BRUCKNER: The Symphonies
Royal Scottish National
Orchestra
New Zealand Symphony Orchestra
National Symphony Orchestra of Ireland
conducted by Georg Tintner
NAXOS
To record the complete Bruckner symphonies is a major undertaking, not to
be taken lightly by any of those involved: conductor, orchestra, recording
engineers, record company. Therefore it needs to be said at the outset that
Naxos has achieved a veritable triumph, nothing less. The tragedy is that
the conductor, Georg Tintner, is no longer alive to witness its full
acknowledgement.
Tintner (born 1917), like so many musicians, fled his native Austria before
the Nazi threat and made a worthwhile but largely unnoticed career in
Australasia, Canada and, occasionally, Europe. These recordings , dating
from 1995-98, brought him a recognition that was long overdue. For Tintner's
love and understanding of Bruckner are beyond question. Tempi, phrasing and
architecture always feel right, and the structural control of each of the
symphonies is never less than assured.
Symphony no. 00 in F minor 'Study Symphony'
'Volksfest Finale' (Symphony no. 4)
Royal Scottish National Orchestra Georg Tintner
Naxos 8.554432
The rarities among Tintner's recordings include the Symphony no. 00 (1863),
sometimes known as the 'Study Symphony', a 'student' work composed before
Bruckner found his unique voice and style. This hardly sounds like the genuine
article but it receives a fiery and committed performance, well worth hearing.
It is coupled with the 'Volksfest' finale of the Symphony no. 4, pre-dating
the 'final' version which is generally heard, and which Tintner has recorded
in its 'proper' context. (There is, however, an edition from 1888 which is
little known.) Having this additional item makes for fascinating comparisons
for anyone collecting the complete set.
Symphony no. 0
(coupled with Symphony no. 8)
National Symphony Orchestra of Ireland Georg Tintner
Naxos 8.554215-16 (2-CD)
The Symphony no. 0, another piece published only after the composer's death,
is coupled with the Eighth (see below). While the Irish orchestra cannot
match the richness of tone of their Scottish (and other, yet more celebrated)
counterparts, this remains a hugely enjoyable recording. It is surely a tribute
to Tintner's skill in preparing the performance, since this orchestra can
hardly have played the music many times, if at all, before 1996 when the
recording was made. 'Die Nullte', as it is known, is altogether more
characteristic than the 'Study Symphony', and as such is fully deserving
of a place in the Bruckner canon; it is by no means a mere curiosity. The
magnificent sweep of the opening phase is proof enough of that.
Symphony no. 1 (1866 Linz version)
Adagio (1876) to Symphony no. 3
Royal Scottish National Orchestra Georg Tintner
Naxos 8.554430
The release of the Symphony no. 1 followed the remainder of Tintner's series,
and in common with those of the other earlier pieces, it is a particularly
successful performance. The recording is pleasing too, the Scottish orchestra
captured with warm and full tone in the pleasing acoustic context of Henry
Wood Hall in Glasgow. Tempi are relatively broad, but there is no sluggishness;
rather the music develops naturally, allowing the strength of Bruckner's
invention to take centre stage. The advantage of the Linz version (and this
is the only recording to feature the completely unrevised score) over the
Vienna revision made some 25 years later lies in the music's simpler, less
burdened textures. These are wholly in keeping with the nature of the material.
In 1876 Bruckner made a further revision of the slow movement of the 1873
score of the Third Symphony, involving a somewhat faster tempo marking, a
more subtly scored opening phase, and more complex textures at the final
climax. For devotees of the composer, this represents a new opportunity to
gain further insights into a great but texturally problemmatic work. For
the more general listener the interest is less profound, simply as an unusual
'filler' supporting the main agenda of this CD.
Symphony no. 2
National Symphony Orchestra of Ireland Georg Tintner
Naxos 8.554006
The performance of Symphony No. 2 is among the best ever recorded, and again
the score is itself of interest, only the second time the original 1872 version
has been issued; the other is conducted by Kurt Eichhorn on Camerata). Known
as the 'Pausen' symphony on the grounds that the development of the material
requires the effective use of pauses between potent phrases, the music is
lovingly shaped by Tintner, with exactly the right tempi and balances to
make the most of the special expressive effects Bruckner had in mind.
Symphony no. 3 (1873 version)
Royal Scottish National Orchestra Georg Tintner
Naxos 8.553454
The Symphony no. 3 also features the Scottish orchestra to compelling effect.
This is the original 1873 version, not the later, shortened scores of 1877
and 1889. This version has been recorded only twice before, conducted by
Eliahu Inbal and Roger Norrington, but in vision and commitment Tintner outshines
them both, adopting broad tempi to magnificent effect. Such doubts as may
have persisted as the result of more famous conductors (B"hm, Haitink, etc.)
preferring the later editions are simply swept away. The music can satisfy
in these revisions, certainly, but this Tintner recording sets a new agenda.
