Georg Tinter         (Testament SBT 1502)
Item# C1394
Regular price: $39.90
Sale price: $19.95
Availability: Usually ships the same business day

Product Description

Georg Tinter         (Testament SBT 1502)
C1394. GEORG TINTER Cond. London S.O.: Symphony #5 in B-flat (Bruckner). (England) Testament SBT 1502, recorded 21 September 1969, BBC Maida Vale Studios, previously unpublished. Long out-of-print, Final Copy! - 749677150228


“Most people never had heard of Georg Tintner before [the appearance of] his Bruckner symphonies. It wasn't long before curiosity mounted. Who was this conductor? Where had he come from? In some ways, it was like Günter Wand all over again.

As you voyage through Bruckner's symphonies, you could hardly ask for a more patient, knowledgeable, and understanding guide than Tintner…[who] achieves a rare synergy: he knows how to get the best out of an orchestra, and he knows how to shape Bruckner's phrases, build his movements, and construct his symphonies. Tintner, while a master artisan, doesn't lack aesthetic taste, and [the] slow movements are as introspective and as philosophical as one could wish them to be. Elsewhere, there is power without ego, and drama without histrionics. Bruckner with more personality can be found elsewhere, but Bruckner with more integrity would be hard to find.”

- Raymond Tuttle,

“For much of his career, Tintner was largely unknown in Britain, but in the last two years [of his life], he enjoyed unexpected acclaim for his recordings of the Bruckner symphonies….He brought to these performances a lifetime's experience and knowledge, not least through having sung, as a member of the Vienna boys' choir in the late 1920s, under Bruckner's pupil, Franz Schalk. It was the ‘spiritual ecstasy’ in Bruckner's music that he felt had such a special relevance for modern audiences, and which he captured so vividly.

Georg Tintner was born in Vienna, learned the piano at the age of six and started to compose. He studied at the Vienna State Academy from 1930-37, taking composition with the noted lieder-writer Joseph Marx and conducting with Weingartner. Sacked from his job as assistant conductor at the Vienna Volksoper after the Anschluss, he sued his erstwhile employers for breach of contract, dangerously refusing what he felt to be a derisory offer of compensation.

Tintner eventually settled in New Zealand, where in time he became director of the local orchestra and choral society in Auckland. In 1954, he moved to Australia, taking up posts successively with the Australian National Opera and, until 1964, Elizabethan Opera (later renamed Australian Opera, to which he would return in 1973). In 1964, he was back in New Zealand at the helm of New Zealand Opera. After a brief spell in South Africa, he spent three years with the Sadler's Wells company (now English National Opera) in London, before returning to Australia in 1971. In that year Tintner made his first, highly successful, conducting visit to Canada. Return visits culminated in his final emigration to Halifax, as chief conductor of Symphony Nova Scotia.”

- Guy Rickards, THE GUARDIAN, 19 Oct., 1999

"Lengthy crescendos had the gradual, tidal weight Bruckner intended, and the phrases of the Adagio rose and fell with the inevitability of human breath."

- Arthur Kaptainis, Montréal Gazette, 16 Oct., 1999