There have been many different versions and editions of the symphonies of Anton Bruckner.
Title | Surname | Tonality | Composition, Revisions | Editions | Duration* |
---|---|---|---|---|---|
Symphony in F minor | Study Symphony | F minor | 1863 | Nowak [1973] | 42 minutes |
Symphony No. 1 | Das kecke Beserl | C minor | 1865–66 (early draft), 1866/1868, 1877/1884, 1891 | 1865–66: Grandjean [1995] 1866: Carragan [1998], 1868: Thomas Röder [2014] 1877/1884: Haas [1935], Nowak [1953] 1891: Doblinger [1893], Brosche [1980] | 48–50 minutes |
Symphony in D minor | Die Nullte | D minor | 1869 | Wöss [1924], Nowak [1968] | 45 minutes |
Symphony No. 2 | Symphony of Pauses | C minor | 1872, 18731, 18761, 1877, 18922 | 1872: Carragan [2005] 1873: Carragan 1876: Carragan 1877: Haas [1938]3, Nowak [1965], Carragan [2007] 1892: Doblinger [1892] | 51–62 minutes |
Symphony No. 3 | Wagner | D minor | 1873, 18744, 18765, 1877-1878, 1889 | 1873: Nowak [1977] 1874: Carragan 1876: Nowak [1980], Carragan 1877-1878: Oeser [1950], Nowak [1981]6 1889: Rättig [1890], Nowak [1959] | 59–65 minutes |
Symphony No. 4 | Romantic | E-flat major | 1874, 18787, 18808, 1881, 1886, 18879, 1888 | 1874: Nowak [1975], Korstvedt [2021] 1878: Haas [1936], Nowak [1981] (Volksfest Finale); Carragan, Korstvedt [2022] 1881: Haas [1936], Korstvedt [2019] 1886: Nowak [1953] 1888: Gutmann [1889], Korstvedt [2004] | 60–67 minutes |
Symphony No. 5 | B-flat major | 1876-1878 | Doblinger [1896]10, Haas [1935], Nowak [1951] | 78 minutes | |
Symphony No. 6 | A major | 1881 | Doblinger [1899]11, Haas [1935], Nowak [1952] | 60 minutes | |
Symphony No. 7 | E major | 1883-1885 | Gutmann [1885], Haas [1944], Nowak [1954] | 65 minutes | |
Symphony No. 8 | Apocalyptic | C minor | 1887, 188812, 1890, 189213 | 1887: Nowak [1972], Hawkshaw [2022] 1890: Haas [1939]14, Nowak [1955] 1892: Haslinger-Schlesinger-Lienau | 86–90 minutes |
Symphony No. 9 | (Unfinished) | D minor | 1894 | Doblinger [1903]15, Orel [1932], Nowak [1951], Cohrs [2000] Finale sketches: Orel [1934], Phillips [1994-2002] | 60 minutes ~18 minutes |
* According to the Anton Bruckner's Gesamtausgabe. Duration depends on the concerned version.
1variants of the 1872 version reconstituted by Carragan,2variant of the 1877 version,3"mixed version" 1872-1877,4refined variant of the 1873 version,5 Adagio edited by Nowak, other movements reconstituted by Carragan,6Scherzo with coda,7version with the new "Hunting" Scherzo and the "Volksfest Finale",81878 version with a new Finale, unpublished, revised in 1881 and 1886,9slight revision, unpublished,
10version revised by Franz Schalk, 11edition revised by Joseph Schalk,12Adagio edited by Gault and Kawasaki [2003], other movements by Carragan,13version revised by Joseph Schalk,14"mixed version" 1887-1890, 15version revised by Ferdinand Löwe.
The first editions of Bruckner's works published by Theodor Rättig, Albert Gutmann, Haslinger-Schlesinger-Lienau and Ludwig Doblinger during and slightly after Bruckner's lifetime tended to "incorporate orchestral retouching, alterations in phrasing, articulation, and dynamics, and added tempo and expression markings," and on occasion were cut. [1] These changes were made by Bruckner's friends and associates, and it is not always possible to tell whether the emendations had Bruckner's direct authorization. [2] These were the versions that were used for nearly all performances until the 1930s. Cooke judges all these publications as "spurious" because they "did not represent Bruckner's own intentions", while Korstvedt classifies them into three categories:
Korstvedt argues that it was not uncommon for differences to exist between the autograph manuscripts and the first publications of musical works in the late 19th century, and that while the discrepancies in Bruckner's case are "unusually pronounced" they are not "essentially aberrant." [4] He points to the example of Verdi's Falstaff , whose musical text contains substantial contributions from the leader of the orchestra of La Scala which were apparently welcomed by the composer. [4]
Work | Published | Cooke (1969) | Korstvedt (2004) |
First Symphony | 1893 | Spurious | Grey area |
Second Symphony | 1892 | Spurious | Grey area |
Third Symphony | 1879 | Spurious | Authentic |
Third Symphony | 1890 | Spurious | Authentic |
Fourth Symphony | 1889/90 | Spurious | Authentic |
Fifth Symphony | 1896 | Spurious | Not authentic |
Sixth Symphony | 1899 | Spurious | Not authentic |
Seventh Symphony | 1885 | Spurious | Authentic |
Eighth Symphony | 1892 | Spurious | Grey area |
Ninth Symphony | 1903 | Spurious | Not authentic |
Robert Haas produced a critical edition based on Bruckner's original scores during the 1930s, that was endorsed by the Third Reich.
