Suddenly, and not before time, the Sixth Symphony of Bruckner is riding high. And deservedly so since it is the tersest of his mature symphonies and the most openly exultant. Unlike the superficially more alluring Fourth, it needs a real musician to direct it, no mere master of orchestral ceremonies. What's more, it needs a Brucknerian with a passion for musical logic, a musical realist rather than a musical romantic. As such it is a work better suited to a Rosbaud, a Klemperer, or a Wand rather than someone like Jochum or Furtwangler however inspirational they may be at certain critical moments in the score.

What a Brahms cycle! Günter Wand’s fairly brisk tempos, astute sense of linear clarity, and palpable dynamic intensity often hold a modern-day sonic mirror to Toscanini’s way with the composer. Listen to how the First symphony’s driving introduction ever so gradually eases into the incisively shaped main theme, or notice the fourth-movement introduction’s seamless yet almost improvisatory transitions. The Third’s difficult-to-balance first movement is all of a piece, with the sustained wind passages, brass outbursts, and often buried lower strings contoured in revelatory perspective.

What a Brahms cycle! Günter Wand’s fairly brisk tempos, astute sense of linear clarity, and palpable dynamic intensity often hold a modern-day sonic mirror to Toscanini’s way with the composer. Listen to how the First symphony’s driving introduction ever so gradually eases into the incisively shaped main theme, or notice the fourth-movement introduction’s seamless yet almost improvisatory transitions. The Third’s difficult-to-balance first movement is all of a piece, with the sustained wind passages, brass outbursts, and often buried lower strings contoured in revelatory perspective.