9th Symphony (Bruckner)

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The Symphony no. 9 in D minor ( WAB 109) is the last Symphony from Bruckner . Bruckner worked out three movements in full, the fourth movement remained unfinished.

dedication

Bruckner is said to have dedicated his 9th symphony to “the dear God”. There is no written evidence of this from his hand, but after verbal communication from his doctor, Dr. Richard Heller, handed down by Bruckner's biographers August Göllerich and Max Auer , said before his death: “You see, I have already dedicated two earthly majesties to symphonies, to poor King Ludwig as the royal patron of art, our illustrious, dear Emperor as to the highest earthly majesty, whom I recognize, and now I dedicate my last work to the majesty of all majesties, to the dear God, and hope that he will give me so much time to complete the same. ”The quote refers to the 7th symphony , which is dedicated to Ludwig II , and the 8th Symphony , which is dedicated to Franz Joseph I.

History of origin

Immediately after finishing the 8th Symphony on August 10, 1887, Bruckner began work on the Ninth. The first drafts of sketches, which are kept in the Biblioteka Jagiellońska in Cracow , date from August 12, 1887. At the beginning of a first written score of the first movement is the date September 21, 1887. Work on the first movement was soon interrupted: Bruckner sent the conductor Hermann Levi the score of his eighth, who refused the performance of the work, which he found incomprehensible. Bruckner then revised the eighth. During this revision he began to rework his third from March 1888 to March 1889 . In addition, there was revision work on the 2nd symphony , which came to a conclusion on February 12, 1889 (the second was due to go to press in 1892). The eighth received its final shape on March 10, 1890. In addition, the 1st and 4th symphonies and the F minor mass were revised .

“Lots of secrets today. H. Doctor! [...] 3rd secret. The ninth symphony (D minor) has begun. "Bruckner announced in a letter of February 18, 1891 to the reviewer Theodor Helm and" hides the fact that the first occupation with it [the ninth] was almost four years ago. " Bruckner then composed two more choral symphonic works, the 150th Psalm (1892) and the Helgoland men's choir (1893). The first movement of the ninth was started in 1887 and completed after six years - on December 23, 1893. The Scherzo , designed in 1889, was finished on February 15, 1894 - the Adagio on November 30, 1894. The trio three different versions have been handed down: To a discarded Trio No. 1 in F major drafts exist.. The also discarded Trio No. 2 in F sharp major and 2/4 time, which is partly in the form of a score, contains a viola solo as a special feature. A score sheet of the final Trio No. 3 in F sharp major is kept in the Austrian National Library. With regard to the final movement, the following entry can be found in Bruckner's calendar: “24. May [1] 895 1st time final of new scitze “. Overall, work on the Ninth dragged on over the long period from 1887 to 1896 and had to be interrupted again and again due to Bruckner's increasingly deteriorating health. Eventually Bruckner died while working on the fourth movement.

premiere

The first three movements of the ninth were performed for the first time in the Wiener Musikvereinssaal on February 11, 1903 by the Wiener Concertvereinsorchester, the forerunner orchestra of the Wiener Symphoniker , under the conductor Ferdinand Löwe in its own arrangement. Löwe changed Bruckner's original score profoundly by adapting Bruckner's instrumentation to bring it closer to Wagner's ideal of sound and by making changes to Bruckner's harmony at individual points (Adagio) . Without comment, he published his adaptation, which was long regarded as Bruckner's original. In 1931, the musicologist Robert Haas pointed out the differences between Löwe's edition and Bruckner's original and contrasted parts of Bruckner's scores with Löwe's adaptation. The conductor Siegmund von Hausegger performed both the lion arrangement and Bruckner's original score, so that the actual premiere of the first three movements of Bruckner's 9th Symphony did not take place until April 2, 1932 in Munich. The first recording on LP was made by Siegmund von Hausegger with the Munich Philharmonic in the original version (Edition Alfred Orel ) in April 1938.

Publications / issues

The first three movements in the arrangement by Ferdinand Löwe were first printed in 1903 by the music publisher Doblinger in Vienna. The lion edition was then published by Universal Edition in Vienna and also as a paperback edition by Eulenburg , Leipzig. However, Leo did not mark his edition as an adaptation. This gave the impression that it was an original composition by Bruckner. As part of the Bruckner Complete Edition, Bruckner's original score by Alfred Orel was published in 1934 as part of the Bruckner Complete Edition supervised by Robert Haas. In the supplementary volume “Drafts and Sketches”, Alfred Orel also published the then known design materials for the fourth movement. In 1951 a revised new edition by Leopold Nowak took place at the Musikwissenschaftlichen Verlag Wien . Benjamin-Gunnar Cohrs published a critical edition in 2000 , taking into account the work of Alfred Orel and Leopold Nowak. He also edited and completed the two posthumous trios. Mostly the editions of Nowak and Orel are used. As part of the new complete edition of Anton Bruckner's works commissioned by the Musikwissenschaftlichen Verlag Wien, the critical new edition of Bruckner's 9th Symphony is also planned.

Stylistic classification

As Hans-Hubert Schönzeler already points out, Bruckner has "his roots in the music of Palestrina, Bach, Beethoven, Schubert". At the same time, Bruckner is one of the most important innovators of harmony in the late 19th century , alongside Franz Liszt .

In the 9th Symphony, Bruckner consistently continues the symphonic path he has chosen by sticking to the sonata form (expanded to include the third theme) . At the same time he expands the form and makes it monumental. The expansion of the orchestra is also an expression of this increase in mass. The Bruckner researcher Alfred Orel states: “If you look at the entire apparatus that Bruckner uses, the mass of sound means that was previously unknown in absolute music is noticeable.” - And Orel concludes: “The Orchestra of the IX . Bruckner's symphony represents only the end point of Bruckner's sonic line of development in terms of the means used. […] The decisive factor is by no means the mass of means of expression, but the way they are used. ”With regard to the Adagio of the Ninth, he emphasizes:“ As in Group sound Strings, woodwinds and brass instruments can soon be juxtaposed, soon coupled again in the most varied of ways and combined into an inseparable whole, as is the individual sound of the instruments in these groups. On the one hand the openwork work, on the other hand Bruckner's peculiarity of often forming his themes from short phrases, mean that an instrument very rarely appears as a soloist for a long time. "

According to Ekkehard Kreft, "the phases of improvement in the 9th symphony are given a new status in that they serve to shape the process-like character from the starting point of the topic complex (preliminary topic) to its target point (main topic)." Both in the first movement and in the final movement this is expressed in a previously unknown dimension. The entry of the main topic is preceded by a harmoniously complex progressive phase. The use of this increasingly complex harmony made Bruckner a pioneer for later developments. The musicologist Albrecht von Mossow sums this up with regard to the Ninth as follows: “With Bruckner, as with other composers of the 19th century, the increasing emancipation of dissonance, the chromatization of harmony, the weakening of tonality, the touching of the Triad harmonics through the increased inclusion of four and five notes, the formal breaks within his symphonic movements, as well as the upgrading of the timbre to an almost independent parameter. ”In the 9th symphony, the large waves of increase often lead to a subsequent process of decay. The music psychologist Ernst Kurth highlights this process of development, climax and disintegration and speaks of the "inner spatial symbolism of a contrast between sound-specific breadth and emptiness compared to the previous condensation and summit position." Manfred Wagner also picks up on this and describes Bruckner as a "structuralist ." ] ". In his Bruckner book he draws a direct parallel to Karlheinz Stockhausen , “to his almost half-hour work Gruppen (1957) for three orchestras, because in it structure is also not so much in the linear emergence, but in the tearing, the dismemberment of the individual Apparatus is shown. As with Bruckner, it is not only about the transfer of the spatial sound conception to the instrumental apparatus, often referred to as 'registration' by performers, but also about the wealth of types of tone movements, colors and characters [...]. "

