Musik / klassiske symfonier

Symphony no. 6


Anmeldelser (43)


Klassik.com

d. 17. sep. 2009

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d. 17. sep. 2009

"Wieder erweist sich Herbert Blomstedt nicht nur als begnadeter Bruckner-Dirigent, sondern - allgemeiner - als großartiger Kapellmeister, der den Brucknerschen Klangkosmos ebenso üppig wie konturenscharf zu gestalten versteht ... Erste Klasse!".


Classics today

2020

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David Hurwitz

2020

"It's crazy, musically indefensible, and a waste of your time and money. However, it was distracting, and perfect for a pandemic because it kills time while encouraging you to look forward to something better".


MusicWeb international

2020 April

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Stephen Greenbank

2020 April

"The well-engineered recording quality is second to none, enabling the listener to register an abundance of detail. This persuasively played work could be no better served. I look forward with relish to the subsequent releases in this cycle".


MusicWeb international

2015 March

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Brian Reinhart

2015 March

"Everything here is good, well-played and enjoyable. The live recording doesn't pick up much if any audience noise and the orchestra is almost spotless. Young has thought through the score very well, and solves a lot of difficult issues ... Overall, a very competent CD".


MusicWeb international

2015 April

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Roy Westbrook

2015 April

"The great success of this issue lies in the conducting, since Young's instinct for the all-important transitions in Bruckner is so sound and idiomatic ... So overall a fine addition to this impressive Simone Young Hamburg cycle, and one of the best among recent SACD versions of Bruckner's 6th".


MusicWeb international

2015 January

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John Quinn (musikanmelder)

2015 January

"Overall, despite one or two reservations ... this is an impressive and convincing reading of Bruckner's Sixth and it's a fine addition to what is already a noteworthy cycle".


MusicWeb international

2018 January

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Ralph Moore (musikanmelder)

2018 January

"Good as this is, for me it is Gerd Schaller who presents the most coherent and satisfying conception of this symphony, with all the right elements in perfect balance and in exemplary sound. On the other hand, the intensity and purposefulness of Haitink's direction throughout make this a recording to esteem highly".


Kristeligt dagblad

d. 1. mar. 2021

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Peter Dürrfeld

d. 1. mar. 2021

"Her har man koblet to af Bruckners store symfonier, den 6. i A-dur fra 1881 og den 9. i d-mol, som Bruckner ikke nåede at blive færdig med inden sin død i oktober 1896, sammen med hvert sit Wagner-værk. Der er tale om to meget passende valg: den yndefulde "Siegfried Idyll" ... og forspillet til Wagners sidste opera, "Parsifal" ... Den 42-årige lettiske dirigent Andris Nelsons dirigerer det traditionsrige tyske Gewandhausorchester fra Leipzig ... Nelsons fortolkninger er præget af omhu og sans for både detaljerne og de store linjer. Han forhaster sig ikke, musikken får lov til at ånde, og klangen er hele vejen igennem smuk".


Politiken

d. 4. juni 2019

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Thomas Michelsen

d. 4. juni 2019

"Dette album er en chance for at bade i vellyd fra et af verdens bedste symfoniorkestre og samtidig lære noget ekstrem musik at kende ... Det er en serie liveindspilninger, den lettiske dirigent laver med sit tyske orkester i Leipzig, som er et af verdens bedste, og orkesterklangen er vidunderlig. Konceptet for serien er, at Bruckners symfonier parres med operaforspil og andre instrumentalstykker af Wagner. Sammen med 6. og 9. Symfoni får man den mest afspændte postcoitale 'Siegfried-idyl', jeg har hørt. Det lyder så dejligt, at det næsten er søvndyssende. Nelsons dæmper tingene, når Wagner er lige ved at få den op at stå ... Suverænt spillet ... Men det bedste på dette album er alligevel 9. Symfoni".


BBC music magazine

2013 December

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Martin Cotton

2013 December

"The first movement of this least-played of Bruckner's mature symphonies has the marking Majestoso, although you'd never know it from the urgent tempo here. Coupled with a lightness of orchestral texture, this is a performance that shakes off the well upholstered image of Bruckner".


Klassisk

2019, nr. 55

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Jeppe Rönnow

2019, nr. 55

"Det tussegamle Gewandhausorchester er klangligt på sit højdepunkt for tiden ... Man lader sig i sjælden grad rive med af Bruckners mindst indspillede symfoni, den sjette ... Allerede i de indledende takter skiller Nelsons og musikerne sig ud fra gængse orkesterindspilninger ... Nelsons forstår som få at balancere instrumenterne i sit orkester ... I den niende symfonis endnu længere førstesats passerer der i den grad landskaber forbi ... En begavet idé konsekvent at omkranse de mageløse Brucknersymfonier med Wagners orkesterkunst".


