Bruckner: The Symphonies Royal Concertgebouw Orchestra & Bernard Haitink

• Anton Bruckner (1824 - 1896): Symphony No. 0 in D Minor, WAB 100:
• 1 1. Allegro - Poco meno mosso 14:27
• 2 2. Andante sostenuto 13:01
• 3 3. Scherzo (Presto) - Trio (Langsamer und ruhiger) 06:33
• 4 4. Finale (Moderato: Andante - Allegro vivace) 09:46
• Symphony No.1 in C Minor, WAB 101 - "Linz Version" 1866:
• 5 1. Allegro molto moderato 12:01
• 6 2. Adagio 13:02
• 7 3. Scherzo. Lebhaft 08:49
• 8 4. Finale. Bewegt und feurig 12:37
• Symphony No. 2 in C Minor, WAB 102:
• 9 1. Ziemlich schnell 17:40
• 10 2. Adagio. Feierlich, etwas bewegt 15:10
• 11 3. Scherzo. Schnell 08:11
• 12 4. Finale. Mehr schnell - Sehr schnell 17:20
• Symphony No.3 In D Minor, WAB 103 - Version 1877:
• 13 1. Gemässigt, mehr bewegt, Misterioso 19:20
• 14 2. Adagio, bewegt, quasi Andante 14:42
• 15 3. Scherzo (Ziemlich schnell) 06:58
• 16 4. Finale (Allegro) 15:34
• Symphony No. 4 in E-Flat Major - "Romantic", WAB 104 - Version 1878/1880:
• 17 1. Bewegt, nicht zu schnell 18:18
• 18 2. Andante quasi allegretto 15:51
• 19 3. Scherzo (Bewegt) - Trio (Nicht zu schnell. Keinesfalls schleppend) 09:46
• 20 4. Finale (Bewegt, doch nicht zu schnell) 19:49
• Symphony No. 5 in B-Flat Major, WAB 105:
• 21 1. Introduction (Adagio) - Allegro (Mäßig) 18:52
• 22 2. Adagio (Sehr langsam) 18:33
• 23 3. Scherzo (Molto vivace, schnell) - Trio. Im gleichenTempo 12:17
• 24 4. Finale (Adagio - Allegro moderato) 22:51
• Symphony No. 6 In A Major, WAB 106:
• 25 1. Maestoso 15:16
• 26 2. Adagio (Sehr feierlich) 17:25
• 27 3. Scherzo (Nicht schnell) - Trio (Langsam) 07:51
• 28 4. Finale (Bewegt, doch nicht zu schnell) 13:27
• Symphony No. 7 in E Major, WAB 107:
• 29 1. Allegro moderato 18:10
• 30 2. Adagio (Sehr feierlich und sehr langsam) 21:00
• 31 3. Scherzo (Sehr schnell) 09:19
• 32 4. Finale (Bewegt, doch nicht schnell) 11:46
• Symphony No. 8 in C Minor, WAB 108:
• 33 1. Allegro moderato 13:57
• 34 2. Scherzo: Allegro moderato 13:33
• 35 3. Adagio: Feierlich langsam; doch nicht schleppend 25:17
• 36 4. Finale: Feierlich, nicht schnell 20:44
• Symphony No. 9 in D Minor, WAB 109:
• 37 1. Feierlich. Misterioso 23:16
• 38 2. Scherzo (Bewegt lebhaft) - Trio (Schnell) - Scherzo da capo 11:15
• 39 3. Adagio (Langsam, feierlich) 24:53
• Te Deum, WAB 45:
• 40 1. Te Deum laudamus 06:26
• 41 2. Te ergo 02:34
• 42 3. Aeterna fac 01:36
• 43 4. Salvum fac 07:32
• 44 5. In te, Domine, speravi 04:08
• Total Runtime 10:10:53

Info for Bruckner: The Symphonies

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’.

Bernard Haitink's complete survey of the Bruckner symphonies set the standard for subsequent recordings of the repertoire whilst continuing a living tradition in Amsterdam.

Beyond the work of an orchestra and conductor in a golden period, these iconic cycles owe much to the Amsterdam Concertgebouw itself – one of the great temples of culture – and further gained from the vision of Decca's engineers who created a recorded sound of such striking depth, detail and realism. All these elements combined to attract countless new listeners to Bruckner's music.

“The combination of the Concertgebouw and Decca’s engineering is a beguiling one and the present production is a characteristic success.” (Gramophone)

Does anyone outside of the Benelux countries remember the Haitink/ Concertgebouw/Bruckner cycle? With competition from the more glamorous Karajan/Berlin cycle and the more muscular Solti/Chicago cycle, not to mention the more spiritual Jochum/Bavarian/Berlin cycle, the more straightforward Haitink/Concertgebouw cycle probably doesn't stick in the memories of most international listeners. And yet there are many good reasons to prefer the Haitink/Concertgebouw cycle. For one thing, there's Haitink. A consummate professional with less ego and arguably more integrity than Karajan and more sincerity than Solti, Haitink was more than willing to let Bruckner's symphonies unfold in their own good time. For another thing, there's the Concertgebouw. A virtuoso ensemble with as much polish as the Berlin and less aggression than the Chicago, the Concertgebouw was more than willing to efface its virtuosity and lets Bruckner's symphonies reveal themselves. And finally, there's the music. While Karajan and Solti may have been wonderfully appropriate for most of the Central European repertoire, to perform Bruckner as if he were a combination of Beethoven and Wagner is to misunderstand him. Bruckner was utterly unique -- a medieval mystic and a Baroque contrapuntist stuck in a nineteenth century harmonic body -- and Haitink, like Jochum, understands this. So while the Jochum cycle, with its immense spirituality, remains the preferred Bruckner cycle, listeners looking for a second cycle would do well to pick up the Haitink and leave the Karajan and Solti cycles on the shelf. (James Leonard, AMG)

Royal Concertgebouw Orchestra
Bernard Haitink, conductor

No biography found.

Booklet for Bruckner: The Symphonies