Anton Bruckner (1824-1896)
Symphony No 5 in B-flat major, WAB 105 (ed. Nowak 1890 version)
ORF Vienna Radio Symphony Orchestra Linz/Markus Poschner
rec. 2023, Radio Kulturhaus, Vienna
Bruckner2024 – The Complete Versions Edition
Capriccio C8090 [71]
This is the tenth issue of Markus Poschner’s ongoing “Bruckner 2024 – Complete Version Edition”, marking the half-way point in what will be a total of twenty recordings. I find that its inconsistency hitherto has made it impossible for me to make a generalised comment about its success so far, as in my estimation performances have ranged from the “superb” (the 1878-80 No 4, which I reviewed in May 2022) to the dire – the horribly rushed No 3 (review). If there is one feature of Poschner’s conducting Bruckner which vitiates his interpretations, it is his penchant for rushing with the aim of generating tension – and for me, that has by no means always worked.
Once again, here Poschner is inclined to press on; overall, this reading is eight and ten minutes faster respectively than two of my favourite accounts by Eichhorn and Karajan, and the most marked disparity is in the Adagio, where at under sixteen minutes I do not think Poschner’s translation of “Sehr langsam” stands up against Karajan’s or Shimono’s twenty-one minutes. Of course such monolithic steadiness is not essential to a successful performance; others, such as Schaller and Sawallisch take a more fluid, free-flowing approach and bring it off, and Poschner’s orchestra is so fine that the listener can sit back and enjoy the grand sonorities of its delivery; the passage of heroic striving in which the first theme is developed around halfway through the first movement is magnificent, the brass fanfares are nothing lacking in grandeur and the peroration is highly dramatic. However, the opening of the Adagio is decidedly harried and hurried; comparison with the Shimono live performance I so admired in 2020 (review) is almost comical – and I know which is more effective for me. Having said that, I appreciate that Poschner has carefully thought through the series of contrasts he wishes to implement and his vision is coherent, even if it is not one I prefer. The big tune of the chorale unfolds nobly – more beautiful playing from the ORF. The staccato markings of the Scherzo are pointedly observed and all three themes are emphatically accented to bring out their galumphing, “peasant” character, yet often building to become suggestive of a certain underlying menace, despite the superficially genial atmosphere of merry-making. In fact, for me, this movement and the finale are the most successful elements of Poschner’s recording; the Scherzo is probing, subtle and ironic and the finale cohesive.
That long finale always presents a challenge to the conductor to establish and maintain coherence, lest it fragment into discrete, disconnected episodes. Poschner generates tension in the opening fugue and sustains that admirably into the second subject, through the third one of descending octaves into the majestic brass chorale and the second fugue. The sheer impact and volume of the reprise at 5:33 are mightily impressive, rhythms are forcefully and vigorously underlined and the climactic coda is triumphant.
As usual, Professor Paul Hawkshaw’s notes provide wise and informative guidance.
So despite my reservations regarding his choices of tempi in the Adagio, I respect and admire this latest addition to the complete edition; I am sure it will elicit a similar reaction from those who have been following this series.
Ralph Moore
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