The fugue in the final movement of the 9th Symphony is unusual , although the inclusion of a fugue in a symphonic context is not unusual for Bruckner. However, the fugue in the finale of the ninth has a prominent position, as Rainer Boss already explained: “Compared to the usual use of the main themes of the final movement as a fugue theme, the main theme of the finale of the 9th symphony has a special feature, namely it is not adopted unchanged, but for the Fugue transformed in its last two bars. [...] This explains the 'unusual' form of the joint exposure for Bruckner's standards, which exceptionally does not require the two-bar extension of the comes for the purpose of modulatory regression to the dux. "

In the 9th Symphony, Bruckner increasingly refined his citation technique. Paul Thissen sums this up in his analysis: “There is no doubt that the form of integration of the quotations used by Bruckner in the Adagio of the Ninth Symphony shows the most differentiated appearance. It ranges from the mere assembly technique (Miserere quote) to the penetration of the sentence with transformations of the cited motif (Kyrie quote). "

In summary, Bruckner's 9th Symphony represents an important link between late Romanticism and modernity. With the Ninth, Bruckner not only opens up new worlds of sound through the emancipation of dissonance already achieved by Wagner , but also achieves a new dimension by detaching individual chords from sound connections that were once established of harmony, as continued, for example, by Arnold Schönberg . On the long symphonic stretches (negative sound of silence - sequencing phase - broadened climax - process of decay) Bruckner stretches the form extremely. Thus, with his 9th Symphony, Bruckner becomes a pioneer of modernism, also structurally.

occupation

Three flutes , three oboes , three clarinets in Bb (in the Adagio alternating with clarinets in A), three bassoons , eight horns , (5th - 8th alternating with four Wagner tubas in the 3rd and 4th movements), three trumpets in F, three trombones , double bass tuba , timpani , 1st violin , 2nd violin, viola , cello , double bass

Performance duration:

  • Movements 1–3: approx. 55–65 min. (1: 535 bars, 2: 512 bars, 3: 243 bars)
  • Movement 4 (final movement additions or final movement adaptations):
    • Carragan: approx. 22 min. (717 bars)
    • Josephson: approx. 15 min. (644 bars)
    • Letocart: approx. 25 min. (674 bars)
    • Marthé: approx. 30 min.
    • Samale-Mazzuca-Phillips-Cohrs: approx. 25 min. (665 bars)
    • Schaller: approx. 25 min. (736 bars)
  • Replacement of the 4th movement with the Te Deum: plus approx. 23 min.

First movement: Solemn, misterioso

The first movement in D minor ( Allabreve ) is a freely designed sonata movement with three thematic complexes. At the beginning the strings intone the tremolo key D, which is fixed by the woodwind in the third bar. A first thematic nucleus resounds in the horns as a “(basic) tone repetition in triple dotted rhythm, from which the interval of the third and then the fifth is separated from the caesuraing beats of the kettledrum and trumpet in the underlying metrical order. A symphony can hardly begin in a more original, more elementary, more archetypal way. ”The typical Bruckner phenomenon of the splitting of notes occurs in bar 19: The fundamental note d is dissociated into its neighboring notes des and es. A bold upswing of the horns in C flat major heralds something promising. An extended development phase then prepares the entry of the main theme. Manfred Wagner points out the specifics of Bruckner's music, which is based on the principle of development and the exploration of sound: “Bruckner still believes in the compelling musical thought by placing it as the culmination of development at its end, but he does knows that in the future it is much more about the circumstances of how something will be than about what will be. ”The way in which topics arise is getting longer and longer at Bruckner; it takes more and more time until the main idea breaks out.

The powerful main theme in the first movement is impressive because the D minor sound space is initially reinforced by the rhythmically distinctive octave shift of the tones D and A. Suddenly there is a shift to the tone es or C flat major. The latter is reinterpreted as the dominant to E minor. This is followed by multiple cadenzas from C major and G minor to A major - and finally to D major. The subsequent phase of disintegration, which appears Phrygian at the beginning, is at the same time a transition to the lyrical-cantable secondary theme - the so-called singing period. The interval of the falling sixth, which will also play a role in the unfinished fourth movement, forms an essential part of the head motif of the singing period. Then Bruckner composes a very loud transition phase, which in turn prepares the use of the third theme. This third thought with its quint-quart motif has a strong affinity with the Te Deum theme recurring in the finale.

At the end of the exposure there is a pause on the tone f. The implementation follows seamlessly. With regard to the formal design of the development and the subsequent recapitulation, Bruckner goes one step further on his symphonic path by not separating the two sections, but rather allowing them to merge. Already Alfred Orel emphasizes: “These two parts [development and recapitulation] have become a unified whole in terms of their internal structure, and not just by soldering the seam. The development consists of an expansion of the main theme, but without changing the arrangement of the motif material in its tripartite division. In this way, the first part of the main theme is repeated - not true to the note, but according to its inner being. However, the repetition is combined with the motif material of the 2nd part in the reverse as an accompaniment. The 2nd part is also expanded and, as in the exposure, leads to the third part and climax with the same increase as in the exposure. [...] This climax is also expanded (composed) by repeated, increasing sequencing. The sudden termination of the exposure is avoided; In its place there is a short execution of the motif material of this climax with a new motif of the independent accompaniment that determines the character of this passage. ”Finally, a climax results in the third part of the main theme. Another reconciliation is not required. An organ point on note a slows down the movement and prepares the varied side movement. The apparently incomplete recapitulation begins - the three-part sonata form returns here to its original two-part structure. In the coda, the material of the main theme dominates again, which is increased to a provisional apotheosis that leaves everything open via a persistent, dotted rhythm and the repeated juxtaposition of E flat major and D minor.

Second movement: Scherzo. Moved, lively - trio. Fast

The Scherzo in D minor (¾ time) unusually begins with an empty measure. After this composed break, the woodwinds intone a distinctive dissonance chord rhythmized to quarters with the notes e, g sharp, b flat and c sharp. This chord can be analyzed in several ways. The musicologist Wolfram Steineck gives the following explanation: “As unequivocally as the phrase in C sharp minor can be heard, it is also dominant in relation to D minor from the start, so it is at least ambiguous. [...] It is the dominant root a, which is split into its two surrounding semitones and gives the sound its characteristic subdominant character without taking away the dominant one. ”Here, too, the phenomenon of tone splitting is significant. While the tone dissociation in the first movement affects the tonic keynote and occurs relatively late, in the Scherzo the tone A, which is in the center of a dominant A major sixth chord, is split into its neighboring tones G sharp and B flat right at the beginning. The frame interval of this chord is the sixth, which is thematically and structurally immanent in the ninth. In a sketch from January 4, 1889, Bruckner's note can be found: “E Fund [ament] Vorhalt auf Dom” - and thus, according to Steinbeck, “the sound is theoretically also on e, but is dominant lead, ie lead to A major- Sound and thus stands in the distance between the fifths [...]. ”This characteristic chord can also be heard as a double-diminished fifth sixth chord on c sharp with an older fifth in g sharp, in the harmonic minor on the seventh degree. In the end, its target point is the note D or a D minor context, which is then reached after a complicated harmonic development phase. The Scherzo theme breaks through almost violently, energetically throbbing and contrasted with the ghostly introductory theme. In the middle section, the thematic material is varied further and takes on an elegiac and sometimes even dance-like note. After going back to the beginning, the energetic coda leads purposefully to the end.