Diapason

2019 été

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Jean-Claude Hulot

2019 été


BBC music magazine

2019 August

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Michael Tanner (musikanmelder)

2019 August

"Each section of the orchestra has its distinctive quality, and it is obvious that Andris Nelsons knows how to get the best out of them in this ongoing series of Bruckner symphonies ... Alas, Nelsons's conception of the Sixth Symphony is almost disastrous ... Unfortunately the Sixth is coupled with a much finer reading of the incomplete Ninth ... here given with intensity and an unfailing sense of where it is heading".


Diapason

2015 decembre

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Jean-Claude Hulot

2015 decembre


BBC music magazine

2020 June

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Michael Tanner (musikanmelder)

2020 June

"Dausgaard, taking fairly swift tempos, and conducting with a strong rhythmic sense, has this enigmatic work bounding along and at least made me understand why Bruckner called it 'the cheekiest'. Dausgaard has his wind players, especially his oboes and clarinets, getting up to mischief whenever possible ... Anyone approaching this work for the first time, and wondering why it has its Cinderella status, should listen to this and will wonder still more".


Fono Forum

2020 Juli

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Thomas Schulz (f. 1960)

2020 Juli

"Es scheint ein Trend der Zeit zu sein, Bruckner entmystifizieren zu wollen: mit schnellen Tempi und Kammermusikalischen Texturen. Defür eignet sich Bruckners Sinfonie Nr. 6 naturgemäss besonders, und Thomas Dausgaard gelingt der 'Bruckner light' besser als so manchem anderen Dirigenten. Sein Dirigat des Scherzos, des wohl 'elfenhaftesten' Satzes aus Bruckners Feder, vermag durchaus zu fesseln, ebenso wie Dausgaards durchgehender Fokus auf ein transparentes Orchestergeflecht".


Diapason

2020 septembre

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Jean-Claude Hulot

2020 septembre


Diapason

2020 janvier

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Jean-Claude Hulot

2020 janvier


Klassisk

2020, nr. 56

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Esben Tange (f. 1961)

2020, nr. 56

"Netop denne Bruckner-symfoni, der med en stærk indre dynamik nærmer sig Beethovens dialektiske verden, ligger særligt godt for Simon Rattle ... Hos Simon Rattle er Bruckner på samme tid en moderne komponist, der som en radikal Stravinskij hugger tiden op i brokker, og en romantiker af Guds nåde, der med uskyldsrene barneøjne stirrer intenst mod fjerne himmelske egne".


BBC music magazine

2020 February

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Michael Tanner (musikanmelder)

2020 February

"Bruckner's Sixth Symphony is usually regarded as, in one way or another, the odd man out among his mature symphonies ... Rattle is a most uneven interpreter of Bruckner, and in this case he strikes me as trying too hard to put his own stamp on the work".


BBC music magazine

2015 June

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Michael Tanner (musikanmelder)

2015 June

"The Hamburg Philharmonic ... has a great Bruckner tradition, and thanks to the fine recording the results are often resplendent".


Klassisk

2015, nr. 38

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Mikael Garnæs

2015, nr. 38

"Concertgebouw-orkestret er i ... luksusklasse, når det gælder den store orkesterlyd med en individuel karakter. Det er fantastisk at høre en så homogen og fleksibel strygerklang og så formidable messingblæsere som her. Det store orkestermaskineri fungere pletfrit ... Mariss Janssons har en sympatisk følsom og menneskeliggjort tilgang til Bruckner".


BBC music magazine

2006 January

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Stephen Johnson (f. 1955)

2006 January

"I don't think Kent Nagano's is the ideal solution. But he lets so much fresh air into its textures, breathes life into complex rhythms ... It would be wrong to say that Nagano skates on the surface, but there is something manicured about the expression in this performance".


BBC music magazine

2018 March

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Stephen Johnson (f. 1955)

2018 March

"Orchestral choice: This is very nearly my perfect Bruckner Six ... The slow movement is relatively fast-paced, and when I first heard it I couldn't help wishing that it would expand just a bit more. But Bernard Haitink's feeling for the way this music sings is so persuasive ... that in the end I just surrendered and accepted it on its own terms ... The music feels fresh, alert, expressive at all times, whether in moments of joy, mystery or the darkest desolation".


Klassisk

2018, nr. 48

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Esben Tange (f. 1961)

2018, nr. 48

"Haitink [er] mand for at aktivere et følsomt bankende hjerte dybt i Bruckners partitur, og netop her, hvor det gælder Symfoni nr. 6, der er den korteste og mest komprimerede af Bruckners modne symfonier ... giver det god mening. Bernard Haitink gør symfonien til en begivenhedsrig rejse ... [Det] kræver et orkester, der evner at følge selv det mindste vink, og det har han i det Bayerske Radiosymfoniorkester. Klarhed, klanglig brillans og ekstrem adræthed er deres adelsmærke".


International record review

2013 October

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Robert Matthew-Walker

2013 October

"Yannick Nézet-Séguin tends to take much of the symphony too fast, thereby robbing it of its spaciousness, so that the entire work does not unfold, so to speak, at its own inner pace as a wondrous organic growth ... The Orchestre Métropolitain is a good body of players, but cannot compare in corporate quality with the finest orchestras that have recorded Bruckner".


