Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak] Bergen Philharmonic Orchestra & Thomas Dausgaard

• Anton Bruckner (1824 - 1896): Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]:
• 1 Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]: I. Gemäßigt, misterioso 19:15
• 2 Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]: II. Adagio. Feierlich 15:51
• 3 Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]: III. Scherzo. Ziemlich schnell 06:05
• 4 Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]: IV. Finale. Allegro 14:28
• Total Runtime 55:39

Info for Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]

Following a visit to Wagner in Bayreuth in 1873, Anton Bruckner dedicated his most recent symphony, No. 3 in D minor, to ‘the unattainable world-famous noble master of poetry and music’, and would later refer to the work as his ‘Wagner Symphony’. Among Bruckner’s symphonies, it is the one with the most complicated genesis: the first version was followed by substantial revisions and it exists in two more versions, from 1877/78 and 1888/89. The first version was never performed in Bruckner’s lifetime – in fact, more than a century passed before the work was heard in the form that Wagner first knew and called ‘a masterpiece’.

This is the version that Thomas Dausgaard has chosen to perform, as he and the Bergen Philharmonic Orchestra follow up on their recording of the composer’s Sixth Symphony, praised in Fanfare for having ‘all of Bruckner’s splendor and tenderness without any excess baggage’. Dausgaard explains the reason for his choice as follows: ‘The original version stands as a monolith … what you go through is musically so strong, swinging between timelessness and drive, despair and ecstasy, divine light and hellish fire, that in the end I feel you have to let yourself go and be won over by it.’

"I first became acquainted with this symphony in its final version (1889), but that made the discovery of the original 1873 version all the more of a revelation. The original opened up like a flower in complete balance with itself: the unique and experimental style in which it was conceived shines through the work from start to finish. Getting to know the true origins of the later versions put them in a new light for me — as if Bruckner had tried to sugar-coat the work in the later versions: cutting out ‘unbearable’ repeti- tions and ‘Wagnerising’ the harmonies.

For me the original version stands as a monolith — love it or hate it. It stops and starts (like No. 2), it goes on until you feel you’ve got the point, its abandon can feel almost unbearable — but what you go through is musically so strong, swinging between timelessness and drive, despair and ecstasy, divine light and hellish fire, that in the end I feel you have to let yourself go and be won over by it — like the hand of God carrying you. This is where I feel Bruckner at his most sublime, guiding me in which version to choose — in the case of the Third Symphony the original version from 1873!" (Thomas Dausgaard)

Bergen Philharmonic Orchestra
Thomas Dausgaard, conductor

Bergen Philharmonic Orchestra
One of the world’s oldest orchestras, the Bergen Philharmonic Orchestra dates back to 1765, and will celebrate its 250th anniversary in 2015. Edvard Grieg had a close relationship with the orchestra, serving as Artistic Director from1880–82.

Appointed Chief Conductor in 2003, Andrew Litton is the current Music Director, a post he will hold until October 2015. Principal Guest Conductor is, from August 2013, Edward Gardner. Under Litton’s direction the orchestra has raised its international profile considerably through recordings, extensive touring, and international commissions. Edward Gardner takes over as Chief Conductor in October 2015.

The Bergen Philharmonic has in recent seasons played at the Concertgebouw, Amsterdam, the BBC Proms at the Royal Albert Hall, the Wiener Musikverein and Konzerthaus, Carnegie Hall, New York and the Philharmonie, Berlin. The orchestra toured Sweden, Austria and Germany in 2011, and in 2012 they appeared at the Rheingau Festival and returned to the Concertgebouw. In February 2013 the orchestra toured the United Kingdom, with concerts in Usher Hall, Edinburgh, The Sage, Gateshead and Bridgewater Hall, Manchester.

The orchestra has an active recording schedule for three record companies; BIS, Chandos and Hyperion. Critics worldwide acknowledge its energetic playing style and full-bodied string sound. Recent and ongoing projects include Messiaen’s ‘Turangalîla-Symphonie’, ballets by Stravinsky, Barber’s Cello Concerto and a Prokofiev-cycle for BIS with Andrew Litton. The orchestra’s recording of the complete orchestral music of Grieg remains the reference point in a competitive field.

Currently recording Tchaikovsky’s three great ballets for Chandos with Neeme Järvi, the orchestra has also recorded works by Rimsky Korsakov, four critically acclaimed volumes of works by Johan Halvorsen, a series of the music of Johan Svendsen, and a recording of orchestral realisations by Berio conducted by Edward Gardner.

Enjoying longstanding artistic partnerships with some of the world’s finest musicians, the orchestra has recorded with Leif Ove Andsnes, James Ehnes, Alban Gerhardt, Vadim Gluzman, Stephen Hough, Freddy Kempf, Truls Mørk, Steven Osborne, and Lawrence Power, amongst others.

Thomas Dausgaard
Renowned for his creativity and innovation in programming, the excitement of his live performances, and an extensive catalogue of critically acclaimed recordings, Thomas Dausgaard has been the chief conductor of the Swedish Chamber Orchestra since 1997. He is also the principal guest conductor of the Seattle Symphony and honorary conductor of the Danish National Symphony Orchestra, having served as its principal conductor from 2004 until 2011, and will become chief conductor of the BBC Scottish Symphony Orchestra in 2016. He regularly appears with many of the world’s leading orchestras including the Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Vienna Symphony Orchestra, Chamber Orchestra of Europe, Philharmonia Orchestra, London Symphony Orchestra and the Orchestre Philharmonique de Radio France.

Dausgaard began his North American career assisting Seiji Ozawa, and has since appeared with the Cleveland Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, Washington National Symphony Orchestra, Toronto Symphony Orchestra and Montreal Symphony Orchestra. He is also a regular visitor to Asia and Australia. Festival appearances have included the BBC Proms, the Salzburg Festival, Mostly Mozart and Tanglewood. Thomas Dausgaard has been awarded the Cross of Chivalry in Denmark, and is a member of the Swedish Royal Academy of Music.

Booklet for Bruckner: Symphony No. 3 in D Minor, WAB 103 "Wagner" (1873 Version) [Ed. L. Nowak]