Hybrid Multichannel

HYBRID MUL TICHANNEL Anton Bruckner (1824-1896) This Bruckner project perpetuates the policy – shared by our organizations in the service of art – of exerting a positive influ- (1879-1881) Symphony No. 6 in A space 2, the cultural channel of the ence at both local and international levels. Nowak Edition Radio Suisse Romande (RSR), is once It represents the same desire with regard to E again delighted to associate itself with a music, beauty and sharing. 1 Majestoso 17. 56 prestigious discographic edition of the Alexandre Barrelet 2 Adagio, Sehr feierlich 17. 38 Orchestre de la Suisse Romande. Director of RSR Espace 2 3 Scherzo, Nicht schnell – Trio, Langsam 8. 52 At a European level, the partnership 4 Finale, Bewegt, doch nicht zu schnell 12. 54 between the large orchestras and the public radios is a well-observed initiative that fits within the framework of historic continuity, Symphonic hangers-on? Orchestre de la Suisse Romande created by interdependence and shared Conducted by passions. s this symphony is the first not to be At the level of the Suisse Romande, Asubjected to extensive revision by the Marek Janowski this association has interwoven itself in composer, an interested person scrutinising Total playing time : 58.35 the fibres of the twentieth century as a or listening to Anton Bruckner’s Symphony regional representation of what was going No. 6 in A major is not forced to deal with on in Paris, Rome or Berlin. But both the the complex aspect of the various versions Recorded at the Victoria Hall, Geneva, Switzerland, Jan. 2009 OSR and the RSR continue to form a cultural available. Consequently, for a change, it is Executive Producer: Job Maarse exception: after all, which other region of available in just the one version. Thus one Recording Producer: Job Maarse 1,500,000 inhabitants in the world can take might conclude that this positive fact facili- Balance Engineer: Erdo Groot Recording Engineer: Roger de Schot pride in so high a level of artistic activity? tates the access to the Symphony No. 6. After Editing: Roger de Schot Conscious of this «tiny miracle», con- all, in the past, musicologists, conductors scious of the strengths and weaknesses and audiences alike have struggled – and that this situation has always entailed, the still struggle to this day – with the tangled Biographien auf Deutsch und Französisch principal orchestra and the principal radio web of versions in numerous other sympho- finden Sie auf unserer Webseite. of the Romands have always combined nies written by Bruckner. Nevertheless, we Pour les versions allemande et française des biographies, their know-how in order to jointly offer the are still a long way from giving the work a veuillez consulter notre site. best music at the best level, under the best straightforward and unconditional recep- www.pentatonemusic.com reception conditions. tion – indeed, the Symphony No. 6 receives rather shabby treatment in the concert hall himself never heard his Sixth Symphony from the beginning onwards, traversing of expression. The movement commences and in Bruckner discographies, despite the performed in public; only within the con- the entire work in similar dialectical forms. with a violin cantilena in double counter- fact that it is the shortest symphony ever text of a rehearsal in which the piece was For example, various motifs suggest to the point and an accompanying plaintive oboe written by Bruckner. Then why is the Sixth given a play-through. However, he was listener an inner peace; however, these are motif; the second theme in the cellos is led allotted the role of a “hanger-on”? Perhaps apparently so satisfied with the results of rapidly undermined or eroded by other to a hymnic intensification, before a third because it does not tie in with our image his work that he decided not to carry out musical parameters. This leads to ten- theme makes its entrance, like a funeral of Bruckner – perhaps due to its novel any revisions. This attitude was all the more sion and irritation. The rhythm typical of march in the minor key. Instead of an actual structure, its patently obvious complex of remarkable, considering how rarely it was Bruckner – that combination of two notes development, the three themes are varied themes, or the massive upgrading of its slow adopted by the perfectionist Bruckner. The against three – determines the entire first by adding semiquaver figurations and, movement? composer described his Symphony No.6 as movement, including the lyrical second at the same time, subjected to intricate Bruckner wrote his Symphony No. 6 his “boldest” – and indeed, it sounds mod- theme and the energetically syncopated intensification. over a period of the two years between ern, innovatory, well-nigh avant-garde. third theme. In the development, Bruckner Perhaps the Scherzo is the greatest September 1879 (directly following his Following the brilliant core idea of his is clearly restraining himself, occupying prophet