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    At 200, Bruckner Is More Popular Than Ever. Why?

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    Seven conductors share what it’s like to lead Anton Bruckner’s monumental symphonies, and why they resonate today.Bruckner, Bruckner, everywhere.There was a time, as recently as three or four decades ago, when this composer was a relative rarity, especially outside Central Europe. His reputation preceded him. He was a religious man alien to the modern world, the author of monumental symphonies that many listeners found monumentally dull.He was a provincial, uncouth, hardly a sophisticate like Brahms or Mahler. There was the forbidding editorial history of his nine (or is that 11? 18?) symphonies, and the lingering unease at his adoption by Nazi propagandists. If Bruckner was never exactly absent from the repertoire, he was long its resident eccentric.Even if some listeners still struggle with this music, though, there has always been a band of Bruckner devotees among scholars, critics and musicians. “There is no doubt that if people once grow fond of Bruckner, they grow very fond of him,” the editor of Gramophone magazine said nearly a century ago. And lately, more and more people seem to have grown very fond of him indeed.Performances of Bruckner’s symphonies seem more common than ever, and not just because this year is the 200th anniversary of his birth. Recordings come out constantly, with offerings that include fresh takes on period instruments and entire cycles from our most esteemed ensembles. It used to be that Bruckner had to be programmed with Mozart to draw a crowd; now he carries enough weight to bring Messiaen or Ligeti along with him. Attitudes have changed; clichés have quietened. Observers once talked of the “Bruckner Problem.” Now, we live in the Bruckner Moment.Conductors have played a major part in this transformation. Many of those working today are not just fond of Bruckner, but truly love his scores. For some, a performance of one comes close to a transcendent experience. Gone are the days when Bruckner was the preserve of the grizzled, graying maestro: Yannick Nézet-Séguin, for example, recorded the Seventh when he was just 31. Studying the music earlier in their careers, conductors have more opportunities to perform it; as technical standards have risen, even unheralded orchestras can give persuasive accounts of works that once posed challenges.So, what is Bruckner’s music like to conduct? Why do his symphonies, the expression of a deep Catholic faith, resonate so loudly in an increasingly secular age? How have these long, complicated works grown so remarkably in stature while our attention spans have become so brief? In interviews, seven conductors offered their thoughts; here are edited excerpts from those conversations.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Vienna Philharmonic Tends the Classics With a Perfect Partner

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      Christian Thielemann led the storied orchestra in three concerts at Carnegie Hall, including a revelatory performance of Strauss’s “An Alpine Symphony.”Sometimes in a concert-going life, preconceived notions are upended, leading to thrilling surprises.Before the Vienna Philharmonic’s three concerts over the weekend at Carnegie Hall, I was primed for this storied orchestra’s dashing Mendelssohn, formidable Brahms and majestic Bruckner.But I had been prepared to reach those works, on Saturday evening and Sunday afternoon, after the hurdle of Strauss’s “An Alpine Symphony” on Friday.“An Alpine Symphony” is something of an ugly duckling in the orchestral repertory — or, given its scale, an ugly elephant. Lasting some 50 minutes, it is Strauss’s final and biggest tone poem, a wall mural in sound depicting a dramatic mountain hike, and requiring both celesta and organ, wind and thunder machines — and cowbell for good measure — as well as woodwind and brass forces that put even Bruckner to shame.The piece gets a bad rap for its indulgent size and fitfully episodic structure, the way it can seem to be spinning its wheels for long stretches between bloated climaxes. It’s considered more than acceptable for people who know a lot about classical music — people who are in classical music — to roll their eyes at it.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.And it’s true: From most orchestras, under most conductors, on most nights, it comes off bombastic, limp and long.Not here. On the podium for the three concerts this weekend was Christian Thielemann, a maestro whose Strauss is able to convert even skeptics. People still talk about the focused splendor he brought to another huge, hard-to-wrangle Strauss score, “Die Frau Ohne Schatten,” at the Metropolitan Opera more than 20 years ago.Now 63, Thielemann spends much of his career in the German-speaking world, focusing on a tiny group of eminent ensembles like this one and a small circle of canonical scores. In recent years, he has been almost absent from New York stages; his last visit to Carnegie Hall, with his Staatskapelle Dresden, was in 2013.Believe the hype: Thielemann, whose last appearance at Carnegie Hall was in 2013, gave an enlightening account of Strauss’s “An Alpine Symphony” on Friday.Jennifer TaylorOn