Haas issued critical editions of Symphonies 1 (1877 version), 2 (1877 version), 4 (1881 version - aka 1878/1880), 5, 6, 7 and 8 (1890 version).
In 1934 Alfred Orel issued a critical edition of Symphony No. 9 and of the sketches of its Finale.
In 1950 Fritz Oeser issued a critical edition of Symphony No. 3 (1877/1878 version).
While the Allies enforced denazification, Haas' work was frowned upon and his rival Leopold Nowak was appointed to produce a whole new edition from scratch. [5]
From the 1950s onwards, Nowak revised and re-issued the editions of Haas, Wöss, Oeser and Orel. He claimed that in the case of Symphonies No. 2 and No. 8, Haas had mixed and matched passages from an early version and a later version to create "hybrid" scores. [6] [7] However, when the manuscripts became available in microfilm, it was found that the passages that Haas had allegedly mixed in from earlier manuscripts were actually present, but crossed out in the manuscript that Haas worked with; Bruckner wrote a letter to the conductor Felix Weingartner, in which he mentioned the cut passages and hoped that they will prove "valid for posterity, and for a circle of friends and connoisseurs". [5]
Beside the 1876, 1877/1878 (re-issue with the Coda of the Scherzo) et 1889 versions of Symphony No. 3, Nowak issued the until that time forgotten, first version of Symphonies 3, 4 and 8.
In 1980 Günter Brosche re-issued the 1891 version of Symphony No. 1.
William Carragan [8] went on with the restitution of critical issues of Bruckner's symphonies.
In 1998 Carragan reconstituted and issued the 1866, original version of Symphony No. 1. In 2005, he reconstituted and edited the 1872 version of Symphony No. 2, as well as its intermediate versions of 1873 and 1876. He also reviewed the 1877 version of Nowak, in which he corrected some residual errors. This revision, which is conform to Bruckner's manuscript, has been recorded by Daniel Barenboim with the Berlin Philharmonic Orchestra. Carragan also reconstituted the 1874 revision of Symphony No. 3, the 1878 version of Symphony No. 4 and the 1888 variants of Symphony No. 8. As last he reconstituted the complete 1876 version of Symphony No. 3. [9]
Some convinced Brucknerians, as Eliahu Inbal, Georg Tintner and, more recently, Simone Young and Marcus Bosch, have recorded the "forgotten" first versions of Symphonies No. 1, 2, 3, 4 and 8.
The 1874 revision of Symphony No. 3 and the 1888 variant of Symphony No. 8 have been premiered and recorded by Gerd Schaller, Philharmonie Festiva. [10] [11] The complete 1876 version of the Symphony was premiered by Richard Pittman and the New England Philharmonic Orchestra on 2 March 2019 in Boston, Massachusetts. [9]
In 2000 Benjamin-Gunnar Cohrs issued a new edition of Symphony No. 9, in which he corrected some errors he had found in Nowak's edition. The premiere of Cohrs’ edition together with the sketches of the Finale issued by John Alan Phillips have been recorded by Nikolaus Harnoncourt. [12]
In 2004 Benjamin Korstvedt issued a critical edition of the 1888 version of Symphony No. 4. This version has been premiered by Akira Naito. [13]
Paul Hawkshaw has issued a new edition of the 1887 version of Symphony No. 8. This new edition has been premiered by Peter Oundjian with the Yale Symphony Orchestra on 27 October 2017. [14]
Attempts have also been made to reconstitute the original concepts of 1876-1877 of Symphony No. 5. [15] [16]
Symphony in F minor ("Studiensymphonie"; 1863) - Nowak (1973)
Symphony No. 1 in C minor
Symphony in D minor ("No. 0"; 1869) - Nowak (1968)
Symphony No. 2 in C minor
Symphony No. 3 in D minor ("Wagner Symphony")
Symphony No. 4 in E-flat major ("Romantic")
Symphony No. 5 in B-flat major (1876-1878) - Nowak (1951)
Symphony No. 6 in A major (1881) - Nowak (1952)
Symphony No. 7 in E major (1883-1885) - Nowak (1954)
Symphony No. 8 in C minor
Symphony No. 9 in D minor
Joseph Anton Bruckner was an Austrian composer and organist best known for his symphonies and sacred music, which includes Masses, Te Deum and motets. The symphonies are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
Anton Bruckner's Symphony No. 5 in B-flat major WAB 105, was written in 1875–1876, with minor changes over the next two years. It came at a time of trouble and disillusion for the composer: a lawsuit, from which he was exonerated, and a reduction in salary. Dedicated to Karl von Stremayr, education minister in the Austro-Hungarian Empire, the symphony has at times been nicknamed the "Tragic", the "Church of Faith" or the "Pizzicato"; Bruckner himself referred to it as the "Fantastic" without applying this or any other name formally.
