Anton Bruckner: Symphony in F minor 'Study Symphony' Bruckner Orchester Linz & Markus Poschner

• Anton Bruckner (1824 - 1896): Symphony in F minor 'Study':
• 1 Bruckner: Symphony in F minor 'Study' - I. Allegro molto vivace (HD 96/24) 10:34
• 2 Bruckner: Symphony in F minor 'Study' - II. Andante molto (HD 96/24) 10:58
• 3 Bruckner: Symphony in F minor 'Study' - III. Scherzo. Schnell - Trio. Langsamer (HD 96/24) 05:11
• 4 Bruckner: Symphony in F minor 'Study' - IV. Finale. Allegro (HD 96/24) 07:02
• Total Runtime 33:45

Info for Anton Bruckner: Symphony in F minor 'Study Symphony'

A Note about the Versions of Bruckner’s Symphonies Recorded in this Collection: Devotees of Anton Bruckner’s music might be surprised to see the number of versions of the composer’s symphonies reduced to the nineteen recorded in this collection. Since the middle of the last century, the musical literature and marketing for the recording industry have created the false impression that the composer left us many more. A musicological preoccupation with identifying every layer of change in every Bruckner manuscript has resulted in a proliferation of editions with alterations that he made en route between clearly defined versions. Such changes belong in critical reports, not the score. Record producers insistence on identifying new releases as containing either the Robert Haas or Leopold Nowak edition has led to the common misconception that these two scholars printed distinct scores of all the symphonies numbered one through nine. With the exception of the second version of the Eighth, their editions are in fact very similar.

For the purposes of this collection, the performers have adopted the definition of “version” formulated by the editors of the New Anton Bruckner Collected Works Edition [Die neue Anton Bruckner Gesamtausgabe] now in preparation under the auspices of the Austrian National Library. As stated in its general foreword, the new edition differentiates individual versions of Bruckner’s symphonies on the basis of historical occurrences “such as a performance, printing or dedication or other event that denotes closure on a specific phase of Bruckner’s work on a composition.” [“Die NBG definiert eine Fassung über den Bezug zu Ereignissen, die einen verbindlichen Abschluss von Bruckners Arbeit an einem Stück voraussetzen, wie etwa eine Aufführung, der Drucklegung, oder auch die Widmung.”] These recordings contain the versions identified by the editors of the new collected works, and the program notes in each case offer a fulsome discussion of the reasons for the identification of that particular version. The collection does not include any of the first editions that were printed without the composer’s involvement – the so-called Schalk or Löwe versions. The only first editions of symphonies that Bruckner is known to have approved are those for the Third, Fourth and Seventh; their readings have been incorporated into the scores of the final versions (the Seventh of course has only one) of these works recorded in this set. Whenever possible the performances are based on the scores and parts that have already been completed for the new edition. [If the performance materials are ready in time for the Bruckner bicentennial celebration, the little-known intermediate Adagio that dates from between the first and second versions of the Eighth Symphony will be added to the collection.]

Bruckner Orchestra Linz
Markus Poschner, conductor

Markus Poschner
Describing Markus Poschner as a conductor who transcends boundaries is beside the point, as he would never accept the concept of boundaries in music-making, thinking or educating. Endowed with the freedom of a brilliant jazz pianist – which he has been since his youth – Poschner passionately loves getting to the bottom of things. Having been born into a dynasty of church musicians in Munich, he was influenced early on by assisting Sir Colin Davis and Sir Roger Norrington. In 2018 his recording of the complete Brahms symphonies for SONY CLASSICAL with the Orchestra della Svizzera italiana, whose chief conductor he has been since 2015, features a completely new reading of these works and promptly won the prestigious “International Classical Music Award”. His recording of Offenbach’s Maitre Péronilla with the Orchestre National de France was celebrated by the press and won the German Record Critics’ Award in 2020. Ever since he won the German Conductors Award, Markus Poschner has made guest appearances with all the internationally renowned orchestras, including the Staatskapelle Dresden, the Staatskapelle Berlin, the Dresden Philharmonic, the Bamberg Symphonic Orchestra, the Munich Philharmonic, the Vienna Symphonic Orchestra, the Konzerthaus Orchestra Berlin, the Radio Symphony Orchestras in Berlin, Vienna, Leipzig, Stuttgart and Cologne, the Orchestre National de France, the Netherlands Radio Philharmonic, the NHK Symphony Orchestra and the Tokyo Metropolitan Symphony Orchestra. He has also worked at opera houses such as the Berlin State Opera, the Komische Oper in Berlin, the Hamburg State Opera, the Stuttgart State Opera, the opera houses in Cologne and Frankfurt. For many years he has enjoyed a close artistic collaboration with the Zurich Opera House, and he works regularly with directors such as Nicolas Stemann, Tobias Kratzer, Christof Loy, Robert Carsen, Hans Neuenfels, Peter Konwitschny, Andreas Homoki and Sebastian Baumgarten. In 2017 Markus Poschner also took on the position of chief conductor of the Bruckner Orchestra Linz and at the Linz Opera. Under his leadership, the BOL quickly caused a stir by exploring its very own variant of the music of its namesake. An unmistakably Upper-Austrian musical dialect makes Bruckner’s oeuvre shine in a new and unheard-of light and has audience and press on the edges of their seats. In 2020 the Bruckner Orchestra Linz was named “Best Orchestra of the Year” at the Austrian Musical Theatre Awards. For the production of Richard Wagner’s Tristan und Isolde, Markus Poschner also won the award for “Best Opera Conductor” in 2020.

This album contains no booklet.