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Bruckner 3

Anima Eterna Brugge led by Pablo Heras-Casado 

Anima Eterna Brugge

Anima Eterna Brugge
Bruckner 3
01:04:33

Bruckner 3

Hidden in the Crackle of Old Recordings A New Approach to Authentic Romantic Performance
01:04:40

Hidden in the Crackle of Old Recordings A New Approach to Authentic Romantic Performance

Beethoven: Symphony 7
42:21

Beethoven: Symphony 7

Bruckner 3

Anima Eterna Brugge led by Pablo Heras-Casado 

 

๐˜—๐˜ณ๐˜ฐ๐˜จ๐˜ณ๐˜ข๐˜ฎ:

Anton Bruckner (1824 - 1896)

Symphony No. 3 in D Minor WAB.103 (1873)

 

Pablo Heras-Casado and Anima Eterna turn their focus to Bruckner’s Third Symphony, one of his most fickle and tempestuous works. Driven by admiration for his great idol Wagner, Bruckner completed the first official version of the symphony in 1873—dedicated to the master himself and peppered with quotations from his works—though it remained unperformed. Fear of public rejection led to a revised version in 1877, which premiered in Vienna only to be torn apart by notorious critics such as Hanslick. Bruckner’s insecure nature and humble origins unjustly fueled prejudices against his musical competence. His protégé Gustav Mahler, however, was deeply impressed and encouraged him to undertake further revisions, eventually leading to a third official version more than a decade later.

 

Anima Eterna returns to the work’s original 1873 state, based on the manuscript score published in 1977. Utilizing period instrumentation and performance practice, the orchestra stays true to Bruckner’s authentic intention, distancing itself from the harsh criticism and endless revisions the piece would later undergo. In dialogue with Bruckner’s musical allies Mahler and Wagner, Heras-Casado highlights the symphony's heroic character. Its contrasting musical forces, the prominent trombone theme, and the dramatic apotheosis offer a clear glimpse into the development of Bruckner’s signature style in his later symphonies. A true tour de force in the architecture of symphonic cathedrals.

 

๐˜‹๐˜ช๐˜ณ๐˜ฆ๐˜ค๐˜ต๐˜ฐ๐˜ณ: Steven Maes

๐˜”๐˜ถ๐˜ด๐˜ช๐˜ค ๐˜‹๐˜ช๐˜ณ๐˜ฆ๐˜ค๐˜ต๐˜ฐ๐˜ณ: Hans Vercauteren

๐˜ˆ๐˜ด๐˜ด๐˜ช๐˜ด๐˜ต๐˜ข๐˜ฏ๐˜ต ๐˜‹๐˜ช๐˜ณ๐˜ฆ๐˜ค๐˜ต๐˜ฐ๐˜ณ / ๐˜Š๐˜ข๐˜ฎ๐˜ฆ๐˜ณ๐˜ข ๐˜ด๐˜ฉ๐˜ฆ๐˜ฆ๐˜ต๐˜ด: Helena Gaudeus 

๐˜ˆ๐˜ด๐˜ด๐˜ช๐˜ด๐˜ต๐˜ข๐˜ฏ๐˜ต ๐˜‹๐˜ช๐˜ณ๐˜ฆ๐˜ค๐˜ต๐˜ฐ๐˜ณ: Lucas Excelmans

 

๐˜‹๐˜–๐˜—: Arthur Moelants 

Live ๐˜ฅ๐˜ฆฬ๐˜ค๐˜ฐ๐˜ถ๐˜ฑ๐˜ข๐˜จ๐˜ฆ: Steven maes

๐˜Š๐˜ข๐˜ฎ๐˜ฆ๐˜ณ๐˜ข: Arthur Moelants

๐˜Š๐˜ข๐˜ฎ๐˜ฆ๐˜ณ๐˜ข: Xin Van Damme

๐˜Š๐˜ข๐˜ฎ๐˜ฆ๐˜ณ๐˜ข: Arno De Facq

๐˜Š๐˜ข๐˜ฎ๐˜ฆ๐˜ณ๐˜ข - ๐˜‰-๐˜™๐˜ฐ๐˜ญ๐˜ญ ๐˜๐˜ช๐˜ฅ๐˜ฆ๐˜ฐ๐˜จ๐˜ณ๐˜ข๐˜ฑ๐˜ฉ๐˜ฆ๐˜ณ: Igor Gaasbeek

 

๐˜™๐˜ฆ๐˜ค๐˜ฐ๐˜ณ๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜ฆ๐˜ฏ๐˜จ๐˜ช๐˜ฏ๐˜ฆ๐˜ฆ๐˜ณ: Steven Maes

๐˜ˆ๐˜ด๐˜ด๐˜ช๐˜ด๐˜ต๐˜ข๐˜ฏ๐˜ต ๐˜ณ๐˜ฆ๐˜ค๐˜ฐ๐˜ณ๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜ฆ๐˜ฏ๐˜จ๐˜ช๐˜ฏ๐˜ฆ๐˜ฆ๐˜ณ: Sergey Steenackers

๐˜š๐˜บ๐˜ด๐˜ต๐˜ฆ๐˜ฎ ๐˜ฆ๐˜ฏ๐˜จ๐˜ช๐˜ฏ๐˜ฆ๐˜ฆ๐˜ณ: Tijs Wylin

 

๐˜”๐˜ถ๐˜ด๐˜ช๐˜ค ๐˜—๐˜ณ๐˜ฐ๐˜ฅ๐˜ถ๐˜ค๐˜ฆ๐˜ณ / ๐˜”๐˜ถ๐˜ด๐˜ช๐˜ค ๐˜Œ๐˜ฅ๐˜ช๐˜ต๐˜ฐ๐˜ณ: Hans Vercauteren

๐˜๐˜ช๐˜ฅ๐˜ฆ๐˜ฐ ๐˜ฆ๐˜ฅ๐˜ช๐˜ต๐˜ฐ๐˜ณ: Arthur Moelants

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