Performances of Bruckner's symphonies, especially of the gigantic Symphony No. 8 in C minor, vary greatly even though Bruckner, in his expressive markings, was pretty specific about what he wanted. These vast works can fit together in many ways, and anyone who doubts this need only consider the multiple versions of the symphonies that Bruckner himself made, giving interpreters fits ever since. The Eighth is arguably the most difficult work for the players in the symphonic repertory, and there's a lot to be said for just ...
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Performances of Bruckner's symphonies, especially of the gigantic Symphony No. 8 in C minor, vary greatly even though Bruckner, in his expressive markings, was pretty specific about what he wanted. These vast works can fit together in many ways, and anyone who doubts this need only consider the multiple versions of the symphonies that Bruckner himself made, giving interpreters fits ever since. The Eighth is arguably the most difficult work for the players in the symphonic repertory, and there's a lot to be said for just letting the instrumental work of a fine ensemble wash over the listener; they do not come much finer than the Gewandhausorchester Leipzig, which is steeped in this music, but there's more, for Andris Nelsons' reading is fresh. He points the whole symphony toward the mighty finale, and once he's there, he pushes the players nearly to the limits, with thrilling effect. Consider the brass passages at the beginning, where the triplets and the listener's pulse both race. Nelsons is more than...
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