“Stanislaw Skrowaczewski elicits remarkable ensemble qualities from the Saarbrücken Radio Symphony – both in the sharply drawn tutti and the subtle colours of the single instrumental groups.“ ~Rondo
Rafael Kubelik was one of the 20th century's most brilliant and charismatic conductors, yet under-appreciated because of his reluctance to embrace the "star" system. Here he is seen working with the great orchestras of Berlin, Vienna and Amsterdam, and featured in a bonus biographical documentary acclaimed for "stylish camera-work and a counterpoint of image, word and music reflecting Kubelik's spontaneity, exuberance, trust in emotion, and ability, even in tailcoat, to retain his warmth and humanity" (Süddeutsche Zeitung).
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.
With its majestic themes soaring upwards like gothic pillars and its brilliant chorales and fanfares glowing like stained – glass windows, Anton Bruckner’s Symphony No. 8 is the most monumental of his orchestral works, a cathedral in sound that grows out of pianissimo murmurs. Coming after the triumphs celebrated by the composer’s Seventh Symphony and Te Deum, the Eight was considered by Bruckner as the artistic climax of his career. Cleveland‘s Severance Hall is the venue for this performance. This hall, an eclectic yet elegant mix of Art Deco, Art Nouveau, Classicism, Egyptian Revival and Modernism was inaugurated in 1931 and is still hailed today as one of the world‘s most beautiful concert halls. The Cleveland Orchestra, founded in 1918, began its ascent to the upper ranks of the world‘s ensembles after it moved to Severance Hall in 1931.
Bruckner‘s Seventh – The master‘s homage to Richard Wagner With the mighty build-ups and monumental fortissimi of Bruckner’s Seventh, Welser-Möst and his Clevelanders have their work cut out for them. And they do not disappoint. The most popular, and perhaps most easily accessible, of Bruckner‘s symphonies, the Seventh casts its spell on the audience with its clear-cut architecture and the wealth and fullness of its melodies. From the sweeping opening theme of the first movement to the victorious chords of the finale, the Cleveland Orchestra and its conductor deliver a magisterial reading of Bruckner‘s masterpiece. Cleveland‘s Severance Hall is the venue for this performance. This hall, an eclectic yet elegant mix of Art Deco, Art Nouveau, Classicism, Egyptian Revival and Modernism was inaugurated in 1931 and is still hailed today as one of the world‘s most beautiful concert halls. The Cleveland Orchestra, founded in 1918, began its ascent to the upper ranks of the world‘s ensembles after it moved to Severance Hall in 1931.
Ever since the tenure of its chief conductor Eduard van Beinum (1945–59), the Royal Concertgebouw Orchestra has cherished one of the greatest Bruckner symphonic traditions in the world. With this release of Bruckner’s Ninth Symphony, Mariss Jansons and the Concertgebouw Orchestra add a new chapter to the RCO’s impressive performance and recording history of Bruckner’s works.