The three-part trio in F sharp major and fast 3/8 time leads the listener astray with its ambiguity and its metrically and rhythmically unexpected shifts. The repeated F sharp major triad breaks are alienated by the leading tones ice and his - overall the trio has a ghostly effect. While the two earlier trio designs from 1889 and 1893 are still more popular, in the final F sharp major trio the bizarre, daring and fantastic come to the fore, which is why “not a few believe that the Scherzo of IX. the most ingenious that Bruckner has ever written. "

Third movement: Adagio. Slowly, solemnly

The three-part Adagio in E major (4/4 time) “has experienced countless interpretations that seek to match its mood and will undoubtedly experience them in the future.” For example, August Göllerich and Max Auer see the beginning “in the desolate mood of erring Parsifal (Prelude to Richard Wagner's 3rd act of the consecration festival play). “From a compositional analysis point of view, the phenomenon of splitting tones also plays a role at the beginning of this sentence. The initial note h is split or gives way to its two neighboring notes c and a sharp, whereby the striking interval jump of the ninth gives the beginning of the movement an intense sound. The following chromatic downward course c, b, a sharp ends in a sudden octave crash, which is finally followed by a diatonic ascending phrase section that ends with a plaintive lead. Just as there is no second Scherzo in Bruckner that begins with a pause, in Bruckner there is “no other Adagio that begins without any accompaniment, with a unanimous melodic movement.” However, this beginning of the movement was by no means planned unanimously from the beginning Bruckner's sketches and drafts prove it. On the third beat of the second bar, the remaining strings and the Wagner tubas begin in full tone. The latter is used here for the first time in the Ninth - a method that Bruckner already used in his 7th Symphony: there, too, at the beginning of his funeral chant for the death of Richard Wagner, he prescribes these instruments with their round and dark sound for the first time . Unlike in the ninth, however, the Adagio of the seventh begins with full chord accompaniment. And while in the seventh the basic key of C sharp minor is set from the beginning, the basic key of E major in the ninth is initially completely avoided or its manifestation is delayed for a long time.

The distinctive, second motif evokes the so-called " Dresden Amen ". Clemens Brinkmann already stated in principle: “Under the influence of Mendelssohn and Wagner, Bruckner used the 'Dresdner Amen' in his church music and symphonic works.” - and so this connection can also be established at this point. The third, brooding motif in pianissimo is characterized by the “tired seconds of the double bass.” In a lament, the first oboe soars up and becomes part of a sequencing phase that is steadily spiraling upwards, which finally leads to the eruption of the fourth motif: a “pentatonic trumpet call , which repeats itself seven times in this key [E major] [in every measure] without ever being modified ”is presented on a tonally aimless chord surface resulting from a multiple layering of fifths. Michael Adensamer already explains this in detail: “One could interpret at least four keys from this layering (E major, B major, C sharp minor and F sharp minor) and still ignore the character of this sound. This character lies in the various uses of the sound. You could expand it up or down until it encompassed all twelve tones. In this sense it is unlimited, infinite and basically a-tonal [...]. ”The characteristic trumpet fanfares are literally staged on this sound surface and counterpointed by a fateful rearing horn motif. This motif quotes the expressive beginning of the movement through the use of the wide ninth. More and more the sound ebbs and flows into a funeral chorale of the Wagner tubas, which, according to the tradition of Auer and Göllerich von Bruckner, was called his "farewell to life". Ernst Decsey also refers to this statement by Bruckner and states the following: "Bruckner called this passage [letter B of the score] 'farewell to life' when he played it to the two helmets on his return from Berlin in 1894."

The second theme, a soft vocal melody, the structure of which is sometimes compared “with the theme of the late Beethoven”, undergoes numerous modifications and variations in the further course. Immediately before the main theme re-enters, the solo flute descends in a C major triad break over the pale sound grounding of a quintaltered F sharp major seventh chord of the Wagner tubas, in order to remain on the note F sharp after a final tritone fall.

After a silence, the second part of the adagio follows (from bar 77). This is largely based on the components of the main topic complex. The existing material is varied and further developed. The principle of sound splitting is evident here too - especially in the counterpart of the flute, which as a new element forms a clear counterpoint to the main theme. Only now does the actual implementation work begin, in which the head motif of the first theme is carried up by proud striding basses. Subsequently, the milder tone of the varied lyrical theme dominates again. After a brooding intermediate phase, another wave of growth begins, which leads to the climax of the implementation. Once again, trumpets blare their familiar fanfare signals, which suddenly stop. This is followed by the middle part of the vocal theme, which ends just as abruptly. Only the very last end of the phrase is picked up by the oboe and declared in the forte - stammered by the horn in the diminutive form and in the piano. After a general pause, the sentence rises sharply. The crescendo, which is dimensioned over a long stretch, suddenly breaks off and a downright shy-looking pianissimo part of the woodwind follows, which in turn leads to a chorale-like episode of the strings and brass. In the opinion of Constantin Floros, there are two passages in the Adagio in the sense of a hapax legomena - passages that only appear once and “do not recur in the further course of the sentence. This applies on the one hand to the tube passage [Farewell to Life] in [letter] B. [...] On the other hand, this applies to the chorale-like episode bars 155–162 “This spherical, transfigured passage has its structural origin in the tube chorale and at the same time takes it First chorale thoughts of the finale.

The third part of the slow movement (from bar 173) begins with a figuratively animated play around the second theme. Constantin Floros already emphasized that the Adagio of the Ninth, like the finale, “must be viewed against an autobiographical background.” Bruckner composed his 9th Symphony with the awareness of approaching death. Accordingly, the existing self-quotations such as the Miserere from the D minor Mass (bars 181 ff.) Can also be understood in the sense of a religious connotation. In the further course, the two main themes are superimposed and finally merge with one another - all of this takes place in the context of an enormous increase in sound. Bruckner creates a climax "which is unparalleled in monumentality, expressive power and intensity in music history." The enormous concentration of sound experiences a sharply dissonant discharge in the form of a figuratively expanded tredezima chord in measure 206. Then Bruckner composes from parts of the first theme and the Miserere quote a conciliatory swan song. Finally the Adagio of the Ninth ends; Ernst Kurth speaks of a "process of dissolution.": On an organ point on E, the Wagner tubas quote the second motif from the Adagio of the 8th symphony - the horns remind us of the beginning of the 7th symphony.

Fourth movement: Finale. (alla breve / without original tempo indication)

In the final movement, Bruckner sticks to his principle of the sonata form. The Bruckner researcher Constantin Floros points out: “Here too [in the finale] we find the obligatory three number of thematic complexes, the breakdown into exposition, development (called“ second part ”by Bruckner), recapitulation and coda, as well as suggestive climaxes, great Peaks and strikingly strong contrasts. ”Bruckner's finale begins with an introductory drum roll, the sequencing of a striking, falling head motif as well as a broad wave of ascents that finally leads to the massive D minor main theme. The interval structure of the second theme, the so-called song period, essentially corresponds to the thematic structure of the main theme; in its sparse appearance, however, it forms an extreme contrast to the powerful main theme. The third, chorale-like theme in E major refers to the B flat minor chant of the Wagner tubas in the third movement of the symphony. The choral theme itself is performed by the brass, surrounded by virtuoso triplet figures on the violins. The development part is prepared by a repetitive fourth-fifth motif of the solo flute, which corresponds to the opening motif of Bruckner's Te Deum, but also has a substantial similarity to the third theme of the first movement. The fugue theme consists of the same thematic material as the main theme. The recapitulation begins unusually with the singing period. The re-entry of the chorale in D major is reinforced by the Te Deum figures of the strings. After three quarter triplets in unison, the existing score slurs break off. Bruckner's sketches exist that may have been intended for the coda. However, there is no concrete evidence of this.

