{"product_id":"horenstein-bruckner-symphony-no-6-1961-pasc574","title":"HORENSTEIN Bruckner: Symphony No. 6 (1961) - PASC574","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRUCKNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1961\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 56:29\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC574.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\"I deplore the linking of Mahler and Bruckner. I think the culprit was my\nold friend Hans Redlich. who wrote that book tying them together. I liken\nthem to Marks and Spencer. When I come to London to make plans with the\norchestras I say to them, 'What do you want me to do this season, Marks's\nSixth and Spencer's Fourth?'. Today, when someone asks me what works I\nwould like to conduct, there are very few pieces by these two composers\namong them. You know, I also conduct Mozart, Beethoven and Brahms, not to\nmention Sibelius, Nielsen, Janácek, Roussel, Berg and Webern.”\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eJascha Horenstein talks to Alan Blyth\u003c\/em\u003e\n, The Gramophone, November 1970\n\u003c\/p\u003e\n\u003cp\u003e\nHistory has denied Horenstein's wish not to be typecast as a Bruckner and\nMahler conductor and in later life, as well as posthumously, his wider\nreputation rested almost exclusively on this repertoire. Bruckner first\nentered his consciousness at age 14 when, in June 1912, he attended a\nconcert in Vienna conducted by Artur Nikisch that included the Ninth\nsymphony. The experience left a life-long impression: “It probably\ninfluenced me to become a conductor”, he declared many years later. During\nthe Weimar era Horenstein's fame rested to some extent on his readings of\nBruckner after several enthusiastically received performances of the Ninth\nin Berlin and Frankfurt contributed to his meteoric rise among young\nconductors of the day. However his performance of the Ninth in Leningrad in\nApril 1932 turned out to be the last time he conducted any music by\nBruckner in public for the next 25 years, an inexplicably long period of\ntime. This may have been due to some reluctance on his part to program\nmusic promoted by the Nazis, or, more likely, to a general lack of\nenthusiasm for the composer outside of the German speaking world he had\nbeen forced to abandon. It was only in 1957 that Horenstein reintroduced\nBruckner into his repertoire when he included the Third Symphony at a\nconcert in Caracas, but thereafter and until his death in 1973 he conducted\nall the numbered symphonies in various places, some of them inspired and\ninspiring occasions that, happily, have been preserved on disc.\n\u003c\/p\u003e\n\u003cp\u003e\nAside from his three commercial recordings, the Seventh for German Polydor\n(\n\nPASC 203\n\n) and the Eighth and Ninth for Vox (\n\nPASC 429\n\n), those of all the other Bruckner symphonies derive from copies of radio\ntransmissions, including the present publication taken from its sole\nbroadcast on May 3\u003csup\u003erd\u003c\/sup\u003e 1964 (the master tapes were later destroyed\nby the BBC during one of its periodic spring cleaning operations). The\noccasion marked the first time Horenstein conducted music by Bruckner with\nthe LSO, which had not played the Sixth since a performance conducted by\nSir Hamilton Harty in 1936, and was also the orchestra's first recording of\nany music by this composer. The symphony entered Horenstein's repertory in\nMarch 1931 when he was engaged for a radio broadcast with an unidentified\nBerlin orchestra and was his favorite of the canon after the Third, if the\nnumber of times he performed it following this recording is any indication.\nThe composer Robert Simpson, an authority on Bruckner, wrote that\nHorenstein “instinctively solved the problems of the Sixth as finely as\nthose in the others.”\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBRUCKNER  \u003c\/b\u003eSymphony No. 6 in A major, WAB106\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e1. 1st mvt. - Majestoso  (16:07)\u003cbr\u003e2. 2nd mvt. - Adagio. Sehr feierlich  (16:52)\u003cbr\u003e3. 3rd mvt. - Scherzo. Nicht schnell - Trio. Langsam  (8:46)\u003cbr\u003e4. 4th mvt. - Finale. Bewegt, doch nicht zu schnell  (14:44)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003e\u003cbr\u003eBruckner Symphony No. 6\u003cbr\u003eRecorded 21 November 1961\u003cbr\u003eBBC Maida Vale Studios\u003cbr\u003e\u003cbr\u003eSource recording from the archives of Misha Horenstein\u003cbr\u003e\u003cbr\u003eTotal duration:  56:29   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC574.