Friday, his “Alpine Symphony” was a reminder that the fuss that surrounds him is not hype. Above all, Thielemann conveyed a sense of unaffected fluidity — achieved, paradoxically, by firm control over a score that can sag.The soft but grand dawn opening felt not portentous but natural, building to a sunrise that was shining without blare. Throughout, Thielemann refused to dwell on the climaxes, be they mountaintop vistas or thundering storms, blurring the boundaries between the episodes into an ever-shifting, gorgeously disorienting whole.Sometimes sumptuous, sometimes frosty, sometimes glistening, Vienna’s strings were perhaps at their most impressive when it came to maintaining tension even as a barely audible foundation of the orchestral textures. This helped ensure that material that often feels like filler was continually mesmerizing.More relaxed passages had the poised intimacy of Strauss’s salon-style opera “Ariadne auf Naxos.” And, toward the end, the orchestra luxuriated in the wandering chromatic music that demonstrates Strauss’s debt to Schoenberg, whose “Verklärte Nacht” opened the concert with the same sense of unforced flow that Thielemann brought to “An Alpine Symphony.”That easy flow, though, managed to convey the opposite of ease, making this score sound more mysterious and thorny, and more engrossing, than I’d ever heard it. This was a truly persuasive performance.So was the rendition of Bruckner’s Eighth Symphony on Sunday. As in the Strauss, Thielemann conveyed a sense of continuity, of great arches, that pressed intensity through the work’s endless, hypnotic repetitions. (And, as in the Strauss, the strings in particular never let up.) At the start of the Adagio, the melody was properly broad without losing the line, and the Finale was a medieval edifice, looming through fog and in sunshine.The careful control from Thielemann that gave tautness to “An Alpine Symphony” and the Bruckner took away a certain bucolic character in Mendelssohn’s “Hebrides” Overture and Symphony No. 3, which had a weight, even a severity, on Saturday that brought them in line with Brahms’s Symphony No. 2 after intermission.Scattered through the weekend were some quirks — moments of uneasy intonation and tiny flaws, including a hiccup on the opening chord of the Bruckner symphony. But these issues felt tiny next to all the breathtaking things this orchestra does: ends of phrases so elegantly rounded they almost make you sigh; the uncanny matching of tone and texture between horn and strings in the Bruckner Adagio; the silkiness of the start of the Brahms symphony’s finale; and effortlessly idiomatic moments like a delightfully squealing, squelching chord in “An Alpine Symphony.”And there are aspects of sound in which the Viennese remain distinctively themselves: their winds woodsier — darker, somehow damper and more moodily blended, like a forest floor — than you hear from other orchestras, and the brasses in ensemble closer to a bronze shield than a golden spear.A year ago, the Philharmonic’s annual New York visit was not so focused on the music-making. In the lead-up to those concerts in late February, the orchestra and Carnegie came under scrutiny for the decision to collaborate with the conductor Valery Gergiev, a prominent supporter of President Vladimir V. Putin of Russia. It was only after the invasion of Ukraine began, the day before the first performance, that the orchestra and hall dropped their defenses of Gergiev and replaced him.It was an irruption of politics into an ensemble whose brand has been defined by insulation from all that. Beyond the standard-repertory programs this weekend, the encores, as usual, came from the nostalgic dream world of the Philharmonic’s waltz- and polka-filled New Year’s concerts, which do their best to pretend that the past 150 years never happened.This orchestra is devoted to tending the fire of tradition; in this task, it has in Thielemann perhaps the perfect partner. More

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      Using a Pandemic Break to Tackle Bruckner

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      The Vienna Philharmonic records symphonies by Anton Bruckner, a 19th-century composer, whose history with the orchestra is complicated.When the pandemic upended its plans to tour European cathedrals playing symphonies by Anton Bruckner, the Vienna Philharmonic hit the reset button.With more time than ever at home, the orchestra immersed itself in recording the works under the conductor Christian Thielemann, exploring different versions of the scores and digging into the composer’s history with the philharmonic.Symphony No. 3, No. 4 and No. 8 have already been released on the label Sony Classical. A full symphonic cycle will be rolled out both on audio and on DVD, by the classical music production company Unitel, in time for the 200th anniversary of the composer’s birth in 2024.The orchestra’s general manager, Michael Bladerer, said the project allowed the musicians not just “to maintain also but improve their form” during months of lockdown when live concerts were prohibited but the orchestra was allowed to rehearse and record.