History of the fourth movement

The fourth movement of Bruckner's 9th Symphony has only survived in fragments. Bruckner's currently available autograph materials have been preserved in different stages of composition and range from simple sketches to multi-line drafts of particels to more or less fully worked out sheet music, the so-called "sheets". Each sheet consists of a double sheet (four pages). Occasionally there are multiple sheets and document Bruckner's different compositional concepts. The vast majority of Bruckner's manuscripts for the final movement are in the Austrian National Library in Vienna. Further autographs are kept in the Vienna Library, the Library of the University of Music and Performing Arts, Vienna, the Historical Museum of the City of Vienna and the Jagiellonska Library, Krakow.

Bruckner's manuscripts for the finale

Bruckner's drafts of scores and sketches can be put in order so that a logical musical sequence results. There are five gaps in this musical sequence. The end of the symphony, the so-called coda, is missing. The gaps in the musical sequence are due to the fact that after Bruckner's death sheet music (sketches, drafts, short score sketches, incomplete and almost complete pages of the score) were lost. The original material was more extensive. Bruckner's first biographer and secretary August Göllerich (1859–1923), who was also the secretary of Franz Liszt, began an extensive Bruckner biography, which was completed after his death by the Bruckner researcher Max Auer (1880–1962). In this nine-volume work u. a. reports: “It was an unforgivable oversight that an inventory of the estate had not been taken and an exact list could not be determined. According to Dr. Heller's communication [Dr. Richard Heller was Bruckner's attending physician], after the master's death, those who were appointed and those who were not appointed took possession of the sheet music lying around. It was therefore not possible to play the chorale that the master had written for Dr. Heller had composed specially to find [...] "

According to the protocol of October 18, 1896, Bruckner's estate administrator Theodor Reisch and testamentary witnesses Ferdinand Löwe and Joseph Schalk inspected the estate; Joseph Schalk was given the task of researching the connection between the Finale fragments. After his death (1900) the material that was with him came into the possession of his brother Franz; Ferdinand Löwe received further material.

In 1911, the Bruckner researcher Max Auer sifted through the surviving final material, which was then in the possession of the Bruckner student Joseph Schalk, and refers to a sketch sheet by Bruckner that is no longer available today. In his book “Bruckner” he explains: “The sketches of the same reveal a main theme, a fugue theme, a chorale and the fifth theme of the Te Deum.” He also writes in his book “Bruckner. His life and work ”:“ At one point, these themes even appear piled on top of each other like in the finale of the 'Eighth'. ”However, it is not possible to clearly identify which part of the finale is actually meant by this.

Publications of the final movement manuscripts

The Bruckner researcher Alfred Orel (1889–1967) arranged the drafts and sketches for the 9th Symphony for the first time in 1934. However, he still assumed different versions. The Australian musicologist John A. Phillips dealt, among other things, with the different types of paper used in the final fragments. He put together a selection of the fragments for the Musikwissenschaftlichen Verlag Wien. In his opinion, the material received is an “autograph score in the making”, carefully numbered by Bruckner. According to his research, in May 1896 the movement in the primary level of the score (strings entered; sketches for wind parts) was composed. The exposition is completely finished. In his opinion, a good half of the final slur of the score has been lost today. The sequence of the gaps can, however, be restored to a large extent from earlier versions of individual slurs and extensive particell sketches that have been eliminated, albeit little changed. The remnants of the score preserved today break off shortly before the coda begins with the 32nd slur. In Phillips' view, the sketches contain the progressive framework of the coda down to the last cadenza. The corresponding sketch for the 36th slur still contains the first eight bars with a lying tone d.

A facsimile edition of Bruckner's surviving final movement materials has been published by Musikwissenschaftlichen Verlag Wien. Most of the fragments can now also be viewed in the "Bruckner online" work database.

Performances and recordings of the final movement manuscripts

In 1934 parts of the final movement fragments were edited in the piano version by Else Krüger and performed by her and Kurt Bohnen in Munich. In 1940 Fritz Oeser created an orchestral arrangement for the exposition of the finale. This was performed on October 12, 1940 at the Leipzig Bruckner Festival as part of a concert by the great orchestra of the Reichsender Leipzig with the conductor Hans Weisbach and broadcast on the radio. The conductor Hans-Hubert Schönzeler recorded large parts of the final for the BBC with the BBC Northern Symphony Orchestra Manchester in 1974. In 1976, the composer Peter Ruzicka published his research on the unfinished final movement of the 9th Symphony in his essay Approach to a Torso . Before that he recorded parts of the finals with the Berlin Radio Symphony Orchestra. The conductor Peter Hirsch has recorded a selection of the fragments on CD with the Berlin Radio Symphony Orchestra. Nikolaus Harnoncourt performed the final score in the Phillips edition in a discussion concert with the Vienna Symphony Orchestra in Vienna (1999) and in Salzburg (2002).

Bruckner's Te Deum to replace the finale

Many of Bruckner's (alleged) statements regarding his 9th Symphony have only been passed down indirectly. Fearing that he would not finish the composition, Bruckner is said to have considered his Te Deum as a possible end to the symphony. In the third part of Volume IV of the Göllerich / Auer biography on the occasion of a visit by the conductor Hans Richter (1843–1916) to Bruckner: “This [Hans Richter] had Bruckner's 'Seventh' for a concert of the Philharmonic and now came to inform him of this in the Belvedere [Bruckner's last apartment was in the so-called Kustodenstöckl of the Belvedere Palace in Vienna]. When Bruckner informed him of his grief because of the unfinished movement of the 'Ninth', Richter, as Meißner reports [Anton Meißner was Bruckner's close confidante and also secretary], advised him to use the symphony instead of a fourth movement with the Te Deum complete. Master was very grateful for this suggestion, but saw it only as a last resort. As soon as he felt a little better, he sat down at the piano to work on the finale. He now also seemed to be thinking of a transition to the Te Deum and, as Meißner relates, promised a tremendous effect from the far-reaching main theme, thrown out by the wind choir, and the well-known and original introductory bars of the Te Deum, as well as the performing singers. As he told Meißner several times during auditions, he wanted to 'shake the gates of eternity'. "

It goes on to say about a possible transition music to the Te Deum: “The master's pupil August Stradal and Altwirth assure them that he played a 'transition to the Te Deum' for them, which Stradal noted from memory. This transition music should lead from E major to C major, the key of the Te Deum. Surrounded by the string figures of the Te Deum, a chorale was played that is not included in the Te Deum. Stradal's remark that the manuscript is with Schalk also seems to indicate that this refers to the last bars of the final score, which Bruckner has titled 'Choral 2nd Section'. [...] That Bruckner deliberately wanted to use the Te Deum motif is proven by the remark 'Te Deum' thirteen bars before the Te Deum figure enters. From the information given by the above-mentioned informers, the correctness of which can be proven on the basis of the manuscript, the master does not seem to have planned an independent transition music from the Adagio to the Te Deum, but rather one from the point of the recapitulation where the coda begins should".

As can be seen from the cited sources, August Göllerich, Anton Meißner, August Stradal and Theodor Altwirth - people who still knew Bruckner personally and were familiar with him - unanimously report that Bruckner was no longer able to complete an instrumental finale: “When he had to recognize that the completion of a purely instrumental final finale was impossible, he was trying to create an organic connection to the Te Deum proposed to him at the end and thus to create an emergency closure of the work against the tonal concerns ”. So Bruckner definitely had tonal reservations about letting the symphony, which is in D minor, end in C major. Nevertheless, he considered the variant with the Te Deum as a final replacement - at least according to the statements of various contemporary witnesses.

The last days of Bruckner

August Göllerich still knew Bruckner personally and, as his biographer, gathered a lot of information about Bruckner and his environment. The later biographers, who no longer knew Bruckner personally, drew from Göllerich's work. The authentic contemporary statements are therefore sometimes to be valued more highly than the explanations and assumptions of later generations. If the contemporary biography is to be believed, Bruckner had improvised the end of the symphony on the piano, but was no longer able to fix the coda in its final form and in writing.

