http://www.salzburgerfestspiele.at/Default.aspx?tabid=77&serieid=791&language=en-US&urlentityId=791&ignoreUrlMaster=true
Salzburg Festival /Concert
EN
DE

SALZBURG FESTIVAL | CONCERT 2014

Anton Bruckner Cycle • Bruckner IV

TICKETS

Grosses Festspielhaus

Performers: Daniel Barenboim, Plácido Domingo, Wiener Singverein, Johannes Prinz, Vienna Philharmonic
Works by Max Reger, Anton Bruckner

Anton Bruckner Cycle • Bruckner VIII

TICKETS

Grosses Festspielhaus

Performers: Riccardo Chailly, Vienna Philharmonic
Works by Anton Bruckner

Anton Bruckner Cycle • Bruckner V

TICKETS

Grosses Festspielhaus

Performers: Bernard Haitink, Symphonieorchester des Bayerischen Rundfunks
Works by Anton Bruckner

Anton Bruckner Cycle • Bruckner II

TICKETS

Grosses Festspielhaus

Performers: Philippe Jordan, Olga Peretyatko, Sophie Rennert, Pavol Breslik, Tobias Kehrer, Concert Association of the Vienna State Opera Chorus , Ernst Raffelsberger, Vienna Philharmonic
Works by Anton Bruckner

Anton Bruckner Cycle • Bruckner IX

TICKETS

Grosses Festspielhaus

Performers: Christoph von Dohnányi, Eva-Maria Westbroek, Philharmonia Orchestra
Works by Richard Strauss, Anton Bruckner

Anton Bruckner Cycle • Bruckner I

TICKETS

Felsenreitschule

Performers: Cornelius Meister, Philippe Jaroussky, ORF Radio-Symphonieorchester Wien
Works by Marc-André Dalbavie, Anton Bruckner

Anton Bruckner Cycle • Bruckner VI

TICKETS

Grosses Festspielhaus

Performers: Riccardo Muti, Vienna Philharmonic
Works by Franz Schubert, Anton Bruckner

Anton Bruckner Cycle • Bruckner VII

TICKETS

Grosses Festspielhaus

Performers: Christoph Eschenbach, Tzimon Barto, Gustav Mahler Jugendorchester
Works by Wolfgang Rihm, Anton Bruckner

Anton Bruckner Cycle • Bruckner III

TICKETS

Grosses Festspielhaus

Performers: Daniele Gatti, Lang Lang, Vienna Philharmonic
Works by Wolfgang A. Mozart, Anton Bruckner

LOGIN | FORGOT PASSWORD

‘No Caesar would fear the composer, and yet he composes nothing but high treason, outrage and tyrannicide’: only a declared opponent of Anton Bruckner could clear-sightedly name the subversive potential of the work of a person frequently described as respectable and devout. Bruckner – thus the critic Max Kalbeck continued in 1885 – was ‘the most dangerous among the musical innovators of the day: his thoughts are beyond all calculation, and their directness has a seductive, magical power’. – Whether demonized, dismissed as a naive backwoodsman or nearly sanctified by his followers, he created uncompromising scores ‘for later ages’, and yet his torturous self-criticism and the prospect of short-term success made him willing to make concessions and rearrangements. It seems as if the contradictions of genius characterize Anton Bruckner’s life and works; at the same time, they also underscore his singular position in musical history. A fervent admirer of Wagner, he was counted among the progressive New German School; this, however, did not stop him from cleaving stubbornly to the genre of the symphony, which he formed into a new type – a type that has astonishingly little to do with Wagner, musically. The development of themes from mysterious murmurings, complex contrapuntal texture, lusty music-making, the sublimeness of chorales and much more – all this is shaped into enormous, augmenting waves, a monumental musical architecture full of wholehearted expression, sudden abysses, spiritual overtones and a modernism that continues to consternate even today’s listener. From the obstreperous and contrary First Symphony, the ‘cheeky brat’ Bruckner created past the age of 40, to the mystical and transcendental Ninth, dedicated in childlike devoutness to ‘our dear God’, which would remain unfinished 30 years thereafter, illustrious Bruckner interpreters of our times unfold this fascinating symphonic cosmos. 

Walter Weidringer
Translated by Alexa Nieschlag

EDITORIAL 2014

Concert 2014

by Alexander Pereira and Florian Wiegand

Download PDF