Peter Jan Marthé about his new version What’s really in this symphony what we miss in the others? In Bruckner’s Third, in the first instance splitted into three diametrally opposed versions by himself, we find not only a radicalism of expression and a breathtaking spectrum of emotions. Much more by this new dimension of music Bruckner said definitively goodbye to the conventional “classical symphony” cultivated by Beethoven, Schubert or Brahms until then. Thenceforward Bruckner no longer composed “symphonies”, her much more created archaic rituals of sounds as we can find it e.g. in African or schamanic clan rituals. The ordinary concert audience was just not prepared for such an impact of expression and intensity. And isn’t still prepared. The disaster was inescapable. But since then more then 130 years passed and, especially for today’s people Bruckner has the power to give them something fundamental in their lifes. No matter if construction worker, punk freak, university professor, director general, hip hopper or whatever else – this music moves and awakes emotions which we all lesser or more suppress or displace in our lifes. Bruckner throws us back to that what we really are: Human beings with essential instincts and inscrutable depths – negative and positive, demoniac and angelic. But how to carry out the new insights in practise? The complete new version of the Third which I performed firstly in 2005 fundamentally results from combining all four available versions of 1873, 1877 and 1889 - including the new version of the Adagio of 1876 – as well as some elementary instrumental retouchings e.g. the adding contrabass tuba. Beyond that for me there was the new challenge of an exact adjustment of the symphony’s different energetic-musical course. It was my aim to bring Bruckner’s original intention – never realized – to sound in a breathtaking vehemence. A serious but absolutely logical consequence was the change of the previous order of movements. In the new version now the Third is arising in the league of its great sisters the VIIII and IX by the enormous extended symphonic dimensions and forms together with them an unique trinity, even regarding the formal order. By that the Scherzo – the original third movement of the symphony – is now in the new version set as the second, while the Adagio now as the third movement (like in the symphonies VIII and IX) is the meditative silence before the elementary storm of the new finale. The conductor Peter Jan Marthé and the European Philharmonic Orchestra A symphony concert on the 1400m high-lying mountain plateau in the Tyrolean Wetterstein massif, a Bruckner symphony on the 2000m high Swiss mountain “Rigi” at the Vierwaldstädter Lake or the projects of „Kathedrale der Klänge“ inside Vienna’s Saint Stephen’s Cathedral, where Bruckner’s works are performed as “archaic rites of sounds” – by his spectacular classical projects “the eccentric conductor of Bruckner and follower of Sergiu Celibidache” Peter Jan Marthé again and again makes sustainable sensations. The EUROPEAN PHILHARMONIC ORCHESTRA - founded by Yehudi Menuhin - unites around 100 brilliant young talents from 27 nations today and stands for a highly motivated community to make music. By its very specific sound profile it ranks among Europe’s young first class orchestras. The spectacular success of this musical body led by its conductor Peter Jan Marthé confirms the correctness of its way taken since the foundation in 1994.