Furthermore, Anton Bruckner's doctor, Dr. Richard Heller, the following wording from Bruckner again: “You see, now I have already dedicated symphonies to two earthly majesties, poor King Ludwig and our illustrious, dear Emperor as the highest earthly majesty I know, and now I dedicate to the majesty of all majesties , Dear God, one last work and I hope that he will give me so much time to complete it and that I will hopefully accept my gift graciously. - I will therefore bring the alleluia of the second movement to the end again in the finale, so that the symphony ends with a song of praise and praise to God, to whom I owe so much. ”- Dr. Heller continues: “Then he sat down at the piano and played parts of it for me with trembling hands, but correctly and with full strength. I have often regretted not being musically educated enough to be able to replay or write down what I had heard, because then it would have been possible for me to perhaps sketch the end of the Ninth Symphony. Since he was quite weak at the time, I often asked him to write down the symphonies in the main thoughts, but he could not be induced to do so. Side by side he composed the whole instrumental development and I believe that some of his utterances must be interpreted as indicating that he had, as it were, made a contract with God in his ideas. If the good Lord wants him to finish the symphony, which should be a song of praise from God, he must give it his life just as long, if he dies earlier, then the good Lord has to ascribe it to himself if he gets an unfinished work . ”In the extended report of the doctor, which Max Auer reproduced in his article“ Anton Bruckner's last attending doctor ”in 1924, Dr. Heller: "Since he was quite weak at the time, I often asked him to write down the symphony in the main thoughts, but he could not be persuaded."

Max Auer also explains the following in his Bruckner book, published by Amalthea Verlag: “It is true that Bruckner ran the pen until the last day of his life in order to finish his 'ninth' with a finale. The extensive sketches show that the master wanted to conclude this work, like the fifth symphony, with a purely instrumental finale and a huge fugue. In the middle of the work on the fugue, death snatched the pen from him. ”- And in fact the last almost completely orchestrated pages of the score can be traced in the fugue. The subsequent pages of the score are only incompletely orchestrated, in that the strings are notated in detail, but the wind parts are incomplete or only hinted at.

Completion or Reconstruction?

The final movement could not be completed by Bruckner. Numerous attempts have been made in the last few decades to reconstruct or complete the sentence. Bruckner had numbered his sheet music consecutively. This results in a slur sequence from which the musical sequence of the final movement results. Occasionally there are different versions of a parity sheet that can be traced back to Bruckner's reworking. Essentially, the authors of the respective completions use the same base material, with one or the other arch design being preferred. The main differences are mainly in the bridging of the existing gaps and in the design of the coda.

With regard to the question of the legitimation of a completion or whether a reconstruction of the final movement is possible, the authors of the respective completions have different views:

William Carragan states on his website: “Indeed, there cannot be a complete conclusion, only those that avoid the most obvious mistakes, and on many points there will always be debate. But the finale, even as a fragmented and patched collection, is still based on the authentic inspiration and lofty goals of Anton Bruckner, and it is a shame not to seize every opportunity that presents itself to familiarize oneself with it and its profound meaning . "

In their foreword to the study score of the completed performance version by Samale-Phillips-Cohrs-Mazzuca (2008), Nicola Samale and Benjamin Gunnar Cohrs compare the reconstruction of a musical work with reconstruction methods of plastic surgery, forensic pathology, archeology and the visual arts: “To this For this purpose, reconstruction techniques are required that are legitimate and of vital use in the natural sciences. In other fields, reconstructions are unfortunately far more accepted than in the field of music: in medicine, victims who have lost parts of the body are grateful for plastic surgery with its transplant techniques. Such procedures are also of great value in forensic pathology. A popular television series in 1977 made this particularly clear to the public: Forensic surgeon Dr. In the real- life crime film The Thigh Bone's Connected to the Knee Bone, Quincy reconstructed the full appearance of a murder victim using a single thigh and thus tracked down the perpetrator. Such techniques are also recognized in the fine arts and archeology: if a painting or sculpture is damaged, restorers do their best to restore it to its original state. Archaeological finds, torsos of statues, mosaics and frescoes, shipwrecks, even castles, churches or temples and entire settlements are reconstructed and supplemented (just think of the rebuilding of the Dresden Frauenkirche or the Fenice Theater in Venice) . "

Sébastien Letocart states in the booklet text on the CD recording of his final version: “I would like to make it clear that my conclusion to the finale of Bruckner's Ninth Symphony is based exclusively on Bruckner's own material. I orchestrated this as faithfully and discreetly as possible. There are two main different aspects to understanding the purpose of this completion. [...] - Firstly, not only do the orchestration of the existing parts need to be supplemented, but there are also six gaps in the development / recapitulation that need to be speculatively reconstructed, sometimes with the re-establishment of coherent connections. In my upcoming work I will present in detail the musicological thinking and the meaning behind my addition, as well as the reconstruction phase. Second, my elaboration of the coda shares neither the same task nor the same concern about the question "what would Bruckner have done?" Because it is simply impossible to know or guess anything. We only have a few sketches and some vague references (Heller, Auer and Graf) about the continuation of the finale; we don't even know the exact number of bars, but none of this gives any idea of ​​the global structure Bruckner had in mind. "

Nors S. Josephson is striving for a reconstruction and states in the foreword of his score edition, which is titled as Finale Reconstruction: “The present edition of the final movement to Anton Bruckner's 9th Symphony is the result of ten years of work. The basis was the sketches and score drafts in the Austrian National Library, the Vienna City and State Library and the Vienna University of Music and Performing Arts, of which the institutions mentioned kindly provided me with microfilms or photocopies. Alfred Orel's publication of these sources (1934) as part of the Bruckner Complete Edition was just as indispensable. "

Gerd Schaller explains a reconstruction per se as an impossible undertaking: “Before starting the actual completion work, however, there were various conceptual questions. [...] It quickly became apparent that an alleged reconstruction would not be feasible for reasons of logic, because you simply cannot reconstruct something that did not previously exist in a finished form. Which stage of the score should be reconstructed anyway? [...] As is well known, Bruckner himself repeatedly changed his works and there is no doubt that he would have made numerous and far-reaching revisions to the supposedly finished score pages of the Ninth. One could not assume a completed and thus reconstructable stage here anyway. In short: A hypothetical musical masterpiece by a genius like Anton Bruckner seemed impossible to me to reconstruct, and so I set myself the goal of creating an as authentic as possible complement and completion based on Bruckner's late style from the overall view of all the fragments [...] and avoid speculation as much as possible. The so far little noticed, early sketches offered me an additional, important source of essential Brucknerian thoughts. "

Overview of the respective completions and reconstructions

Carragan (1983, rev. 2003, rev. 2006, rev. 2010, rev. 2017)

In 1983, William Carragan presented his first attempt at a detailed version of the final movement. The first performance of this version took place in January 1985 by the American Symphony Orchestra under the direction of Moshe Atzmon in New York's Carnegie Hall. The European premiere was with the Utrecht Symfonie Orkest conducted by Hubert Soudant (Utrecht, April 1985) - for the first time on LP. The digitized version of this LP can be downloaded from the abruckner.com website. Shortly afterwards, Carragan's final version was recorded again with the Oslo Philharmonic under the direction of Yoav Talmi. A selection of Bruckner's original fragments was also recorded. Another revision of the final movement was performed in November 2009 by Warren Cohen and the Musica Nova Orchestra in November 2009. The revised version was recorded in 2010 by Gerd Schaller and the Philharmonie Festiva. A final revision of the final movement was recorded in 2017 by Mladen Tarbuk and the Orkest Symfonie of Croatian Radio.

