The reappearance of this DG set means that once again both of Eugen Jochum’s Bruckner symphony cycles are available at the same price level. The EMI cycle was recorded in 1975-80 with the Dresden Staatskapelle, while DG’s was taped primarily in the 1960s with the Bavarian Radio Symphony and the Berlin Philharmonic. There’s little to choose between the two interpretively, as Jochum pretty much maintained his individualistic approach to Bruckner throughout his career. So, take away the uniquely burnished tones of the Dresden brass and for the most part you’ve got two identical cycles (type Q2340 in Search Reviews for a detailed appraisal of the EMI set, as released by Musical Heritage Society).
In honour of Bernard Haitink's 90th birthday this year, Decca presents one of the conductor's most lauded and respected series of repertoire. Bruckner's symphonic cycle is played here by the Royal Concertgebouw Orchestra, recently voted by Gramophone Magazine as ‘The Greatest Orchestra in the World’.
Sound and space are mutually dependant. Which works sound best in which environment? Where can the spirit and character of the music most clearly be expressed? These questions are what inspired the conductor Gerd Schaller to embark on an ambitious major project in 2007: in the impressive environment of the abbey church that once formed part of Ebrach’s Cistercian monastery in Franconia, he directed his festival orchestra, the Philharmonie Festiva, in recordings of all of Anton Bruckner’s symphonies. What is special about this Bruckner cycle is that Schaller in some cases selected less well-known, ‘interim’ versions or variants that had previously never been performed but give revealing insights into Bruckner’s compositional approach.