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC574.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003eBruckner Festival, BBC Third Programme\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eby Andrew Porter, Financial Times, 4\u003csup\u003eth\u003c\/sup\u003e May 1964\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nOn Sunday evening, in the eighth of the B.B.C. Bruckner concerts, Jascha\nHorenstein conducted a cogent performance of the Sixth Symphony, which also\nstops suddenly, after some splendid pages of brass fanfares. It was not a\nsumptuous performance in that we were not bathed in rich, warm Viennese\ntone, but rather a strong, shapely one in which the fertility of Bruckner's\ninvention came to the fore. The long Adagio is a nobly sustained movement,\nreaching forward into Mahler. In the Scherzo Bruckner's melodic fancy - and\nhis scoring - are light and delicate. The finale opens with bold\n\"white-note\" harmony whose consecutive ninths still sound surprising today.\nThe rounded pizzicato tone of the LSO basses is always a distinct pleasure.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHorenstein \u0026amp; Bruckner578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5fIn his early years Horenstein’s attitude to both Bruckner and Mahler was\nhardly promising, although the atmosphere he imbibed as a young man was\nfavorable enough. In June 1912 he heard two concerts at the Vienna\nFestival: passing up the chance to hear Bruno Walter conduct the premiere\nof Mahler's Ninth (“I’d hardly heard of Mahler”): he saw Weingartner\nconduct Beethoven’s Ninth and Nikisch conducting Leonore No. 3, Brahms's\nFourth and Bruckner’s Ninth. In 1970 he reminisced: “Nikisch's conducting\nmade such an impression on me that to this day when I hear or conduct these\nthree works, I can still remember, and am influenced by, the way he took\nthem.”\n\n\u003cp\u003e\nAlthough as a young man Horenstein found Bruckner “a bore”, his later\naffinity came from two sources. Firstly, he began studying Indian\nphilosophy, a subject which fascinated him throughout his life and which\nawoke in him a feeling for spiritual matters: “it teaches us the importance\nof the spiritual life and how that should dominate everything we do.” The\nsecond crucial influence was that of Wilhelm Furtwängler, whom he met after\nthe Great War and whose rehearsals he began to attend. After following\nSchreker, his teacher, to Berlin, Horenstein became Furtwängler's\nassistant. “I think I learned from him the importance of searching for the\nmeaning of the music, rather than being concerned with just the music\nitself; to emphasize the metaphysical side of a work rather than its\nempirical one. I think he impressed me more than any other interpreter\nexcept Nikisch.”\n\u003c\/p\u003e\n\u003cp\u003e\nOn the face of it, Horenstein’s Bruckner was less metaphysical, certainly\nless wayward and volatile, than that of his mentor. Like his slightly older\nViennese contemporary Erich Kleiber, Horenstein was an example of a new\ngeneration of conductors who took a more even-handed, less interventionist\napproach to music, characterized by greater textual fidelity and, above\nall, a more integrated approach to tempo. Yet Horenstein’s Bruckner, like\nKleiber's Beethoven, lacked nothing in intensity or elasticity for this\napproach, and from very early on it had about it a remarkable maturity.\n\u003c\/p\u003e\n\u003cp\u003e\nIn 1928, just five years after his conducting debut, Horenstein made his\nfirst Bruckner recording: the Seventh Symphony with Furtwängler's Berlin\nPhilharmonic on Polydor. This was the first electrical recording of any\nBruckner symphony, and both recording and performance still sound amazingly\nfresh today. String textures in particular are remarkably clear, the never\nintrusive use of portamento a constant joy. Speeds are faster than we are\nused to today, but without any hint of the youthful impatience one might\nexpect from a mere 30 year old in this music. The first movement is\nbeautifully unfolded with some fascinating and entirely convincing tempo\nmodifications, and the reading is rounded off by a wonderfully mercurial\nfinale.