Carragan uses both older and earlier bows. He designed the bridging of the gaps more freely by using sound formations and chord connections that are less typical of Bruckner than of later musical history (Mahler). He expands the coda by remaining at a constant fortissimo level over long stretches and also incorporating a variety of themes and allusions, including the chorale theme and the Te Deum.

Samale-Mazzuca-Phillips-Cohrs (1992, rev. 1996, rev. 2005, rev. 2008, rev. 2011)

The first version of the reconstruction based on Bruckner's sketches by Nicola Samale , Giuseppe Mazzuca , John A. Phillips and Benjamin Gunnar Cohrs was made between 1983 and 1985 and has been continually updated with the help of new sketch finds. In 1985, Nicola Samale and Giuseppe Mazzuca began to propose a reconstruction of the finale. John A. Phillips brought out a documentation of the fragment in 1999, in which the gaps are left and the conductor is asked to abruptly stop at the respective breakpoints. Phillips also provided comments and pointers to be used as an explanation. He demands that “the documentation of the fragment should never be performed and recorded without a spoken text.” Benjamin Gunnar Cohrs joined the team of authors as the fourth author. The complete performance version by the team of authors Samale-Phillips-Cohrs-Mazzuca was published as a study score, presented by Nicola Samale and Benjamin Gunnar Cohrs with a critical commentary from the latter, by Musikproduktion Hoeflich, Munich, in 2008. There are various recordings of the different versions that have emerged over the years.

For the beginning of the final movement, the team of authors at SPMC used an abbreviated form of Bruckner's bow. To fill in the gaps, the authors rely primarily on later sheets and drafts by Bruckner, while earlier original material is sometimes not taken into account. The authors are of the opinion that each gap has a certain number of measures. The gaps are filled in accordingly by the four editors according to the calculations they have made. For the coda, the authors use Bruckner's sequencing sketches, which have also been processed by other editors, but not in the original, but in transposed form. The block-like effect of the final part is mainly achieved through the constant repetition of individual motifs. The authors also include various topics from the finale.

Josephson (1992)

In 1992, Nors S. Josephson presented his version of the finale of Anton Bruckner's 9th Symphony and in it makes numerous connections to the first and third movements. He refers to the procedure that Bruckner already used in the 8th Symphony. Josephson also uses Bruckner's sketched sequencing, which is believed to have been part of the coda. In the coda he goes back to the themes of the exposition and avoids further development of the material. Compared to the Adagio, the final movement is given less weight in its edition. This version of the final movement was recorded in 2014 by the Aarhus Symphony Orchestra under the direction of John Gibbons. The CD was released by the Danish label Danacord (DACOCD754). The score of its final version was published in 2007 by Carus-Verlag, Stuttgart (No. 40.588 / 00).

Letocart (2008)

In 2008 the Belgian organist and composer Sébastien Letocart realized his vision of the final movement. In his coda themes from the 5th, 7th and 8th symphonies are quoted. The central theme of the trio is considered the final alleluia. At the end, Letocart combines four main themes from all four movements of the ninth. Its final realization was recorded in 2008 together with the first three movements of the symphony by the French conductor Nicolas Couton with the MAV Symphony Orchestra of Budapest.

Schaller (2016, rev. 2018)

The conductor Gerd Schaller performed his version of the final movement for the first time on July 24, 2016 in the Ebrach Abbey Church as part of the Ebrach Music Summer with the Philharmonie Festiva . The CD was published by the Profil Edition Günter Hänssler label (PH16089). When completing the work, Schaller took into account the traditional design materials up to and including the previously neglected, early sketches. His primary goal was to use only authentic compositional material from Bruckner as possible and thus to stay close to the Bruckner original. In his work, he took Bruckner's specific composition techniques into account, so that a pronounced Bruckner style is achieved even in places where the original is not entirely original. In addition, Schaller completed and orchestrated what was missing on the basis of his many years of experience as a conductor. Schaller derives the broad, dramatically conceived recapitulation of the main theme, also from Bruckner's earlier drafts. In the coda he quotes the opening theme of the first movement and thus builds a bridge to the beginning of the symphony, a citation technique that Bruckner himself used in his symphonies (3rd and 5th symphonies) and goes back to Beethoven. Bruckner's musical language in the fragments is pushing vehemently into the 20th century. This specific style of Bruckner's late style was also sought by Schaller in his view of the final movement. In 2018 he revised his final movement additions (performed for the first time on July 22, 2018 in the Ebrach Abbey, again as part of the Ebrach Music Summer with the Philharmonie Festiva and Schaller himself as conductor). In the final part of the coda, in his revised edition, Schaller dispenses with quotations from other works by Bruckner.

Further completions

Further preliminary additions were made by Ernst Märzendorfer (1969), Hein 's-Gravesande (1969), Marshall Fine (1979) and Roberto Ferrazza (2017).

Use of individual Finale fragments in new compositions

Instead of a completion or reconstruction, new compositions have been created that use some ideas from the final fragments and process them differently:

Marthé (2005)

Peter Jan Marthé states that he is in direct contact with Bruckner's mind and claims that the materials for the final movement of the Ninth are “a well-composed archaic initiation ritual”. In the years 1995–2005 he produced an independent work by using final movement materials from Bruckner's 9th Symphony, as well as quotations such as: B. used from the 7th Symphony and created a freely designed new composition overall. He himself describes his method of composition as "Bruckner reloaded". In addition, he cites and processes motifs from Richard Strauss (Also sprach Zarathustra) and Gustav Mahler (Adagio of the 10th Symphony). The CD recording with the first three movements of Bruckner's Ninth and Marthé`s new composition was released in 2006 with the European Philharmonic Orchestra under the direction of Peter Jan Marthé by Preiser (PR 90728).

From One (1974)

In his “Bruckner Dialog” op. 39 (world premiere: March 23, 1974; Linz, Bruckner Orchester, Kurt Wöss) the Austrian composer Gottfried von Eine dealt with the final fragment in terms of composition. The chorale theme that Bruckner left with completely instrumented plays an important role in this, i.e. the final theme of the exposition. The CD recording of the Bruckner Dialogue with the Vienna Symphony Orchestra under the direction of Lovro von Matacic was released in 1983 on the Orfeo label (C 235 901A).

Discography (selection)

Sentences 1-3

2nd movement (Scherzo) with the three trios

  • Strub Quartet, 1940, Reichssender Leipzig, Matrices: Lzg 6177/78
  • Ricardo Luna, Ensemble Vienna-Linz, 2013, Preiser Records Vienna