The Symphony No. 6 in A major, WAB 106, by Austrian composer Anton Bruckner (1824–1896) is a work in four movements composed between 24 September 1879, and 3 September 1881 and dedicated to his landlord, Anton van Ölzelt-Newin. Only two movements from it were performed in public in the composer's lifetime. Though it possesses many characteristic features of a Bruckner symphony, it differs the most from the rest of his symphonic repertory. Redlich went so far as to cite the lack of hallmarks of Bruckner's symphonic compositional style in the Sixth Symphony for the somewhat bewildered reaction of supporters and critics alike.
Anton Bruckner's Symphony No. 7 in E major, WAB 107, is one of the composer's best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the "Lyric", though the appellation is not the composer's own, and is seldom used.
Anton Bruckner's Symphony No. 8 in C minor, WAB 108, is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 at the Musikverein, Vienna. It is dedicated to the Emperor Franz Joseph I of Austria.
The Symphony No. 9 in D minor, WAB 109, is the last symphony on which Anton Bruckner worked, leaving the last movement incomplete at the time of his death in 1896; Bruckner dedicated it "to the beloved God". The symphony was premiered under Ferdinand Löwe in Vienna in 1903.
Anton Bruckner's Symphony No. 1 in C minor, WAB 101, was the first symphony the composer thought worthy of performing and bequeathing to the Austrian National Library. Chronologically it comes after the Study Symphony in F minor and before the "nullified" Symphony in D minor. The composer gave it the nickname Das kecke Beserl, and conducted its 1868 premiere. Much later, after Bruckner was granted an honorary University of Vienna doctorate in 1891, he dedicated the 1890–1891 version of the work to that institution.
Anton Bruckner's Symphony No. 2 in C minor, sometimes known as the "Symphony of Pauses", was completed in 1872. It was actually the fourth symphony composed by Bruckner, after the Symphony in F minor (1863), the Symphony No. 1 in C minor (1866), and the Symphony in D minor (1869).
Anton Bruckner's Symphony No. 3 in D minor, WAB 103, was dedicated to Richard Wagner and is sometimes known as his "Wagner Symphony". It was written in 1873, revised in 1877 and again in 1889.
Anton Bruckner's Symphony No. 4 in E-flat major, WAB 104, is one of the composer's most popular works. It was written in 1874 and revised several times through 1888. It was dedicated to Prince Konstantin of Hohenlohe-Schillingsfürst. It was premiered in 1881 by Hans Richter in Vienna to great acclaim.
At the end of his study period in form and orchestration by Otto Kitzler, Anton Bruckner made on 7 January 1863 sketches for a Symphony in D minor, WAB add 244.
Bruckner did not go on with this project, but composed later in the same year the Symphony in F minor, WAB 99.
Benjamin-Gunnar Cohrs was a German conductor, music scholar, and publicist on music.
The Mass No. 3 in F minor, WAB 28, is a setting of the mass ordinary for vocal soloists, chorus and orchestra, and organ ad libitum, that Anton Bruckner composed in 1867–1868.
The Requiem in D minor, WAB 39, is a Missa pro defunctis composed by Anton Bruckner in 1849.
Anton Bruckner's String Quintet in F major, WAB 112 was composed in 1878/79 in Vienna.
The String Quartet in C minor WAB 111, was composed by Anton Bruckner's in 1862 during his tuition by Otto Kitzler.
The Bruckner Gesamtausgabe is a critical edition of the works of Anton Bruckner. Published by Musikwissenschaftlicher Verlag Wien in Vienna, it comprises three successive editions.
The Austrian composer Anton Bruckner composed eleven symphonies, the first, the Symphony in F minor in 1863, the last, the unfinished Ninth symphony from 1893 to 1896.
Gerd Schaller is a German conductor, best known for his performing and recording rare works, including the first full recordings of Bruckner's output.
William Carragan was an American musicologist particularly known for his research into the music of Anton Bruckner. He spent many years producing a completion of Bruckner's Ninth Symphony.
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