to detail.

Toscanini conducted the music of Bruckner on five separate occasions. In December of 1896 in Turin, Toscanini led the Adagio of the Seventh Symphony in commemoration of Bruckner’s passing. In March of 1931, Toscanini conducted the NY Phil in a series of concerts featuring the complete Bruckner 7. Toscanini and the NY Phil performed the Bruckner 4 in November, 1932, and February, 1934 (in a 1932 response to a questionnaire from the Berliner Börsen Zeitung, Toscanini revealed: “In recent years I have thoroughly studied Bruckner’s monumental symphonies”). January 1935 concerts included the Bruckner 7. The January 27, 1935 NY Phil performance of the Bruckner 7 is the only recording of Toscanini conducting music by the great Austrian composer.

inexplicably, both these Quintets by Bruckner and Schmidt are rarely performed and recorded. One demands to know why these magnificent works are not part of the standard repertoire. Here the scores are given performances of the strongest advocacy by the Vienna Philharmonia Quintet. The recordings were made for Decca over thirty years ago and they remain among the finest examples of late-Romantic chamber music on record.

Toscanini conducted the music of Bruckner on five separate occasions. In December of 1896 in Turin, Toscanini led the Adagio of the Seventh Symphony in commemoration of Bruckner’s passing. In March of 1931, Toscanini conducted the NY Phil in a series of concerts featuring the complete Bruckner 7. Toscanini and the NY Phil performed the Bruckner 4 in November, 1932, and February, 1934 (in a 1932 response to a questionnaire from the Berliner Börsen Zeitung, Toscanini revealed: “In recent years I have thoroughly studied Bruckner’s monumental symphonies”). January 1935 concerts included the Bruckner 7. The January 27, 1935 NY Phil performance of the Bruckner 7 is the only recording of Toscanini conducting music by the great Austrian composer.

To celebrate the 40th anniversary of Otto Klemperer s death, EMI Classics pays tribute to the incomparable conductor with the release of an extensive edition of luxurious yet affordably-priced boxsets. The first batch of three is available this November. The collection of Bruckner Symphonies is a 6-CD set presenting 5 of Bruckner s symphonies including the incomplete 9th symphony that was never finished due to his death. The set presents a comprehensive survey of Klemperer s renowned conducting. His interpretations and direction remain touchstones for the EMI catalogue, despite having a stroke during brain surgery.

Daniel Barenboim is an expert in exploiting the impact of cyclical performances of composers’ works: This time he focuses his sharp intellect on all six of Anton Bruckner’s mature symphonies. Der Tagesspiegel described Barenboim’s performance of the works with the Staatskapelle Berlin on six nearly consecutive evenings in June 2010 as a “superhuman” accomplishment and went on to praise how: “His Bruckner is conceived and performed very theatrically, like an opera without words.”Bruckner’s famous “Romantic” Symphony No. 4 forms the prelude to a spectacular DVD series from Accentus Music and Unitel Classica, exploring Bruckner’s symphonic cosmos.