Version by Ferdinand Löwe

Movements 1–3 with the completed final movement

  • Yoav Talmi, Oslo Philharmonic Orchestra, 1986, Chandos (complete performance version by William Carragan, 1981–83)
  • Eliahu Inbal , Frankfurt Radio Symphony Orchestra , 1987, Teldec (Ricostruzione by Samale & Mazzuca 1985)
  • Kurt Eichhorn , Bruckner Orchester Linz , 1994, Camerata (complete performance version Samale / Phillips / Cohrs / Mazzuca, status 1992)
  • Johannes Wildner , Neue Philharmonie Westfalen , (live) 1998, SonArte or Naxos (complete performance version Samale / Phillips / Cohrs / Mazzuca, status 1996)
  • Naito Akira, Tokyo New City Orchestra, (live) 2006, Delta Classics (complete performance version by William Carragan, as of 2006)
  • Marcus R. Bosch , Aachen Symphony Orchestra (live), 2007, Coviello Classics (complete performance version Samale / Phillips / Cohrs / Mazzuca, as of 2006)
  • Friedemann Layer , Musical Academy of the Nationaltheater-Orchester Mannheim (live), 2008 (complete performance version Samale / Phillips / Cohrs / Mazzuca, as of 2008)
  • Nicolas Couton, MAV Symphony Orchestra, 2008, Lirica (complete performance version by Sébastien Letocart, 2008)
  • Gerd Schaller , Philharmonie Festiva , 2010, profile Günter Hännsler PH11028 (complete performance version by William Carragan, revised version 2010)
  • Sir Simon Rattle , Berliner Philharmoniker, 2012, live audio video, 3/2 hours, with the completed performance version of the 4th movement by Samale / Phillips / Cohrs / Mazzuca (as of 2012 ), Digital Concert Hall
  • John Gibbons, Aarhus Symphony Orchestra, 2015, Danacord (complete performance version by Nors S. Josephson, 1992)
  • Gerd Schaller, Philharmonie Festiva, 2016, profile Günter Hänssler PH16089 (Gerd Schaller's own final version , based on original sources, supplemented and completed)
  • Gerd Schaller, Philharmonie Festiva, 2018, profile Günter Hänssler PH18030 (with revised final movement)

additional

With fragments of the finale including movements 1–3

Only the fragments of the finale

With a newly composed finale

  • Peter Jan Marthé, European Philharmonic Orchestra (live), 2006, Preiser Records PR 90728

literature

  • Renate Ulm: The Bruckner symphonies: origin, interpretation, effect . Bärenreiter, Kassel 2002, ISBN 3-7618-1590-5 .
  • Benjamin Gunnar Cohrs : Bruckner's ninth in purgatory at the reception . Ed .: Heinz-Klaus Metzger and Rainer Riehn . Edition Text + Critique, Munich 2003, ISBN 3-88377-738-2 .
  • Wolfram Steinbeck : Bruckner. Ninth Symphony in D minor . Wilhelm Fink, Munich 1993, ISBN 3-7705-2783-6 , p. 136 .
  • John A. Phillips: New Findings on the Finale of Anton Bruckner's Ninth Symphony. In: Bruckner yearbook 1989/90. Linz 1992, pp. 115-204.
  • Aart van der Wal: The unfinished Finale. (detailed web article in English), www.audio-muziek.nl, February 2006.

