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Penguin Guide, January 2009

Like others in his Bruckner series, Georg Tintner’s Naxos recording of the Ninth Symphony is a match in every way for the finest rival versions, whatever the price. The refinement of pianissimos brings out the full mystery of the massive outer movements, while the delicate fantasy of the Scherzo is brilliantly touched on a high speed, with a touch of wildness. The final Adagio builds up in exultation: this may not have been planned as the finale, but here it becomes the most deeply satisfying conclusion. The playing of the Royal Scottish National Orchestra is superb, with recording at once transparent and refined, as well as weighty.

Terry Barfoot
MusicWeb International, June 2000

To record the complete Bruckner symphonies is a major undertaking, not to be taken lightly by any of those involved: conductor, orchestra, recording engineers, record company. Therefore it needs to be said at the outset that Naxos has achieved a triumph, nothing less. The only tragedy is that the conductor, Georg Tintner, is no longer alive to witness its full acknowledgement.

Tintner (born 1917), like so many musicians, fled his native Austria before the Nazi threat and made a worthwhile but largely unnoticed career in Australasia, Canada and, occasionally, Europe. These recordings, dating from 1995-98, brought him a recognition that was long overdue. For Tintner’s love and understanding of Bruckner are beyond question. Tempi, phrasing and architecture always feel right, and the structural control of each of the symphonies is never less than assured.

As for the unfinished Ninth Symphony, in this monumental work Tintner and the Scottish National Orchestra are a match for any rival version. With its full-toned sound, beautifully judged control of pacing and dynamics, this performance is so compelling that it is veritably the jewel in the crown of the entire Naxos series. And these discs surely rank among the most significant contributions to the catalogue of recorded music of recent years.

Philip Haldeman
American Record Guide, April 2000

"This recording will please fans of Tintner's cycle. It's one of those fine, straight-arrow readings that seem to preclude much specific criticism. Tintner emphasizes clarity of texture and harmonic detail; but this does not result in a 'studied' reading without flow, or where the conductor is bent on educating the listener at all costs. I hear, amid the careful elucidation of phrases, the natural expression of musicians who are committed to delivering the composer's vision with both insight and emotion. ... The textural clarity emerges in part from the Naxos engineering."

David Murray
Financial Times, January 2000

"The Austrian conductor Georg Tintner was 82 when he died last autumn. Happily, he had just finished recording the whole cycle of Bruckner symphonies for Naxos. It will surely be his long-standing monument... The big transitions proceed naturally, with no awestruck hiatuses between paragraphs. Seasoned Brucknerians will be regularly astonished by how smoothly geared the next musical move comes, and how potently."

Raymond Chapman Smith
The Advertiser (Adelaide), December 1999

"Georg Tintner's unique interpretation of Bruckner's majestic Ninth Symphony is a milestone recording...a superb testament to both composer and conductor. Tintner's unerring choice of tempi, his rare grasp of Bruckner's oceanic structure, is as awesome as the music and he draws remarkable playing from the Royal Scottish National Orchestra."

Billboard, November 1999

"This would be a great intro to Bruckner for any listener, as well as one of the best entrees into classical music period; that's not to mention what an apt valediction this album is for Tintner, the devoted Brucknerian."

Tim Ashley
The Guardian, October 1999

"Tintner gives an eccentric but totally compelling performance full of hair-raising mood swings, in which harrowing despair alternates with profound mystic fervour...The Naxos disc demands to be heard, if only as a radical counter to more conventional interpretations."

Richard Osborne
Gramophone, October 1999

Tintner’s account of the symphony is very fine, a disc to be purchased with confidence by those who have been investing in this (generally) excellent budget-price series. His account of the Scherzo and Trio is as quick and glintingly malevolent as Horenstein’s on his famous old Vox recording… his reading of the outer movements logical yet searching too. There is , for example, nothing maudlin or long-drawn about his treatment of the final Adagio, yet the sense of troubled nobility of utterance is everywhere there… © 1999 Gramophone

Robert Stumpf
Classical Net

This is one of the great symphonies. This is one of the finest recordings. It is obvious that the recording was a matter of love and not just recording. Georg pulls out every emotion within those black marks on white paper, in a league with Bruno Walter and Furtwangler. On the other hand, I am not sure if comparisons are apt here. What I am listening to is a personal statement by someone who loved this music and was able to instill this love into the orchestra. The notes, by Georg, are excellent maps to the music… This is a requiem and most of you will respond as I did; in awe, in what is as close to a religious experience as I ever have. © Classical Net

David Hurwitz

This performance (indeed the whole cycle) is a worthy memento of a fine artist to whom recognition came late, and also stands as a salutary example of the value of recordings in preserving an interpretive legacy that otherwise would have been irretrievably lost. Of course, if Tintner’s Bruckner were in any way ordinary, none of this would matter. But he was an extraordinary Bruckner conductor, nowhere more so than in this excellent performance of the magnificent torso that is the Ninth Symphony. All of Tintner’s trademarks are here: the broad climaxes, totally natural tempo adjustments in the ‘singing’second subjects, the rough vigor of the Scherzo, all capped by an unusually direct, authoritatively shaped account of the final Adagio… There are many fine performances of this symphony, but this recording is as ‘complete’ a realization, interpretively speaking, as you will find on disc. ©

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