The gramophone

2013 Awards

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Edward Seckerson

2013 Awards

"His Orchestre Métropolitan is good, but cannot match van Zweden's Netherlanders in incisiveness and articulation. For uplift and impulse they simply cut a sharper dash. Which is not to say that Nézet-Séguin is inferior or disappointing, just subtly different in approach".


Jyllands-posten

d. 6. juni 2000

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d. 6. juni 2000


Jyllands-posten

d. 29. dec. 2003

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d. 29. dec. 2003


Weekendavisen

d. 19. dec. 2003

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d. 19. dec. 2003


The gramophone

2019 August

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Christian Hoskins

2019 August

"The performance of the Sixth Symphony features Nelsons's usual attention to detail, with a perfectly judged tempo for the opening Majestoso and plenty of energy in the allegro passages that follow. In the movement's more lyrical passages, however, the interpretation occasional feels more literal than inspirational ... Nelson's interpretation of the Ninth Symphony is less individualistic and slightly more persuasive than his account of the Sixth ... Nelson's performances of the Wagner pieces are very successful ... given a warm and affectionate interpretaion".


Fono Forum

2019 August

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Gerald Felber

2019 August

"Die Neunte in Gesallschaft einer atmosphärich-koloristisch sehr reizvollen und melodiensatten, oft etwas weichgezeichneten und manchmal sahnig-süffigen Sechsten ... wobei das 'Siegfried-Idyll' den stillen Zauber eines lieblichen Märchen-Aquarells ausstrahlt ... Nelsons betont ... wieder das Unvollendete und Offene des Satzes".


The gramophone

2015 Awards

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Christian Hoskins

2015 Awards

"Extremely well-recorded account under the baton of Paavo Järvi ... Järvi's Sixth has a feeling of rightness that comes from a full understanding of the work's architecture as well as its distinctive emotional orbit, all realised with playing of exceptional refinement and expressiveness".


Jyllands-posten

d. 6. juni 2000

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d. 6. juni 2000


International record review

2011 January

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Colin Anderson

2011 January

"This is a recording for Bruckner die-hards, and for those who hold the Sixth Symphony in special regard. Even if the sound, fine enough on its own terms, does not always equate to what audiences actually hear in RFH, there is much to admire in Eschenbach's and the LPO's traversal that makes its acquisition very recommendable".


The gramophone

2011 February

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Rob Cowan (f. 1948)

2011 February

"Vurdering: E - Editor's choice" - "The music really suits him [Eschenbach]. In the digital field, I'd rate it alongside similarly gripping versions under Geilen ... Skrowaczewski ... and Wand".


Klassisk

2020, nr. 57

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2020, nr. 57

"Denne udgivelse markerer starten på en ny cyklus af Bruckners symfonier ... De begynder med den sjette symfoni ... Det dunkende, gotiske format, som man normalt forbinder med komponisten, er udskiftet med noget langt mere fredfyldt, ømt og ædelt. Thomas Dausgaard tilfører altid en ekstra dimension til udfordrende orkesterpartiturer som dette".


The gramophone

2020 April

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Edward Seckerson

2020 April

"It feels like a more personable Bruckner than the symphony immediately preceding it and those following - and that's a quality that Thomas Dausgaard and the wonderful Bergen Philharmonic Orchestra really illuminate in this lively and heartfelt performance ... One wonders what Mahler made of the piece (he conducted the first complete performance - with his own amendments - in 1899). The Wagner parallels won't have been lost on him but I can't imagine it being as well played as it is here".


The gramophone

2015 May

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Rob Cowan (f. 1948)

2015 May

"Asked to nominate a single word that sums up Mariss Janson's approach to these particular Bruckner symphonies, it would be 'fluidity' ... The playing warmly affectionate ... Tempo relations are mostly convincing and the great, arching coda is supremely effective [No. 6] ... Jansons conducts and intense and beautifully played Adagio [No. 7]".


Diapason

2015 mai

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Jean-Claude Hulot

2015 mai

"Vurdering: Diapason d'or".


International record review

2005 December

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Richard Whitehouse

2005 December

"Nagano has fashioned an ensemble of a richness and depth well suited to Bruckner, and his Sixth Symphony is of unforced eloquence - with striking inner clarity in tutti passages ... with sound that fully captures the burnished orchestral tone, Nagano's is an admirable reading that yet fails to challenge the front-runners - Celibidache, Klemperer and Skrowaczewski".


The gramophone

2006 January

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Richard Osborne (f. 1943)

2006 January

"A fine performance that, at last, does offer a challenge to Klemperer ... he [Nagano] appears to have an overview of the work and the will to enforce it".


The gramophone

2018 February

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Christian Hoskins

2018 February

"On balance, this is the recording to choose for anyone wanting to hear Haitink inh this symphony. Given the choice of any recording, however, I'd plump for Sawallisch on Orfeo or the 1995 Wand performance on Profil".



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