Markus Poschner, Linz Bruckner Orchestra - Bruckner: Symphony No. 9 & Symphony in F minor - Import 2 CD

Credits:

Markus Poschner Bruckner (1824-1896)

Description:

[#bruckner2024, finally complete. The final volume brings together the first and last of Bruckner's symphonies] #bruckner2024, a project led by the CAPRICCIO label and the International Bruckner Society to record all 18 versions (manuscripts) of Bruckner's 11 symphonies, is finally complete. This is the first time in history that the same conductor has recorded all of Bruckner's symphonies in manuscript, and Poschner's interpretation, supported by the latest knowledge and Bruckner's detailed instructions, has succeeded in presenting a new image of Bruckner. The project received a special award from the International Classical Music Award (ICMA) 2024 for "rethinking our habitual ways of listening and what we have come to regard as tradition. The final volume includes the Symphony in F minor (also known as the "Study Symphony" or "Symphony No. 00"), which was the starting point for Bruckner's symphonic creations, and the unfinished posthumous Symphony No. 9. Neither symphony has a different manuscript, and the score used is the Novak edition, but the "rereading of the score" that is consistent with this project gives the symphonies a fresh sound and interpretation. The F minor symphony was one of the final projects Bruckner submitted to his composition teacher Kitzler.There are indications that Bruckner himself had considered publishing this, suggesting that it was a confident work. Poschner omitted repeats, so the total playing time of the entire work is just under 34 minutes. The Inbal disc (Teldec, now Warner) is much shorter at just over 46 minutes, but it presents its own charm as a dashing and charming work with a touch of German Romanticism in the vein of Schumann and Mendelssohn. After completing the first draft of No. 8 in 1887, Bruckner immediately began work on No. 9, but when the first draft of No. 8 was rejected for the first time, he began to revise it, and in 1889, he returned to No. 9. Bruckner returned to the Ninth in 1889, but was delayed again by the composition of the 150th Psalm and the Helgoland, and died without completing it. Although a considerable number of fragments of the fourth movement have survived, and there have been numerous attempts to complete it, #bruckner2024 does not include fragments that Bruckner himself was not involved in, so later editions with completed fragments are not included.In the first movement of No. 9, all the main motives of the movement are presented in the introduction, and Poschner clarifies the tight structure of the movement by presenting each motive in an easy-to-understand manner. In conventional Bruckner performances, there was a tendency to play Bruckner's works in an ecclesiastical style, as if the composer considered them sacred, by not moving the tempo too finely (or not giving the impression that he did), or by seeking a round, blended sound like that of an organ or chorus heard in a church. Poschner, on the other hand, reads and reflects the composer's tempi and dynamics in great detail, and he also firmly emphasizes the roots-music elements derived from folk songs and folk dances, presenting the starkness of the scherzo and the purifying beauty of the adagio in a symphonic manner. The domestic edition comes with a Japanese commentary by Yutaro Ishihara (musicology/member of the International Bruckner Society). (1/5) Naxos Japan