Composer: Anton Bruckner (1824-1896)
Works: Complete Symphonies (Including Symphony No. 1, Symphony No. 2 1872 version, Symphony No. 3 1873 original version, Symphony No. 4 1880 version, Symphony No. 5, Symphony No. 6, Symphony No. 7 ed. Haas, Symphony No. 8 1887 version, Symphony No. 9 ed. Nowak, Symphony No. 0, Symphony No. 00 in F minor “Study Symphony,” “Volksfest” Finale from Symphony No. 4)
Performers: Royal Scottish National Orchestra, National Symphony Orchestra of Ireland, New Zealand Symphony Orchestra
Recording: National Symphony Orchestra of Ireland/National Concert Hall, Dublin: 1996; New Zealand Symphony Orchestra/Town Hall, Lower Hutt, New Zealand: 1995; Royal Scottish National Orchestra/Henry Wood Hall, Glasgow: 1996-1998
Label: NAXOS
The symphonic oeuvre of Anton Bruckner occupies a unique space within the canon of Western classical music, embodying the transition from late Romanticism to the burgeoning modernist movement. Bruckner’s symphonies, often characterized by their monumental structures, rich harmonic language, and spiritual depth, demand not only technical prowess but also a profound interpretative insight. Georg Tintner’s complete cycle of Bruckner’s symphonies, newly packaged in Naxos’s white box series, offers a comprehensive survey of these works, illuminating both the historical context and the intricacies of the composer’s stylistic evolution.
Tintner’s interpretation reflects a deep engagement with Bruckner’s architecture, balancing the composer’s expansive vision with the practicalities of orchestral execution. The performances, particularly those of the Royal Scottish National Orchestra, showcase a commendable command of Bruckner’s intricacies, from the exhilarating brass fanfares in the Fourth Symphony to the ethereal adagio of the Third. Tintner’s approach, which often favors earlier versions of the symphonies, provides a fresh lens through which to appreciate Bruckner’s evolving ideas. For instance, the 1872 version of Symphony No. 2 reveals a more exploratory spirit, with its less restrained orchestration allowing for a nuanced interplay between the strings and brass that is often overshadowed in later editions.
The technical execution across the three orchestras is generally commendable, though distinctions are evident. The Royal Scottish National Orchestra emerges as the standout ensemble, delivering a palpable energy in the Seventh Symphony that rivals even the finest interpretations from more storied orchestras. The strings exhibit a warmth and richness that complement the symphony’s expansive themes, while the brass section captures the exhilarating climaxes with a thrilling brilliance. In contrast, the New Zealand Symphony Orchestra, while competent, lacks the same level of finesse, particularly in the more demanding passages of the Fifth Symphony, where the articulation of rapid figures can feel somewhat muddled.
The quality of the recordings, spanning multiple venues, presents a mixed but ultimately satisfying auditory experience. The engineering captures the spaciousness needed for Bruckner’s music, although the close miking sometimes foregrounds the brass at the expense of the woodwinds and horns. For example, in the climactic moments of the Eighth Symphony, the trumpets assert themselves with striking clarity, but the richness of the Wagner tubas may recede into the background. This trade-off, while momentarily distracting, contributes to the overall excitement of the performances, particularly in the Seventh, where the exuberance of the brass is palpable and invigorating.
Scholarly interest in alternative versions and lesser-known compositions is well-served in this collection, with the inclusion of the “Study Symphony” and different movement versions enriching the listener’s understanding of Bruckner’s compositional process. Tintner navigates these complexities with a deft hand, ensuring that even those new to Bruckner can appreciate the nuances without feeling lost in the myriad textual decisions. His insightful booklet notes further elucidate his interpretative choices, grounding the performances in both historical context and personal conviction.
This complete cycle, while perhaps not supplanting the definitive recordings by the likes of Herbert von Karajan or Günter Wand, offers a compelling and richly rewarding alternative. Tintner’s deep understanding of Bruckner’s symphonic language, coupled with the capable playing of his orchestras, results in a collection that serves both as an introduction for newcomers and a refreshing alternative for seasoned Brucknerians. The overall achievement of this boxed set resonates as a significant contribution to Bruckner’s recorded legacy, ensuring that Georg Tintner’s interpretative vision will continue to engage listeners long after his passing.
