Bruckner's symphonies in the original sound
Experimentation

In January 1869, shortly after his appointment as Professor of Harmony and Counterpoint at the Conservatory of the Gesellschaft der Musikfreunde in Vienna, Anton Bruckner began work on a symphony in D minor, which he counted as "No 2" in the autograph, which is why its outdated designation as the "Zeroth" is not only misleading, but simply wrong. Presumably due to critical reactions - the conductor Felix Otto Dessoff is said to have asked about the beginning: "Yes, where is the theme?" - Bruckner withdrew the symphony, probably in 1873, but only noted the "annulirt" in the score in 1895, which gave it the nickname "Annulierte ". Long since recognized as a fully-fledged Bruckner symphony, the work's decidedly experimental traits in particular are now coming into focus.

Bruckner's " Annulled" is by no means the only symphony to be set aside by its composer. Franz Schubert did the same with his Symphony No. 7 in B minor, the famous "Unfinished", whose composition he broke off in 1822 for an unknown reason at the beginning of the third movement, and Robert Schumann with his Symphony in G minor, named "Zwickauer" after the place of the premiere of its first movement, of which only the first two movements were completed in 1832 and 1833.

Le Concert des Nations, unquestionably one of the best original sound orchestras in the world, whose members come mainly from Romance and Latin American countries, and its founder Jordi Savall, who last performed at the Brucknerhaus Linz more than a quarter of a century ago, take on the three symphonic children 'rejected' by their composer fathers.

Franz Schubert (1797-1828)

Symphony No. 7 ("Unfinished") in B minor, D 759 (1822)

Robert Schumann (1810-1856)

Symphony ("Zwickau") in G minor, WoO 29 (1832-33)

- Pause -

Anton Bruckner (1824-1896)

Symphony ("Annulled") in D minor, WAB 100 (1869)

Le Concert des Nations

Jordi Savall | Conductor