“The conditions were optimal,” Mr. Bladerer said. “We could concentrate on the recordings, doing a three-hour sitting every day and working calmly.”After listening to a playback of the First Symphony, Daniel Froschauer, the philharmonic’s chairman, concluded that “the quality is simply the best, given that we had the time. The musicians were all well rested. It was the one positive experience during corona.”For the first time, thanks to periods of curtailed travel during the pandemic, the orchestra is performing not only the nine symphonies but also the Symphony in D minor — written between the first and second but never assigned an opus number — and the “Study” Symphony, which is sometimes known as No. 00.Mr. Bladerer, who happens to be a direct descendant of Bruckner through his great-grandmother, called it a “highly interesting” process to learn more about the composer’s origins through this “Nullte” or “Nullified” Symphony: “One hears a bit of [Wagner’s] ‘Lohengrin,’ Schumann, Weber,” he said. “But it is totally Bruckner.”Mr. Froschauer added that “the first day of recording was incredible”: “We were playing a work that the conductor had never led — that our orchestra had never played — by a composer named Anton Bruckner. And nevertheless I have to say that we grew together quickly.”According to Mr. Bladerer, the composer withdrew Symphony No. 00 from his catalog only after the German conductor and composer Felix Otto Dessoff, who worked with the philharmonic, called it “a symphony without a main theme.”In the case of the Second Symphony, Bruckner wanted to dedicate it to the Vienna Philharmonic. But the orchestra never even responded.“That offers a view into how one treated Bruckner at the time,” Mr. Froschauer said. “One didn’t take him seriously in Viennese [high] society,” Mr. Bladerer added. “He spoke a heavy upper Austrian dialect and moved clumsily in these circles.”The Third Symphony, dedicated to Wagner, also has a problematic history: The philharmonic rejected the work three times. At the premiere of a revised version, in 1877, audience members left the Musikverein during the finale. And the influential critic Eduard Hanslick, once a supporter of Bruckner, wrote a scathing review.For the recently released recording, Mr. Thielemann chose to conduct this version (the second of three). Mr. Bladerer said that while the first edition has very long quotes from Wagner’s music, the last contains such substantial cuts that they affect the overall form.Mr. Bladerer summed up the power of Bruckner by quoting the conductor Nikolaus Harnoncourt, who likened the composer to “a rock who fell on earth from the moon.”In other words, Mr. Bladerer explained, “after hearing a couple of measures, one knows that it’s Bruckner.” More

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      There Are Three Versions of Bruckner’s Fourth. Why Choose?

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      Jakub Hrusa and the Bamberg Symphony have released a new recording of them all.The Austrian composer Anton Bruckner died in 1897, but his Fourth Symphony remains something of a work in progress.Bruckner kept revisiting and revising many of his nine long symphonies, which in turn have been re-edited and tweaked by a series of followers, publishers and scholars. The result is that seven of the nine now exist in multiple scores.The burden is on musicologists and conductors to decide which iteration is the most authentic, or just the best. And that problem is most acute with the Fourth Symphony, which Bruckner worked on longer than the others — from his first version, which dates to 1874 and was never performed in his lifetime, to a final third version, which premiered in Vienna in 1888. Following a critical reconsideration of Bruckner’s symphonies in the 1930s and ’40s, the second version, dating from 1880, became the standard.Bruckner (1824-96) kept revisiting and revising many of his nine long symphonies, which in turn have been re-edited and tweaked by a series of followers, publishers and scholars.Bettmann/Getty ImagesThis month, the Bamberg Symphony in Germany, led by its chief conductor, Jakub Hrusa, embraces the problem of the Fourth — or simply overwhelms it. The orchestra is releasing a four-disc set that includes recordings of all three versions, in new editions edited by Benjamin Korstvedt, a professor at Clark University in Massachusetts, as part of the ongoing complete Bruckner being published under the auspices of the Austrian National Library. (For good measure, the recording also includes a selection of unpublished alternate passages and an alternate finale.)A native of the Czech city of Brno, Hrusa, 40, has led the orchestra in Bamberg, a small Bavarian city north of Nuremberg, since 2016. He has also appeared as a guest on major podiums, including several visits to the Cleveland Orchestra, and recently conducted the Berlin Philharmonic in the premiere of a new work by Olga Neuwirth — as well as in the second version of Bruckner’s Fourth.While in Berlin, he gave a video interview from his hotel. Here are edited excerpts from the conversation.Hrusa had conducted Bruckner before, “but I was never really pleased. Then I got to Bamberg.”Andreas HerzauWhy did you decide to record, well, everything about the Fourth Symphony?It took me a relatively long time to explore Bruckner with satisfaction. I had conducted his music before, but I was never really pleased. Then I got to Bamberg. Bruckner’s