\n\u003c\/p\u003e\n\u003cp\u003e\nIn the 1950s, the emergence of George Mendelssohn's tiny Vox record company\nbrought Horenstein to the attention of a wider public. Though not numerous\nby today’s standards, his Vox recordings, made over a period of seven\nyears, covered an enviable range from Bach to Stravinsky. Among these,\npride of place inevitably goes to Mahler and Bruckner, including the\nlatter’s Eighth and Ninth symphonies made with the Vienna Symphony\nOrchestra. The playing may not be in the first rank technically, but as\nwith the 1928 Berlin Seventh, the timbres sound splendidly idiomatic, the\nreadings direct yet flexible and, in the best sense, unfussy. The Ninth\npossesses a drive and urgency which, especially in the Adagio, underscores\nthe disquieting elements in the music, while in the first movement, the\nfortissimo outburst at rehearsal letter N really catches fire, in a way\nsurely reminiscent of Nikisch. The performance of Bruckner’s Eighth is\nconceived along broader lines, but without any hint of luxuriance, the\ntensions being maintained through a noble and sustained account of the\ngreat Adagio and right through to the work’s closing pages. Here the\nViennese horns, well balanced in both these recordings, cut gloriously\nthrough the texture with the final statement of the Adagio theme. In both\nsymphonies, Horenstein’s unerring sense of space and his sensitivity to the\nlong line help to place these among the greatest Bruckner recordings.\n\u003c\/p\u003e\n\u003cp\u003e\nBut although he made no more commercial recordings of Bruckner, three live\nperformances have found their way onto disc, and they confirm Horenstein’s\nplace among an elite handful of great Brucknerians. The BBCSO Ninth from\nDecember 1970 is appreciably broader than Horenstein's Vienna account and\nslightly less high-voltage. It is still a gaunt affair, an aspect\nemphasized by the acerbic quality of the stereo recording in the Royal\nFestival Hall. As well as more breadth, Horenstein achieved a greater\nplasticity, the pulse more pliant without any loss of long-term control or\ntrajectory. At rehearsal letter G in the Adagio, for example, the exchanges\nbetween first and second violins become gradually more fevered and\nanimated, and then pull back in the bar before the tutti outburst: a\nmarvelous example of how carefully controlled tempo modifications can add\nto the already powerful effect of this great music.\n\u003c\/p\u003e\n\u003cp\u003e\nThe same combination of sustained control and inspired insight is evident\nin the LSO Eighth and the BBCSO Fifth, recorded in 1970 and 1971 at\nPromenade concerts in the Royal Albert Hall. Both prove to have been\nremarkable occasions and by any but the most clinical standards must count\namong the most memorable recorded performances of these masterpieces.\nSpeeds are steady and spacious but never sluggish. The London orchestras\nmay not know the scores as intimately as their colleagues in Vienna and\nBerlin, but the sound (particularly in the Fifth where the BBC horns\nexcel), is magnificent with resplendent breadth and gloriously forthright\ntimpani; and occasional fluffs are easily overlooked in readings of such\npower, spontaneity and insight. Evident above all is that Horenstein had\nnot only an exceptional feel for the architecture of these works but an\nunmatched sensitivity to their sensual aspect, to the timbral as well as\nthe temporal space. The arching horn phrases in the first movement\ndevelopment of the Fifth Symphony can rarely have soared so magnificently!\nIt is not merely that the dynamic range is vast: Horenstein also pays\ngreater attention to the detail of Bruckner's dynamic markings, the careful\nlayering and shifting perspectives in the music, than any other great\nBruckner conductor. The cumulative result, in the Eighth Adagio and Finale\nand particularly in the great peroration of the Fifth, is at once\noverwhelming, shattering even, and deeply calming, a sign of real insight\ninto this music.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eMark Audus, \u003cem\u003eJascha Horenstein: A Great Bruckner Interpreter\u003c\/em\u003e\n(edited)\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\nThe Bruckner Journal, July 1999, www.brucknerjournal.com\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":54932360364371,"sku":"zza1789302635360","price":13.55,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932360397139,"sku":"dlu1789302635361","price":9.83,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932360429907,"sku":"ysq1789302635362","price":6.47,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/horenstein-bruckner-symphony-no-6-1961---pasc574_1.jpg?v=1789302642","url":"https:\/\/vendnora.com\/products\/horenstein-bruckner-symphony-no-6-1961-pasc574","provider":"luckagni","version":"1.0","type":"link"}