of music yet to come. In complete String Quintet) and September 1881. To Symphony No. 5, in which everything is himself exclusively with the first theme, and contrast to his usually rather robust dance be precise – as specialist literature is geared towards the cyclical intensification achieving by means of this concentration an movements, with typically Austrian char- always eager to emphasize – in a “crea- in the final movement of the theme from enormous compression in the progression acteristics and a clearly down-to-earth tive period” that encompassed the work the first movement, Bruckner radically shifts of the music. He does not allow matters tendency, in the Scherzo of the Symphony on his Symphonies Nos. 6 – 8, as well as the structural emphasis in his sixth. As if to get out of hand, as usual; no, he works No. 6 Bruckner allows almost “Mahlerian” his Te Deum. On February 11, 1883 the he had already solved the problem of the tersely and concisely – and succeeds in mis- tones to ring out. Light melodic lines appear two inner movements were performed in finale in his previous symphony, here the leading the listener. Thus, on two occasions, to hover overhead, drifting weightlessly in Vienna: however, they were not given a first movement and especially the Adagio the first theme breaks through: the first time the air; a true breath of chamber music until, hugely successful reception. The première are placed in the centre of the action. appearing as a kind of “fake recapitulation”, as a total surprise, the main theme of the of the entire work, which was conducted The first movement begins restlessly, whose task it is to provide the second break- otherwise so totally different Symphony by Gustav Mahler, did not in fact take with the violins playing triplets in C-sharp through – which is the true one – with the No. 5 is quoted in the Trio. Not until the place until after Bruckner had died; to be minor, the upper mediant of the main key necessary consequence to which the climax Scherzo of the Symphony No. 9 did Bruckner sure, in an abbreviated and revised version. of A major, before the strikingly catchy of the movement (and of the entire work!) recreate such an unreal atmosphere. Numerous adaptations also crept into the main theme, with its descending fifth is entitled. The Finale derives its entire thematic first edition, which were not eliminated interval and Phrygian twists, claims centre The heart of the Symphony No. 6 is the material from the first movement – even until the Robert Haas edition issued in stage. It seems as if a “couple” consisting tremendous Adagio, which also provides the Phrygian touch at the outset reminds 1935 (the year in which the première of the of two structural opposites – unrest and a counterweight to the first movement one of the beginning of the symphony. May original version finally took place!). Bruckner restrained power – is establishing itself and undergoes a massive intensification one thus deduce from this observation that Bruckner was able to achieve cyclical unity with the Pittsburgh Symphony Orchestra Europe and North America. He is recognised Orchestre de la Suisse only at the cost of an independent thematic (where he holds the Otto Klemperer for his ability to create orchestras of interna- Romande structure in the Finale? Absolutely not: Guest Conducting Chair), the Boston and tional standing as well as for his innovative after all, it is definitely not the task of the San Francisco Symphony Orchestras, the programmes and for bringing a fresh and he Orchestre de la Suisse Romande was main theme from the first movement to be Philadelphia Orchestra, and in Europe individual interpretation to familiar reper- Tfounded in 1918 by Ernest Ansermet, employed, as it were – and as was the case with the Orchestre de Paris, the Orchester toire. Between 1984 and 2000, as Musical who remained principal conductor until in the Symphony No. 5 – in order to increase der Tonhalle Zürich, the Danish National Director of the Orchestre Philharmonique 1967. The orchestra employs 112 permanent the mystic effect. On the contrary: at the Symphony Orchestra in Copenhagen and de Radio France, Marek Janowski led the musicians and performs a series of subscrip- end of the Finale-Coda, the main theme the NDR-Sinfonieorchester Hamburg. Born orchestra to international fame as the lead- tion concerts in Geneva and Lausanne, the refers to the actual climax of the work that, in 1939 in Warsaw and educated in Germany, ing orchestra in France. From 1986 to 1990, symphony concerts of the city of Geneva, as described above, already takes place at Marek Janowski’s artistic path led him from in addition to his work in France, Janowski the annual concert for the United Nations the beginning of the recapitulation of the Assistant positions in Aachen, Cologne, held the position of Chief Conductor of as well as playing for opera performances first movement.

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