Bruckner’s Second Symphony is arguably the most problematic of the canon in terms of textual matters. The critical edition published by Haas in 1938 attempted to resolve the problem by combining versions of the score dating from 1872, 1873 and 1877. The Nowak edition of 1965 removed a number of passages included by Haas but otherwise represents a similarly composite version of the symphony. Matters improved considerably in the early 21st century with separate versions of the symphony dated 1872 and 1877 being published under the editorship of William Carragan. The Carragan editions have not entirely been immune from criticism (the scholar Benjamin Gunner Cohrs has suggested that 1873 and 1892 versions would have been preferable) but have otherwise superseded the Haas and Nowak editions. Not so, however, for Yannick Nézet-Séguin, who has chosen to use the Haas for this recording, the first conductor to do so for quite a few years.

Whatever the reasons for Nézet-Séguin’s choice (no explanation is provided in the booklet-note), in practice we get to hear the horn solo at the end of the 1872 Adagio (which Bruckner later rescored for clarinet) without the additional 106 bars of music found in the 1872 finale. The Adagio is a highlight of this recording, with eloquent contributions not just from solo horn but also from violin, flute and bassoon. Here, as elsewhere, Nézet-Séguin’s conducting is direct and straightforward, Bruckner’s markings diligently observed, particularly with regard to dynamics. Among recordings of the Haas score, I wouldn’t want to be without Haitink’s taut and often fiery performance, nor the expressive splendour of Chailly’s version, but Nézet-Séguin’s is a commendable addition to his ongoing cycle.

Nézet-Séguin’s recording of the Third Symphony on Profil comes into direct competition with his 2014 recording for ATMA Classique, both featuring the Nowak edition of the first version of 1873. The ATMA recording has the advantage of a conductor with an additional six years of experience, a not insignificant factor with a musician then still under 40, while the Profil recording has the inestimable benefit of the Staatskapelle Dresden. On this occasion, orchestra trumps experience. The Dresden performance is notable for the slow tempi that were a common feature of Nézet-Séguin’s early Bruckner performances, requiring almost six minutes longer than in Montreal. However, the earlier performance has a sense of purpose and elemental power that eclipses the later one, aided in no small part by the phrasing, expressiveness and tonal depth of the orchestral playing. A few transitions might have been negotiated more smoothly here and there and, as so often with this edition of the symphony, the finale doesn’t quite convince, but the performance overall has a grandeur that befits the scale of Bruckner’s original conception. Derived from a radio recording, the sound quality is excellent and the audience noise minimal. The inclusion of a 50-page booklet in German and English necessitates a double jewel case being used, although only a single CD is needed for the symphony.