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Anton Bruckner - Sinfonie Nr. 0 (1869) Philharmoniker Hamburg, Simone Young cond Oehms Classics 685, 2012–13 (1 CD: 49 minutes), €17 - Studiensinfonie (1863) Philharmoniker Hamburg, Simone Young cond Oehms Classics 686, 2013–14 (1 CD: 42 minutes), €17 - Sinfonie Nr. 6 (1881) Philharmoniker Hamburg, Simone Young cond Oehms Classics 687, 2013–14 (1 CD: 54 minutes), €17 - Sinfonie Nr. 7 (1881–1883) Philharmoniker Hamburg, Simone Young cond Oehms Classics 688, 2014–15 (1 CD: 66 minutes), €18 - Sinfonie Nr. 9 (1887–1894) Philharmoniker Hamburg, Simone Young cond Oehms Classics 693, 2015 (1 CD: 59 minutes), €17

Review products

Sinfonie Nr. 0 (1869) Philharmoniker Hamburg, Simone Young cond Oehms Classics 685, 2012–13 (1 CD: 49 minutes), €17
Studiensinfonie (1863) Philharmoniker Hamburg, Simone Young cond Oehms Classics 686, 2013–14 (1 CD: 42 minutes), €17
Sinfonie Nr. 6 (1881) Philharmoniker Hamburg, Simone Young cond Oehms Classics 687, 2013–14 (1 CD: 54 minutes), €17

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Published online by Cambridge University Press:  17 May 2018

Julian Horton
Julian Horton*
Affiliation:
Durham Universityjulian.horton@durham.ac.uk
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Type
CD Reviews
Information
Nineteenth-Century Music Review , Volume 15 , Issue 2 , August 2018 , pp. 295 - 299
Copyright
© Cambridge University Press 2018 

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References

1 Simone Young’s Bruckner cycle has now been released as a box set: Anton Bruckner, Sämtliche Sinfonien, Hamburg, Philharmoniker, Young, Simone cond (Oehms Classics 26, 2016)Google Scholar.

2 John F. Berky, ‘Symphony No. 6 in A Major’, Abruckner.com, www.abruckner.com/discography/symphonyno6inamajo/.

3 The work’s date has provoked debate. Paul Hawkshaw maintains that it dates from 1869, a view corroborated by numerous features of the sources and the composers letters; see ‘The Date of Bruckner’s “Nullified” Symphony in D minor’, 19 th -Century Music 6/3 (1983): 252–63. The alternative view holds that work on the Symphony dates from 1863–64, after the F minor Symphony, but before the Symphony No. 1, which dates from 1866. This view was held by August Göllerich, Max Auer, Leopold Nowak and Renate Grasberger, all of whom surmised that the 1869 score was a copy of an earlier, now-lost autograph. To my mind, Hawkshaw’s textual argument seems the more convincing.

4 On which subject, see for instance Kim, David Hyun-Su, ‘The Brahmsian Hairpin’, 19th-Century Music 36/1 (2012): 46–57 Google ScholarPubMed.