Anton Bruckner (1824-1896): Symphony No. 7 in E Major (Nowak Edition 1883)
Mason Bates (b. 1977): Resurrexit (2018)

Whenever I listen to a new recording of any of the symphonies by Anton Bruckner I'm left with a dilemma brought on by ambivalent feelings. On the one hand I'm always highly impressed by the sheer scope and epic grandeur of any and all of them. But then, if you've read some of my other Bruckner reviews or read the blog on this website, you will have noticed that I always feel as though Anton Bruckner composed only one symphony, which he revised nine times (eleven if you take into account the early 00 and 0 numbers). That's how much I believe that his symphonies are always the same at least as far as harmony and structural development are concerned. In particular, if you compare their Scherzo movements it's rather obvious. A great analogy would be to consider Bruckner having built a few gothic cathedrals. All of them immense architectural structures of the same size based on the same blueprint. The only cosmetic differences being different paintings on the walls and ceiling, different pews or divergent stained glass windows.

So why bother listening or reviewing any of them? Well, for one thing the 7th is definitely the most lyrically Wagnerian in sound and style, with an Adagio movement that points ahead to Gustav Mahler. And when a conductor of stature like Manfred Honeck diligently evinces and reveals a myriad of expressive details within the score that drive the music forward to its inexorable resolution, you can't but stop and listen. Even within the highly informative booklet notes, Honeck himself analyses and breaks down each individual movement almost bar by bar, to point out key moments that act as signposts or beacons along the way. All of this reinforced by a remark that reads: "A balance must be found in honoring the expressive intent hidden within the musical text rather than merely focusing on pure execution." And don't forget the usual high audio engineering standards that Reference Recordings bring to the table, which add focus to these details, and you have a recording that deserves a prominent place on your shelves, next to Honeck's recording of the Symphony No. 9.

Resurrexit by Mason Bates was commissioned by the Pittsburgh Sympony Orchestra to celebrate the sixtieth birthday of Manfred Honeck. It sounds like it would feel quite at home acting as the score for recent action flicks as it somehow actually reminds me of the main musical elements for the blockbuster movie "The Matrix". It doesn't partner well with the music of Bruckner, nor does it completely detract from it. You be the judge.