Anton Bruckner (1824-1896):

Sinfonie Nr. 9, D-moll

Aufgenommen auf der Stahlhuth-Jann-Orgel der Kirche St. Martin in Dudelange/Lux.

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«spieltechnisch und musikalisch eine absolute Meisterleistung von grosser Konzentration, Gedankentiefe und  Klangschönheit!»

Jochen Becker

ZohoMusic / New York

»…this recording is a wonderful listening experience. The opening of the first movement, with its low D-pedal, could not sound more appropriate and captivating than if the listener were sitting in the wooden rows of the Abby at St. Florian and the organ in the loft was beginning to breathe life into the opening of the symphony at the hands and feet of the Master in his day. Throughout the movement, the overall pacing and motion of the themes are fluid. Individual lines are expressed with clarity and recognizable timbre. Perhaps the dynamics between sections could be more pronounced, but climaxes are big and the ending exhilarating. The Scherzo has a nice spirited bounce to it, with an idiosyncratic reedy quality to the sound of the interplay of the various voices.

The Adagio is an aural experience. The harmonies Bruckner engaged in the movement are quite daring when performed on organ, the layering in which they are achieved is especially enlightening. Timbres and voicings flow in a way that some might not appreciate in the context of an orchestral performance. And by the time the movement culminates in the dissonant chord of the climax, the emotion wrought in the moment is ever-more powerful. The ascension of the final notes is sublime, especially the final decay of sound given the acoustic of the church.«

Michael Cucka

The Bruckner Journal

« Mûrement réfléchie, son interprétation tient du défi, tant il parait ardu de remplacer cent musiciens par un seul. Le résultat est à la hauteur de l’attente, le jeu est profond, posé, jamais virtuose dans le sens de démonstratif, et l’intégration des parties orchestrales nombreuses demeure un tour de force parfaitement réussi et convaincant. Le scherzo est particulièrement impressionnant par son élan, comme une course à l’abîme ça et là parsemée de larges respirations. »

Frédéric Muñoz

ResMusica / Paris