{TABLE} Symphony No 8 (1557) ......... Bruckner {/TABLE} NOT many symphonies offer so much, in content as well as length, that they can be the sole item on a programme yet leave the listener amply satisfied. Bruckner's Symphony No. 8 is one of them, and it was good to hear it so convincingly played by the National Symphony Orchestra at the National Concert Hall last night.
As with so many of Bruckner's symphonies, there is more than one version of No. 8; nor is it the only symphony in which this composer's last thoughts are not always better than his earlier ones. My experience is probably typical in that I got to know this massive piece via the later version, which Bruckner produced in response to the incomprehension of his ardent champion, the conductor Herman Levi. The revised version is shorter than the 1887 original and is replete with differences of detail. So I was looking forward to hearing the earlier version.
Bruckner's eighth is a tough piece to pull off. Its enormous range of material requires a strong grip on pacing; and, given the work's length, that pacing needs to be consistent. Under the direction of the Austrian conductor Georg Tinter (a pupil of the great Weingartner) the NSO played handsomely. Tinter's speeds were slow, and this was emphasised by his tendency to let each phrase breathe amply. Yet he knew exactly what he was doing and where he was going, one or two awkward corners excepted.
This symphony takes to its limit Bruckner's penchant for combining themes using differing pitches and orchestral colours. It was a credit to all the players, as well as to Tinter, that these demanding textures came across so clearly, thanks to some beautifully coloured and balanced playing. The performance suggested that the forthcoming NSO recording of this symphony, under Tinter's direction, will be worth hearing.