Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra and Bernard Haitink - Bruckner: Symphonies Nos. 4-8, WAB 104-108 & Te Deum, WAB 45 (2024) [Hi-Res]
Artist: Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra, Bernard Haitink
Title: Bruckner: Symphonies Nos. 4-8, WAB 104-108 & Te Deum, WAB 45
Year Of Release: 2024
Label: BR-Klassik
Genre: Classical
Quality: FLAC (tracks) / 24bit-48kHz FLAC (tracks)
Total Time: 06:14:00
Total Size: 1.50 / 4.09 GB
WebSite: Album Preview
Tracklist:Title: Bruckner: Symphonies Nos. 4-8, WAB 104-108 & Te Deum, WAB 45
Year Of Release: 2024
Label: BR-Klassik
Genre: Classical
Quality: FLAC (tracks) / 24bit-48kHz FLAC (tracks)
Total Time: 06:14:00
Total Size: 1.50 / 4.09 GB
WebSite: Album Preview
CD1
1. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic" (1886 Version, Ed. L. Nowak): I. Bewegt, nicht zu schnell (19:49)
2. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic" (1886 Version, Ed. L. Nowak): II. Andante quasi allegretto (14:36)
3. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic" (1886 Version, Ed. L. Nowak): III. Scherzo. Bewegt (11:07)
4. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic" (1886 Version, Ed. L. Nowak): IV. Finale. Bewegt, doch nicht zu schnell (22:31)
CD2
1. Symphony No. 5 in B-Flat Major, WAB 105 "Phantastische" (1878 Version, Ed. L. Nowak): I. Introduction. Adagio (20:38)
2. Symphony No. 5 in B-Flat Major, WAB 105 "Phantastische" (1878 Version, Ed. L. Nowak): II. Adagio. Sehr langsam (16:10)
3. Symphony No. 5 in B-Flat Major, WAB 105 "Phantastische" (1878 Version, Ed. L. Nowak): III. Scherzo. Molto vivace (13:40)
4. Symphony No. 5 in B-Flat Major, WAB 105 "Phantastische" (1878 Version, Ed. L. Nowak): IV. Finale. Adagio (25:10)
CD3
1. Symphony No. 6 in A Major, WAB 106 (1881 Version, Ed. Haas): I. Majestoso (16:25)
2. Symphony No. 6 in A Major, WAB 106 (1881 Version, Ed. Haas): II. Adagio. Sehr feierlich (15:19)
3. Symphony No. 6 in A Major, WAB 106 (1881 Version, Ed. Haas): III. Scherzo. Nicht schnell - Trio. Langsam (8:32)
4. Symphony No. 6 in A Major, WAB 106 (1881 Version, Ed. Haas): IV. Finale. Bewegt, doch nicht zu schnell (14:57)
CD4
1. Symphony No. 7 in E Major, WAB 107 (1885 Version, Ed. L. Nowak): I. Allegro moderato (20:04)
2. Symphony No. 7 in E Major, WAB 107 (1885 Version, Ed. L. Nowak): II. Adagio. Sehr feierlich und sehr langsam (22:08)
3. Symphony No. 7 in E Major, WAB 107 (1885 Version, Ed. L. Nowak): III. Scherzo. Sehr schnell (9:26)
4. Symphony No. 7 in E Major, WAB 107 (1885 Version, Ed. L. Nowak): IV. Finale. Bewegt, doch nich schnell (12:09)
CD5
1. Symphony No. 8 in C Minor, WAB 108 (Ed. Haas): I. Allegro moderato (17:32)
2. Symphony No. 8 in C Minor, WAB 108 (Ed. Haas): II. Scherzo. Allegro moderato (15:48)
3. Symphony No. 8 in C Minor, WAB 108 (Ed. Haas): III. Adagio. Feierlich langsam, doch nicht schleppend (29:41)
4. Symphony No. 8 in C Minor, WAB 108 (Ed. Haas): IV. Finale. Feierlich, nicht schnell (25:03)
CD6
1. Te Deum, Wab 45: I. Te Deum laudamus (6:36)
2. Te Deum, WAB 45: II. Te ergo quaesumus (2:42)
3. Te Deum, WAB 45: III. Aeterna fac (1:37)
4. Te Deum, WAB 45: IV. Salvum fac populum tuum (6:39)
5. Te Deum, WAB 45: V. In te, Domine, speravi (5:55)
The Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021.
Haitink first conducted a Munich subscription concert in 1958, and from then on, he repeatedly stood on the podium of the Bavarian Radio Symphony Orchestra – either in the Herkulessaal of the Residenz or in the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem worldwide. With him, the symphonies of Gustav Mahler were also in the best of hands at all times. His driving principle was to take the sound architecture of a musical composition with its many-layered interweavings and render it transparently audible; extreme sensitivity of sound was paired with a clearly structured interpretation of the score.
Haitink first conducted a Munich subscription concert in 1958, and from then on, he repeatedly stood on the podium of the Bavarian Radio Symphony Orchestra – either in the Herkulessaal of the Residenz or in the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem worldwide. With him, the symphonies of Gustav Mahler were also in the best of hands at all times. His driving principle was to take the sound architecture of a musical composition with its many-layered interweavings and render it transparently audible; extreme sensitivity of sound was paired with a clearly structured interpretation of the score.
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