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Bruckner: Complete Symphonies Volume 2

Tapiola Sinfonietta, Mario Venzago

Bruckner: Complete Symphonies Volume 2
One of Venzago's virtues as a Bruckner interpreter is in the way he takes on aspects of period performance practice, moderating the use of vibrato rather than taking it a doctrinaire line against...

Bruckner: Complete Symphonies Volume 2

Tapiola Sinfonietta, Mario Venzago

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One of Venzago's virtues as a Bruckner interpreter is in the way he takes on aspects of period performance practice, moderating the use of vibrato rather than taking it a doctrinaire line against...

About

The second volume of cpo’s Bruckner cycle with Mario Venzago features the so-called ‘Symphony No. 0’ and Symphony No. 1. Venzago has assigned each pair of symphonies a specific orchestra of very different size, culture, and tradition. In Finland’s Tapiola Sinfonietta Venzago has found a relatively small but first-class orchestra that is especially receptive to his efforts towards refinement and classical limpidity.

Contents and tracklist

I. Allegro (Ed. L. Nowak)
Track length14:41
II. Andante (Ed. L. Nowak)
Track length12:16
III. Scherzo (Ed. L. Nowak)
Track length7:07
IV. Finale (Ed. L. Nowak)
Track length9:52
I. Allegro (Orig. 1866 unrevised Linz Version, prep. W. Carragan)
Track length11:35
II. Adagio (Orig. 1866 unrevised Linz Version, prep. W. Carragan)
Track length11:09
III. Scherzo (Orig. 1866 unrevised Linz Version, prep. W. Carragan)
Track length7:59
IV. Finale (Orig. 1866 unrevised Linz Version, prep. W. Carragan)
Track length13:46

Awards and reviews

May 2012

One of Venzago's virtues as a Bruckner interpreter is in the way he takes on aspects of period performance practice, moderating the use of vibrato rather than taking it a doctrinaire line against it, which means that both its employment and its absence have expressive effect....The luminous and revealing Venzago set might be described as Bruckner for non-Brucknerians

June 2012

Some ideas from the period instrument movement are brought into play, but these only serve to highlight the conventionality of the "modern" performance conventions with which they rub shoulders. It's a fascinating combination though, and the results are deeply satisfying, even in these earlier works.
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