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Stephen D Chakwin Jr
American Record Guide, July 2017

There’s nothing to complain about in this performance, and the sound is superb—just the right balance of reverberation and clarity.

This is the best recording of the best version of this symphony. © 2017 American Record Guide Read complete review on American Record Guide

Robert Markow
Fanfare, July 2017

The many solos for the first horn are all spotless, assured, perfectly in tune, and played with a sound from heaven. In later versions Bruckner assigned the notoriously difficult solos at the end of the Adagio to the clarinet so as not to destroy the mood of hushed reverence, but here they’re played by the horn, to magical effect. In the many solo chords for horns, the section sounds as one—perfectly balanced, perfectly in tune, with not the tiniest blip to suggest a live performance. © 2017 Fanfare Read complete review

Lark Reviews, May 2017

This is a live recording from Salzburg made in October 2015. Bruckner regularly revised his symphonies and the second exists in at least four versions. This is the earliest, and longest, and as such represents the composer’s own approach to the work before any critics had had any influence over him. Far more rarely heard than the later symphonies, it is still a splendid work in its own right and the recording brings us the immediacy and impact of the composer’s creative genius. © 2017 Lark Reviews

Ralph Moore
MusicWeb International, April 2017

…I hear plenty of warmth and heft here when they are required and note that the orchestra is of a typical size to perform Romantic music, hardly a “baroque band” or a “chamber Bruckner” outfit. The horns are heroic and error-free, the timpani prominent and the lower strings have plenty of grunt. For that quality of numinosity, so elusive yet essential to Bruckner, sample the slow passages development section of the finale just before the recapitulation and inversion of the main subject; it is splendid.

I for one especially enjoy Ivor Bolton’s recording of the Fifth in this series and this Second shares its virtues. His direction of this “Pausensinfonie” is non-interventionist but unafraid to give the rests full weight. He has a clear view of its structure and direction, and shapes it accordingly in a natural, free-flowing performance. He has a firm grip over the finale which can easily become diffuse or fragmented if indulged. Dynamic variation is especially telling: the eerie interludes during the last three minutes of the symphony are played on a thread of sound and the peroration really delivers. © 2017 MusicWeb International Read complete review

Christian Hoskins
Gramophone, April 2017

…the playing is expressive and there’s no lack of volume when required. The overall impression is one of vividness and transparency, aided by the exemplary recording. The performance of the Scherzo is particularly successful… © 2017 Gramophone

Blair Sanderson, February 2017

…this live recording has considerable energy and excitement, and Bolton draws out a passionate performance from the Mozarteumorchester Salzburg, which has played the symphony many times in its illustrious history. …While Bolton’s Bruckner may not have the name recognition of Karajan or Barenboim, or the near-hallowed reputation of Tintner and Wand, it is solid in musicianship and well worth exploring for its clarity and coherence. © 2017 Read complete review

Uwe Krusch
Pizzicato, February 2017

Anton Bruckner’s Second Symphony in the original version shows a self-confident young composer. Ivor Bolton conducts the Mozarteum Orchestra in a performance which is full-blooded and bright, with a lot of juvenile impetus. © 2017 Pizzicato

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