ARRIVING
Like a wise man once said “to travel means to arrive”.
What we've experienced during our concert journey through the UK can’t be expressed in words.
We've arrived in six different Scottish and English cities, unpacked our instruments, played symphonies of Mahler, Bruckner and Mozart and got welcomed extremely well by the audiences.
The response of both – the Scottish and the English press – is simply overwhelming. Once more it was made clear that with music, boundaries and borders dissolve.
Our brilliant stage managers hat to conquer some steep ramps to transport all the instruments, the conductor’s desk and lots of boxes to the inner life of the concert halls. And it shall not be concealed that performing Gustav Mahler’s second symphony five times in a very small period of time, needs condition, endurance and discipline.
On top of everything, we had such an inspiring tour guide like our chief conductor Markus Poschner with us. We would like to thank Oliver Deak (orchestra manager) and Christiane Bähr (administration) for ensuring a smooth logistic process on tour as well! We brought our own sound and our own identity to the United Kingdom this spring! In music you never arrive - just for the moment.
The sounds remain, even if they have faded away.
Norbert Trawöger
"Having recently taken up the post as Chief Conductor, Markus Poschner directed the Bruckner Orchester Linz in
an invigorating performance of Mahler’s sensational second symphony, Resurrection, at the Usher Hall on Sunday
afternoon." Miranda Heggie, HeraldScotland
"Mahler’s ‘Resurrection’ Symphony is one of those works that feels like a special occasion every time you hear it.
How many other works deploy so many forces, and keep a huge chorus in tow to sing for only the final ten minutes?
Even considering that, this was one of those particularly special occasions, a time where the playing and the sense of
occasion coalesced to produce something extremely memorable." Simon Thompson, Seen and Heard International
The timpanist's galloping assault was explosive, like Wotan thundering onto the stage. Poschner made coherent
sense of Bruckner's stop—start writing, allowing phrases – and silences – room to breathe, the Woodbird flute
providing moments of repose. Bruckner's spine-tingling coda blazed in a burst of C major sunlight to bring a majestic
performance to a triumphant close. Mark Pullinger, Bachtrack
The idea of Mahler 2 in a venue of Cadogan Hall’s proportions is almost ridiculous: the stage is cramped even for an
orchestra of non-Mahlerian scale, there’s no organ and no obvious place for the choir. Beyond that, even if the
logistics were arranged, surely the piece’s shattering climaxes would be painfully excessive for the audience at such
close range? Not a bit of it – with a clever seating plan and careful moderation of balance, the Bruckner Orchester
Linz's performance combined both the epic and the intimate in a way one doesn’t often see.
Rohan Shotton, Bachtrack
The Bruckner Orchestra Linz were magnificent and they have a great conductor in Marcus Poschner, and they surely
will soon become one of the top orchestras in Europe, if not already! After hearing Mahler's Resurrection symphony,
really want to hear their Beethoven and Bruckner too! Gregor Tassie, Seen and Heard International
Photo: Reinhard Winkler