The New Anton Bruckner Complete Edition includes three full versions of the composer’s Third Symphony, all of which have now been recorded by Markus Poschner in his cycle for Capriccio. This recording brings us the second version of the symphony from 1877, a more concise score than Bruckner’s original conception of 1873 but one which avoids the deeper cuts encountered in the final version of 1889.

Having all three versions recorded by the same conductor on the same label is potentially very useful for comparison purposes, although the benefit of this is slightly undermined in practice by Poschner’s interpretative approach varying between the recordings. While all three are fast-paced performances, this newcomer is notably more spontaneous and involving than its predecessors, capturing more of the symphony’s mystery and grandeur. On the other hand, adherence to detail is less scrupulous than before, particularly in terms of dynamic contrasts. Poschner also introduces some effects of his own, including an unmarked crescendo at bar 63 (1'44") in the first movement, and a somewhat jarring ritardando at bar 338 (8'23") on the approach to the unison fff statement in the development. The energy that he brings to the symphony’s stirring final peroration, however, is very welcome.

The album also includes the 1876 version of the symphony’s Adagio, an entity closer in length and orchestration to its 1873 predecessor than the version from the following year. The movement has previously been recorded by Rozhdestvensky, Tintner, Wildner and Vänskä, the latter anachronistically included in what is otherwise a recording of the 1877 version of the symphony. Poschner’s performance is at least as fine as its rivals, although not quite as compelling as his performance of the 1877 version of the same movement. The recording quality of all the items here is very good and Capriccio’s documentation once again includes an illuminating essay by the Bruckner authority Paul Hawkshaw.