Bergen Philharmonic Orchestra Thomas Dausgaard - Symphony 3 in D Minor - SUPER-AUDIO CD [Super Audio CD (SACD)]

Anton Bruckner wrote his Symphony No. 6 over a period of two years, completing it in September 1881. And for once with this composer, the word 'completing' can be used without qualification known for his habit of reworking and revising his works, Bruckner for once seems to have been satisfied with the result of his efforts. That doesn't mean that the Sixth has enjoyed a smoother passage to the concert stage than other Bruckner symphonies, however. The only performance in Bruckner's lifetime was a partial one, of the two middle movements, and when Gustav Mahler conducted the first 'full' performance in 1899, he made a number of substantial cuts and other amendments. In fact, the true premiere of the Sixth as Bruckner wrote it had to wait until 1935, almost 40 years after the composer's death. And the work is still something of a Cinderella in the Bruckner catalogue, with far fewer outings in concert halls or on disc than for instance the Fourth or the Seventh. Bruckner called the Sixth his 'boldest' symphony - with a duration of 'only' some 55 minutes it is at any rate one of the shorter, but possibly the composer was thinking of the remarkably expansive Adagio or the ambiguous Scherzo, or of the way the so-called 'Bruckner rhythm' (different combinations of a duplet and a triplet) pervades the work. The present is the first in a Bruckner 'mini-series' from Thomas Dausgaard and the Bergen Philharmonic Orchestra, appearing together on disc for the first time.

After many years of city life, Andrea discovered deep inspiration for her music in the nature surrounding her new home. Residing at the boundary where countryside meets woodland, she lives right at the 'edge effect', a unique zone where different ecosystems converge, creating a diverse and vibrant natural beauty. This album is an emotional exploration of Andrea's past, touching on themes of loss and letting go, while also conveying hope and the enduring cycle of renewal found in nature and the cosmos. Andrea translates her emotions into music using electricity, with her synthesizers as her main instrument. Each track tells a personal story, complemented by field recordings from the Ore Mountains and Saxon Switzerland, creating an unparalleled intimate and immersive listening experience. There is genuine beauty here, harvested from the mind of a truly original artist. Genre Electronic / Synthesizer Album Tracks 1. Allow Me to Escape Time 2. A Lost Memory 3. Different Step 4. The Edge Effect 5. Connection Between Us 6. Choosing Paths 7. A Tale Not Everyone Knows 8. Naked Animal 9. Diffused Reflection of Yourself

Thomas Zehetmaier gets off to a fantastic start with Anton Bruckner's Symphony No. 3, the work marking his discographic debut as the principal conductor of the Musikkollegium Winterthur. This prizewinning, richly traditional Swiss orchestra once again offers a compelling performance enhanced by agile flexibility of chamber character. The overwhelming acoustics of the Winterthur Town Church contribute their share to the magnificent Bruckner sound, which here has been perfectly captured in three-dimensional 2+2+2 recording technology and released on a high resolution Super Audio album. Bruckner's insecurity about his own works is legendary. He repeatedly submitted his symphonies to radical revisions- often because of a few critical remarks. In any event, the InchThirdInch was a genuine disaster when it was premiered; the orchestra's musicians are even said to have left the stage during the performance. Perhaps the absolutely servile accumulation of quotations from Wagner was then somewhat too much of a good thing. As a consequence, Bruckner eliminated all the excessive Tristan and Ring baggage, and the result was a work of appealing design. What causes difficulty for many a gigantic orchestra is easy for the Winterthur musicians the realization of Bruckner's original tempo relations represents a genuine challenge. The syncopated unison passages in the finale assume brute force in the prescribed Allegro that normally would have been beyond the reach of a trim orchestral ensemble. It has been a long time since Bruckner sounded so fresh!