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The Bruckner Orchestra, which recently received top marks, and its chief conductor Markus Poschner performed a symphonic concert in public for the first time since the pandemic, ending the Salzkammergut Festival in Gmunden on Saturday.
How happy the festival was about this guest performance could be seen from the visit to the Toscana Congress Hall, which looked full despite the gaps.
Mozart and Beethoven
The musicians behaved in the same way and came up with top performances with works by Mozart and Beethoven. In other words, with a classic program sequence of more than familiar symphonies, the interpretation of which – as one knows Poschner’s orchestral work – one could expect some new perspectives.
Immediately in Mozart’s “Linz Symphony” he fascinated with personal interpretive virtues. His perceptible overall concept includes more than the usual runs. Namely the varied gestures of his calm arm movement or the physically interpreted sound grip from the feeling of the highest expressive intensity. Every movement has its intrinsic character, which Mozart was concerned with when meticulous phrasing, precise articulation and tempo dramaturgy combine and complement each other so wonderfully.
Whether the heroic beginning of the C major symphony KV 425, the vocal theme in the second movement, the festivity in the third, the analogous four bars in the Presto finale – everything pointed to an in-depth treatment of the exposition and development of the work.
And then Beethoven, in which Poschner not only traced the glorification of the “apotheosis of dance” in his “Seventh” in A major op. 92, which is an inadequate description anyway.
What has one not already experienced here, but rarely such an interpretation out of humility, seriousness and overall modestly restrained conduct for the “Titan”, which led to emotion in the audience. Poschner’s signaling is not suitable for show effects, because his charisma and the high culture of giving impulses stand in the way.
From knowledge of the work, it is not permissible, for reasons of comparison, to recall that Poschner’s Beethoven approached the eternally valid standards of Karajanscher performances. This time too, the Bruckner Orchestra felt a feeling of happiness from making music, which can also be seen as the secret of the success of working with its boss. The jubilation in Gmunden proved it.
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