
| 1 | 2 | 3 | 4 | 5 | 6 | |
| 7 | 8 | 9 | 10 | 11 | 12 | 13 |
| 14 | 15 | 16 | 17 | 18 | 19 | 20 |
| 21 | 22 | 23 | 24 | 25 | 26 | 27 |
| 28 | 29 | 30 | 31 | |||
It can’t surprise anyone that people had doubts. For instance, bars 540 – 655 of the last movement, which Bruckner cut, which are played here, are so bizarre in their scoring, harmony, disjointedness, that they still come as a shock. What the Second gives us is the kind of structure that we find in the later great symphonies, but without the thematic inspiration, and often with clumsy developments. On the other hand the scherzo is vintage Bruckner, virtually a pre-write of that of the Ninth, and with a characteristically cryptic trio.
This account is excellent – perfectly paced and balanced – and the smallish orchestra is all to the good in making Bruckner’s stark originality clear. But it would be unfair to regard the work itself, or this fresh account of it, as primarily to be listened to for instruction. The Second is a lovable and absorbing work, to be treasured for itself.
* * * * * Michael Tanner, BBC Music Magazine, March 2011







