Bruckner: Symphony No. 7 in E Major

“this recording does have the stupendous Chicago brass in its favour, and they really do crown the climaxes of the work magnificently” The Telegraph

“Urged on by Tennstedt's inspirational leadership, the KPO resorts to a laid-back, all-guns-blazing style of playing. It's neither a very subtle approach nor a very wise one in terms of the actual quality of some of the solo or ensemble work.” Gramophone Magazine, March 2008

“…the flowing, finely shaped phrasing, balance of tempo between sections, and unfailing sense of how each section fits into the whole, makes this exceptionally compelling amongst modern versions. Strongly recommended.” BBC Music Magazine, October 2007 *****

“Dutch conductor Jaap van Zweden sits right inside the DNA of this extraordinary music. The opening movement’s patchwork construction is kept gloriously buoyant and throughout the work Bruckner’s abrupt turnarounds of harmonic direction are laid bare. Exciting in-your-face music-making.” Classic FM Magazine, September 2007

“During his time with the Hallé (he succeeded Barbirolli, though since the early 1980s he has worked mostly abroad, in Germany, Japan, and in Denmark where he was principal conductor of the Aarhus SO from 1996 until 2003), James Loughran made some memorable recordings of the Beethoven symphonies (including a groundbreaking Eroica) and a set of the Brahms symphonies which even now would wipe the floor with most rival budget-price sets. It is no surprise, then, to hear him conducting a fine live Bruckner Seventh which the Aarhus orchestra has seen fit to preserve on record. The first two movements are especially successful, Loughran showing real mastery in commuting between the first movement's lyrical and giocoso elements within the context of a larger overall vision.
The orchestra's manager freely admits that it is rare for recordings to be made in the 'acoustically difficult' Aarhus Cathedral. If that is the case, sound engineer Clemens Johansen is something of a miracle-worker. A slightly backward woodwind sound notwithstanding, the sound doesn't seem at all cathedral-like. One does wonder, however, to what extent the acoustic was a problem for the orchestra in the Scherzo and those parts of Bruckner's tellingly brief finale which are unusually quick-moving and closely argued.” Gramophone Classical Music Guide, 2010

“Loughran showing real mastery in commuting between the first movement's lyrical and giocoso elements within the context of a larger overall vision. ” Gramophone Magazine, June 2008

“Like all good Bruckner interpreters [Nézet-Séguin] made the abrupt , , , changes of gear sound natural and unforced, giving the impression of a mighty planet gradually orbiting around its axis” Sydney Morning Herald