As 19th century repertoire is increasingly played on original instruments and in period style, the late Romantic symphonies of Anton Bruckner have become the subject of historically informed performance practice. While some conductors have attempted this transformation in isolated cases, Mario Venzago has treated each of Bruckner's symphonies (with the exception of the Studiensymphonie) to authentic practices with different orchestras, to re-create the varied ensemble sounds and performance styles appropriate to their time ...
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As 19th century repertoire is increasingly played on original instruments and in period style, the late Romantic symphonies of Anton Bruckner have become the subject of historically informed performance practice. While some conductors have attempted this transformation in isolated cases, Mario Venzago has treated each of Bruckner's symphonies (with the exception of the Studiensymphonie) to authentic practices with different orchestras, to re-create the varied ensemble sounds and performance styles appropriate to their time periods. Considering that Bruckner's experiences with orchestras spanned three decades, he would have witnessed the growth of the orchestra and the introduction of improved instruments, which clearly influenced his decisions when he composed and revised each work. Thus, the Tapiola Sinfonietta (Symphonies Nos. 0, 1, and 5), the Northern Sinfonia (Symphony No. 2), the Sinfonieorchester Basel (Symphonies Nos. 4 and 7), the Berner Symphonieorchester (Symphonies Nos. 3, 6, and 9), and...
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