François-Xavier Roth and the Gürzenich Orchestra Cologne explore the beginnings of Anton Bruckner‘s symphonic oeuvre on the way to the complete recording of the symphonies.

Between Linz and Vienna, the organist from the modest provinces, “half genius and half fool”, as contemporaries described him, found his symphonic language. At the age of over 40, he composed his first “real” symphony, which was at least a respectable success at home. It was to remain the only one of his symphonies to be premièred in Linz. Vienna, to which he moved shortly afterwards, was a different story. Here, 40 years after Beethoven‘s death, his spirit continues to linger through the city. Beethoven, for Bruckner the epitome of all greatness, was certainly one of his deepest inspirations for his first work. And so Bruckner chooses C minor, the key of Beethoven‘s Fifth Symphony, of all keys. However, recognition as a symphonist would be a long time coming.

Bruckner was celebrated as an organ virtuoso, however, and was sent to London in 1871 as a representative of Austrian organ music at the World Exhibition. His visit to the vibrant metropolis made a lasting impression on him. Whilst still on the trip, he began sketches for a new symphony, which he completed shortly after his return, in the midst of a time of personal crisis. You can clearly hear this emotional rollercoaster ride in the work. Two years later, the symphony was premièred with the Vienna Philharmonic Orchestra, and although there was a positive response here and there, the hoped-for success still failed to materialise. Critics judged it too daring, too fragmented, too many ideas, although Bruckner had already toned down a number of passages before the premiere.

François-Xavier Roth opted for the first versions of both symphonies, thus demonstrating Bruckner‘s wealth of ideas and impetuous joy in experimentation.