Anton Bruckner Hugo Wolf Renée Fleming Christian

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Anton BRUCK N ER Sy m phon y NO. 7

H ug o WOLF S o ng S f or S opr a no a n d orc h e s t r a

C hr i st i A n t H i ele m a n n at t h e S EMPEROPER DRE S d e n Staat ska pelle Dre s den

R en é e F le m i ng C hr i s t i A n

t H i ele m a n n When conductor Christian at t h e S EMPEROPER DRE S d e n Thielemann, master interpreter of Staat s ka pelle the romantic repertoire, and Renée Dre s de n Fleming, late-romantic specialist par excellence, weave their talents into the orchestral tapestry unfolded Anton Bruckner by the Sächsische Staatskapelle Dresden, one of the oldest and Symphony No. 7 in E major, WAB 107 most revered orchestras in the world, they create, as put by the Süddeutsche Zeitung, “romantic music as magic for the ears”. HUGO WOLF Songs for Soprano and Orchestra For this special concert, the first concert of Christian Thielemann Verborgenheit as the principal conductor of the Staatskapelle Dresden, they Er ist’s chose the orchestral songs by the Austrian composer Hugo Wolf Elfenlied and Anton Bruckner’s Symphony No. 7, making it a concert full Anakreons Grab of references: Hugo Wolf composed the songs in 1888, four Mignon (2nd Version) years after the premiere of Bruckner’s Seventh Symphony. Wolf admired the more than 34 year older Bruckner, although they only RICHARD STRAUSS met twice. Both, Wolf and Bruckner idolized Richard Wagner - just Befreit, Op. 39/4 like Christian Thielemann does today. And with Hugo Wolf’s song “Er ist’s” (“It’s him”), Christian Thielemann, the “magician at the INAUGURAL CONCERT conductor’s desk” is welcomed in his new function (Süddeutsche Zeitung).

Conductor Christian Thielemann Bruckner’s Seventh was premiered in 1884 in Leipzig to universal Orchestra Staatskapelle Dresden acclaim and established Bruckner as a serious composer of Soprano Renée Fleming symphonic music. Particularly gripping in this work are its references to Richard Wagner, whom passed away while Bruckner Video Director Henning Kasten was composing the Adagio movement. The composer disclosed to a pupil that he had been thinking of Wagner’s poor health and Length 106' impending death while sketching the slow movement. Another telltale sign of Wagner’s presence is Bruckner’s use of the Shot in HDTV 1080 “Bayreuth” tubas, which had never been used in a symphony up Cat. no. A055136150000 to then. A production of UNITEL The recording of the symphony takes its place within a cycle in cooperation with of Bruckner’s complete symphonies with the Sächsische Semperoper Dresden and CLASSICA Staatskapelle Dresden under Christian Thielemann that is to be produced over the course of several years – a living monument of musical architecture. folder: luebbeke.com