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“The immediacy of the sound was obvious from the first tremolo of the opening movement, flung out vigorously by Markus Poschner. In such proximity, accuracy is of paramount importance, but it was never lacking, even in the tricky pauses of the opening bass and cello lines. Crystalline textures highlighted every detail of accompanying lines, shining light on subtleties such as a beautifully played horn and clarinet duet in the first movement. There was no compromise in the intense despair which punctuates the movement; the percussion section thundered, led by two timpanists playing on the hand-tuned Viennese calf-hide drums, and the wild col legno passage later on was utterly compelling.”

Rohan Shotton
Bachtrack, 5.5.2018

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“The magnificent Usher Hall organ, blending perfectly with the orchestra, grounds the final climax of the work effortlessly. It is a moment of pure joy, but properly contained by Poschner, who does not allow the orchestra to become indulgent for a moment.”


Robert Dow
The Wee Review, 4.5.2018

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“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. Opening with a rustic, golden hued timbre, the orchestra gave an animated interpretation of the work.”

Miranda Heggie
The Herald Scotland, 30.4.2018

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“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, 29.4.2018

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1977395_cms2image-fixed-561x315_1qURW7_6EWGPj“Was bei Anton Bruckner meist zu kurz kommt, ist die Orchestration, die Meisterschaft der klanglichen Farbigkeit, die man vielfach nicht aus seinen Partituren herausliest. Genau hier hat Markus Poschner bei seiner Interpretation angesetzt. Nicht künstlich aufgesetzt, sondern ganz natürlich aus der Steuerung der Gruppen erwachsen.”

Michael Wruss
OÖNachrichten, 28.4.2018

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