Symphony no. 4 (1880 version)
Royal Scottish National Orchestra Georg Tintner
Naxos 8.554128
The Symphony no. 4, recorded in Glasgow in October 1996, is another success.
At nearly 75 minutes the vision is broad once again, but it is also absolutely
right. Although other recordings (Gnther Wand on RCA, for instance)
generate greater intensity and richness of tone, there is no reason to hesitate
at the attractive Naxos price. And in any case, Tintner brings his own insights
to this wonderful score.
Symphony no. 5
Royal Scottish National Orchestra Georg Tintner
Naxos 8.553452
If the cycle contains a disappointment, for me it is the Fifth Symphony,
again played by the Scottish orchestra. Here the tempi are relatively quick,
and the reading seems lightweight. A curious description of a Bruckner symphony,
perhaps, but compared with, for example, Karajan on DG, Tintner seems to
be adopting an approach which deliberately avoids the monumental aspect of
the work, which surely lies at its heart. Comparisons are fascinating, certainly,
but on this occasion the weight and pace of the performance are surprisingly
light and flowing, and the music lacks the cosmic power it has generated
elsewhere. A comparison of timings in the slow movement, a true Adagio, makes
the point as clearly as words alone can convey: whereas Tintner takes 16
minutes, Karajan takes a full five minutes longer. And the music is the better
for it. Having said that, the playing of the Scottish orchestra is highly
satisfactory, and the recording more than adequate. Ultimately the judgement
has to be that any great symphony is greater than any single performance
of it, and different interpretations are therefore a cause for rejoicing.
There is room for both approaches, but also there is no question which I
prefer and which I would merely describe as 'interesting'.
Symphony no. 6
New Zealand Symphony Orchestra Georg Tintner
Naxos 8.553453
The Sixth Symphony has had a mixed success on disc, but the position is more
favourable now than it has ever been. Curiously Karajan's recording was one
of his least successful of Bruckner or anything else, come to that. Now Tintner
offers a splendidly judged account, with rhythmically vital outer movements
and a beautifully judged Adagio, one of Bruckner's greatest slow movements.
His account takes a worthy place alongside those of Klemperer (EMI) and Wand
(RCA). Also Stanislav Skrowaczewski and the Saarbrcken Radio Symphony
Orchestra on Arte Nova are magnificent in this work, aided by a recording
- and possibly playing too - which is rather more full-bodied than Naxos
provides for Tintner. The differences are marginal, however, and although
the New Zealand Orchestra hardly rates among the world's great Bruckner
ensembles, their performance is sensitive, disciplined and idiomatic, in
keeping with Tintner's interpretation.
Symphony no. 7
Royal Scottish National Orchestra Georg Tintner
Naxos 8.554269
The Seventh Symphony contains one of the most straightforward authenticity
issues in Bruckner. Should there or should there not be a cymbal clash at
the climax of the slow moment? Opinions vary, the evidence is far from clearcut,
and the music is strong enough to triumphantly accommodate either approach.
Tintner leaves it out, opting instead for full sonority, a decision which
the orchestra and the Naxos engineers justify to the full. The pacing and
phrasing of the whole performance is quite splendid, and even among the other
fine performances this rates as extra special. The way that the beautifully
lyrical opening phase of the symphony is phrased and balanced confirms that
a master is at work. Even those who own alternative excellent performances
- and this symphony is well served on disc - should add Tintner to their
collections.
Symphony no. 8 (1887 version)
National Symphony Orchestra of Ireland Georg Tintner
Naxos 8.554215-16 (2-CD)
As far as the vexed question of editions is concerned, it is a cause of some
regret that Tintner only recorded the first (1887), rather than the revised
(1890), version of the Eighth Symphony. It is far too easy a generalisation
to suggest that Bruckner's first thoughts were always best, and in this,
surely his greatest symphony, it is the revised version which is generally
played and which is certainly superior. Surely Tintner would have gone on
to record it had fate decreed him the chance to do so. As it stands the Eighth
that is available here is best judged as an interesting performance of an
interesting piece, beautifully played by the Scottish National Orchestra
and given a rare opportunity to be widely heard. But if you want only one
performance of the symphony in your collection, you will have to look elsewhere:
to Giulini (DG), Karajan (DG) or Wand (RCA), for example.
Symphony no. 9
Royal Scottish National Orchestra Georg Tintner
Naxos 8.554268
As for the unfinished Ninth Symphony, in this monumental work Tintner and
the Scottish National Orchestra are a match for any rival version. With its
full toned sound, beautifully judged control of pacing and dynamics, this
performance is so compelling that it is veritably the jewel in the crown
of the entire Naxos series. And these discs surely rank among the most
significant contributions to the catalogue of recorded music of recent years.
Terry Barfoot
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