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Ayrton Desimpelaere
Crescendo (France), September 3019

An exceptional box, with a lot of thrill and inspiration for both music lovers and artists. © 2019 Crescendo (France)



Rob Cowan
Gramophone, August 2019

…What’s new are Symphonies Nos 3 and 4 with Jansons and the Ninth under Herbert Blomstedt. Of particular note is Jansons’s beautifully judged account of the Third (third edition from 1889), the finale’s polka-style second subject especially, and Blomstedt’s Ninth from 2009, at times almost weightless, as well as infinitely flexible, with inner voices crystal-clear so that the finale’s clinching discord makes its full effect. This is the highlight of a fine set… © 2019 Gramophone Read complete review on Gramophone



Lark Reviews, June 2019

Lorin Maazel conducts the first two, Mariss Jansons 3,4,7 and 8, Bernard Haitink 5 & 6 and finally Herbert Blomstedt for No9. The impact is exciting if only for the difference in approach given the continuity of tonal impact from the orchestra. A very interesting collection and one which presumably would pay dividends in other contexts. © 2019 Lark Reviews Read complete review




Uwe Krusch
Pizzicato, May 2019

Here we have a marvellous collection of Anton Bruckner’s symphonies Nos. 1-9 played by the Bavarian Radio Symphony under the baton of four outstanding conductors. Lorin Maazel recorded the first two symphonies in 1999. He does not provide any new insights, but the performances are thrilling nevertheless. The fifth and sixth symphonies with Haitink are also wonderful interpretations, but Blomstedt’s Ninth and the recordings with Jansons are more fluent and warmer than the other performances. Blomstedt offers an interpretation aimed at salvation, without any fear of death. This positive view is good for the music, but also enables profound moments of contemplation. For Jansons one could summarize and say that Jansons inspires his orchestra to a breathtakingly intense playing. From the very beginning one feels the strong lyrical and luminous power providing an eloquent, rhetoric performance. © 2019 Pizzicato





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