music is very much at home in German-speaking countries, and I suddenly had an orchestra that just breathes this kind of music. I felt like I wanted to do a lot of it, and we began with the Fourth Symphony.I was rather innocent and didn’t have any experience with all the versions. Bamberg usually plays the second version, so I said, “Let’s do the third one,” which at the beginning of the 20th century was basically the only one that was performed. And then I wondered: Is the third version really the right one? Or is the second one right? And what about the very first version? And suddenly the idea came to record them all and bring out something new. There is so much Bruckner on the market, and if you record him again, it should have some bonus quality.What are the key differences between the three versions? And do you now prefer one?I was intrigued by the first version, because it is by far the most controversial, and the boldest. It is longer and has a completely different scherzo [the third movement], and there are certain passages that are on the edge of being unplayable. I don’t agree with people who say it is not good; it’s just not practical. But if you do it well, it sounds very contemporary. It’s now probably my favorite. If there is enough time to prepare, and the possibility to mount such a huge piece in concert, I would be eager to conduct it again.Three Versions of the Third MovementThe beginning in the first version (1874)(Accentus)In the second version (1880)(Accentus)In the third version (1881)(Accentus)Bruckner’s music was promoted by 19th-century German nationalists and 20th-century Nazis. Should that concern audiences today?I am interested in these things, and I am very happy to read about them, but I don’t think we should care when we’re listening to the music. Great music can stand all kinds of analysis, but it also needs no analysis at all to be appreciated, and I don’t want to spoil the pleasure for people who go to a concert with no clue about those contexts. They have a right to be exposed to Bruckner’s music as it is. What has been done with the music shouldn’t be projected onto the interpretation.And Bruckner (unlike, say, Wagner) didn’t provoke the controversies himself. He was a devout Catholic, and he had certain views of life that might not seem very modern, but — apart from dedicating his last symphony to his “beloved God” — they were not made explicit.What are the challenges in maintaining a world-class orchestra in a small provincial city?It’s much easier to promote an orchestra connected to a well-known city. Bamberg has about 70,000 inhabitants, and we have 6,000 subscribers — so roughly 10 percent of the adult population comes to our concerts. We feel like the flagship of the town.But the orchestra has always thought that its mission must go beyond Bamberg. In continental Europe, the Bamberg Symphony has a name, but almost no one in the United States, for instance, knows where Bamberg is. As soon as people hear a recording or come to a concert, they discover the quality for themselves. But before that happens it takes twice as much as effort to open people’s minds.The Bamberg Symphony, seen in 2018, is one of the flagship cultural institutions of its small city.Andreas HerzauSometimes you use a baton and sometimes you don’t. How do you decide?The baton is an elongation of the arm. It is only really needed in an opera house, where you have to be extremely clear so that everyone onstage can see you. And if you do a piece by Olga Neuwirth, where the meter changes in every bar and the musicians are dependent on every click of your hand, it is useful to have it. But if the orchestra doesn’t need clear indications, and the music flows in a way that doesn’t need a beat, then I can do without a baton. But I am not dogmatic about it; it’s just intuition.You are a fierce advocate for the prolific Czech composer Bohuslav Martinu. Czechs place him alongside Smetana, Dvorak and Janacek, but he is much less known abroad.If a composer writes so many pieces, as Martinu did, you can’t play all of them. The public needs focus, and you have to kind of shrink the heritage. In the case of Martinu, it is not so easy to do. I find that my task is to limit myself to his late period, when he was most original. And then I try to win over an orchestra, which is the first thing for a conductor. If the audience sees that the orchestra is playing with great pleasure and energy and effort, they take it for granted that it’s worth it.You have what could be called an effervescent conducting style — very physically exuberant. How did you develop that?It has taken me years. Even though I am overwhelmed with joy at what I do, I am also a very self-critical person. I started in a more controlling way, and I had to learn that the best results happen in a concert when you open yourself up to whatever comes.The usual mistake of the beginner is to conduct like crazy when it’s not needed. I had to find a way to navigate the orchestra so that they get something that is helpful — not only technically, but also in terms of atmosphere and energy. In a Bruckner symphony, for example, there are 70 minutes of music, and the energy level of the musicians inevitably goes down. It’s my job to guide things so that the audience never feels that. More