Web links

Individual evidence

  1. ^ Anton Göllerich and Max Auer: Anton Bruckner. A life and work picture of August Göllerich, supplemented and edited. by Max Auer . S. 526 (Regensburg 1922-37 IV / 3).
  2. ^ Hans-Hubert Schönzeler: To Bruckner's IX. Symphony. The Krakow sketches . Musikwissenschaftlicher Verlag Wien ( ISBN 3-900 270-12-0 ), 1987, p. 9 (order number B 104).
  3. ↑ a b Wolfram Steinbeck: Bruckner, Ninth Symphony in D minor, in: Meisterwerke der Musik, Issue 60, edited by Stefan Kunze . Wilhelm Fink Verlag, Munich ISBN 3-7705-2783-6 , 1993, p. 9 .
  4. ↑ Andrea Harrandt and Otto Schneider: Anton Bruckner, Complete Letters, Volume II . Musikwissenschaftlicher Verlag Wien, 2003, p. 122 .
  5. ^ Autograph, Austrian National Library, signature Mus.Hs. 19481
  6. ^ Autograph, Austrian National Library, call number Mus.Hs.28.225 and 3165/1
  7. ^ Autograph, Vienna Library, call number 4189/34
  8. ^ Autograph, Austrian National Library, call number Mus.Hs.28.226
  9. ^ Anton Göllerich and Max Auer: Anton Bruckner. A portrait of August Göllerich's life and work, Volume IV, Part 3 . Gustav Bosse Verlag, Regensburg, 1922, p. 574 .
  10. ↑ Elisabeth Maier: Hidden Personality, Anton Bruckner in his private notes, part 1 . Musikwissenschaftlicher Verlag Wien, 2001, p. 481 .
  11. ↑ Robert Haas: Performance Practice, Handbook of Musicology, edited by Dr. Seriously stooping . Academic Publishing Company Athenaion, Wildpark-Potsdam, 1931.
  12. ^ LP first recording: Anton Bruckner, Symphony No. 9 (Edition Alfred Orel), Munich Philharmonic, LP recording, Label Victor (15972-A) April 1938
  13. ^ Anton Bruckner: Symphony No. 9 D minor, property of Universal-Edition Wien AG, Vienna . Ernst Eulenburg, Leipzig (No. 67).
  14. ^ Alfred Orel (Ed.): Anton Bruckner, IX. Symphony in D minor (original version) . Bruckner-Verlag, Leipzig, 1934.
  15. ^ A b Alfred Orel: Drafts and sketches for the Ninth Symphony . Special print on the volume 9 of the Anton Bruckner Complete Edition, 1934.
  16. ^ Leopold Nowak (ed.): Anton Bruckner, IX. Symphony in D minor . Musicological publishing house Vienna, 1951.
  17. ^ Benjamin-Gunnar Cohrs (Ed.): Anton Bruckner, IX. Symphony in D minor (1st movement - Scherzo & Trio - Adagio), critical report on the new edition . Musicological publishing house Vienna, 2001.
  18. ↑ Score ISMN 979-0-50025-262-7
  19. ^ Benjamin-Gunnar Cohrs (Ed.): Anton Bruckner, IX. Symphony in D minor, Scherzo & Trio, study volume for the 2nd movement . Musicological publishing house Vienna, 1998.
  20. ^ Benjamin-Gunnar Cohrs (Ed.): Anton Bruckner, 2 posthumous trios for the IX. Symphony in D minor, performance version, score including critical commentary and parts . Musicological publishing house Vienna, 1998.
  21. ^ Anton Bruckner: Symphony No. 9 in d (Original version 1894, ed. By Haas and Orel.) . Luck's Music Library (# 05148).
  22. ^ Anton Bruckner: Symphony No. 9 in D minor, Robert Haas, Alfred Orel, version 1894 . “The Classics” Vienna.
  23. ↑ http://www.alkor-edition.com/im-fokus/neue-anton-bruckner- Gesamtausgabe /
  24. ^ Hans-Hubert Schönzeler: Bruckner . Musikwissenschaftlicher Verlag, Vienna 1974, ISBN 3-900270-00-2  ( formally incorrect ) , p. 100 .
  25. ^ Alfred Orel: Anton Bruckner, The Work - The Artist - The Time . A. Hartlebens's Verlag, Vienna and Leipzig 1925, p. 67 .
  26. ↑ Ekkehard Kreft: Harmonious Processes in the Change of Epochs (2nd part), Romanticism - The 19th Century . European Science Publishing House Peter Lang, Frankfurt am Main 1996, p. 341 .
  27. ↑ Albrecht of Mossow: anachronism as modernity. On the peculiarity of a compositional principle in Anton Bruckner's music, in: Albrecht Riethmüller (editor) . Supplements to the Archive for Musicology Volume XLV. Franz Steiner Verlag, Stuttgart 1999, p. 156 .
  28. ^ Ernst Kurth: Bruckner . tape I. . Max Hesses Verlag, Berlin, p. 433 .
  29. ↑ Manfred Wagner: Bruckner . 1st edition. Wilhelm Goldmann Verlag, Musikverlag B. Schott's Sons, 1983, p. 402-403 ( ISBN 3-442-33027-0 ).
  30. ^ Rainer Boss: Shape and function of fugue and fugato in Anton Bruckner . Verlag Hans Schneider, Tutzing 1997, p. 222 .
  31. ↑ Paul Thissen: Quote techniques in symphonic music of the 19th century . Studio Verlag, Sinzig 1998 ( ISBN 3-89564-028-X , also Univ., Diss., Paderborn, year 1995).
  32. ^ Wolfgang Stähr: Anton Bruckner, IX. Symphony in D minor, in: The Bruckner Symphonies, edited by Renate Ulm . Bärenreiter, Kassel, 1998, p. 218 .
  33. ↑ Manfred Wagner: Anton Bruckner, Symphony No. 9 in D minor, in: Lexicon Orchestermusik, Romantik, A – H, edited by Wulf Konold . Schott, Mainz, 1989, p. 160 .
  34. ^ Alfred Orel: Anton Bruckner, the work - The artist - The time . A. Hartleben's Verlag, Vienna and Leipzig, 1925, p. 87 .
  35. ↑ a b Wolfram Steinbeck: Bruckner, Ninth Symphony, in: Masterpieces of Music, Issue 60, edited by Stefan Kunze . Wilhelm Fink Verlag, Munich, ISBN 3-7705-2783-6 , 1993, p. 88 .
  36. ↑ Autograph, sketches for the Scherzo, Austrian National Library, signature: Mus.Hs.3196, date: 4.1.89.
  37. ^ Autograph, first draft of the trio in F major for the Scherzo, Austrian National Library, signature: Mus.Hs.28225.
  38. ↑ Autograph, first - second draft of the trio in F major for the Scherzo, Austrian National Library, signature: Mus.Hs.3165.
  39. ^ Wolfgang Stähr: Anton Bruckner, IX. Symphony in D minor, in: The Bruckner Symphonies, edited by Renate Ulm . Bärenreiter, Kassel, ISBN 3-7618-1425-9 , 1998.
  40. ^ A b Mathias Hansen: The eighth and ninth symphonies, in: Bruckner manual, edited by Hans-Joachim Hinrichsen . Metzler / Bärenreiter, Stuttgart / Weimar, ISBN 978-3-476-02262-2 , 2010, p. 218 .
  41. ↑ August Göllerich and Max Auer: Ein Lebens- und Schaffens-Bild., Volume IV / 3 . Gustav Bosse Verlag, Regensburg, 1922, p. 484 .
  42. ↑ Wolfram Steinbeck: Bruckner, Ninth Symphony in D minor, in: Masterpieces of Music . Wilhelm Fink Verlag, Munich, 1993, p. 96 (issue 60).
  43. ^ Autograph sketches and drafts for the 3rd movement of the 9th Symphony, Austrian National Library, call number Mus.Hs.28237
  44. ↑ Clemens Brinkmann: Das "Dresdner Amen", in: Bruckner Yearbook 1997–2000 . Anton Bruckner Institute Linz / Linzer Veranstaltungsgesellschaft mbH, Linz, 2002, p. 94 .
  45. ↑ August Göllerich and Max Auer: Ein Lebens- und Schaffens-Bild., Volume IV / 3 . Gustav Bosse Verlag, Regensburg, 1922, p. 485 .
  46. ↑ a b Michael Adensamer: Bruckner's Influence on Modernity (with examples from the Adagio of the 9th Symphony), in: Bruckner Yearbook 1980 . Anton Bruckner Institute Linz / Linzer Veranstaltungsgesellschaft mbH, Linz, 1980, p. 29 .
  47. ↑ August Göllerich and Max Auer: Ein Lebens- und Schaffens-Bild., Volume IV / 3 . Gustav Bosse Verlag, Regensburg, 1922, p. 488 .
  48. ↑ Ernst Decsey: Bruckner. Try a life . Schuster & Loeffler, Berlin, 1921, p. 223 .
  49. ↑ Constantin Floros: On the interpretation of Bruckner's symphony. The Adagio of the Ninth Symphony, in: Bruckner Yearbook 1981 . Anton Bruckner Institute Linz / Linzer Veranstaltungsgesellschaft mbH, Linz, 1981, p. 93 .
  50. ↑ Constantin Floros: On the spiritual content of the finale of the IX. Symphony, in: Music Concepts 120/121/122, edited by Heinz-Klaus Metzger and Rainer Riehn . Richard Boorberg Verlag, Munich, ISBN 3-88377-738-2 , 2003, p. 129 .
  51. ^ Wolfgang Stähr: IX. Symphony in D minor, in: Ulm, Renate: The Symphonies, Bruckner's: Origin, Interpretation, Effect . Bärenreiter, Kassel, ISBN 3-7618-1590-5 , 2002, p. 217 .
  52. ^ Ernst Kurth: Bruckner . Max Hesses Verlag, Berlin, 1925, p. 730-737 .
  53. ↑ Constantin Floros: On the spiritual content of the finale of the IX. Symphony, in: Music Concepts 120/121/122, edited by Heinz-Klaus Metzger and Rainer Riehn . Richard Boorberg Verlag, Munich ISBN 3-88377-738-2 , 2003.
  54. ^ A b August Göllerich and Max Auer: A picture of life and creativity . 9 Vol. Gustav Bosse Verlag, Regensburg, 1922, p. 610 .
  55. ↑ Max Auer: Bruckner . 9 Vol. Gustav Bosse Verlag, Regensburg, 1922, p. 326 .
  56. ↑ Max Auer: Bruckner. His life and work . Musikwissenschaftlicher Verlag, Vienna, 1934, p. 348 .
  57. ^ John A. Phillips: IX. Symphony in D minor, finale . Facsimile edition. Musicological publishing house Vienna, 1996.
  58. ↑ Study score, 1994, revised 1999, ISMN 979-0-50025-211-5
  59. ↑ ISMN 979-0-50025-133-0
  60. ↑ Bruckner work database online
  61. ↑ Bruckner, Symphony No. 9, Finale Fragments, Great Symphony Orchestra of the Reichsender Leipzig, Hans Weisbach, CD, Deutsches Rundfunkarchiv, www.dra.de, October 12, 1940.
  62. ↑ Peter Ruzicka, Approaching a Torso. The finale of the Ninth Symphony by Anton Bruckner, in: Neue Zürcher Zeitung No. 120 from 27./28. May 1978; also in: HiFi Stereofonie, issue 2/1979, p. 140
  63. ↑ Sony CD 87316
  64. ↑ amazement, disturbance, new music newspaper, https://www.nmz.de/artikel/staunen-verstoerung
  65. ↑ a b August Göllerich and Max Auer: Anton Bruckner, Ein Lebens- und Schaffens-Bild . Volume IV, part 3. Gustav Bosse Verlag, Regensburg, 1922, p. 559 .
  66. ↑ August Göllerich and Max Auer: Anton Bruckner, Ein Lebens- und Schaffens-Bild . Volume IV, part 3. Gustav Bosse Verlag, Regensburg, 1922, p. 613-615 .
  67. ↑ August Göllerich and Max Auer: A life and work picture . Volume IV, part 3. Gustav Bosse Verlag, Regensburg, 1922, p. 526 .
  68. ^ Max Auer: Anton Bruckner's last attending physician, in: Karl Kobald, In Memoriam Anton Bruckner . Amalthea Verlag, Zurich, Vienna, Leipzig, 1924, p. 26 .
  69. ^ Max Auer: Anton Bruckner . Amalthea Verlag, Zurich - Leipzig - Vienna, 1923, p. 326 .
  70. ↑ Autograph, Vienna Library, call number 4189 / 27–28
  71. ^ William Carragan: Ground Rules for the Successful Completion of a Great Work
  72. ^ Nicola Samale and Benjamin Gunnar Cohrs: Anton Bruckner, IX. Symphony in D minor, Finale (unfinished) . Musikproduktion Hoeflich, Munich, 2008, p. 123 .
  73. ^ Sébastien Letocart: Notes to the Recording of his Realization of the Finale of Bruckner`s Symphony No. 9. (PDF) Retrieved September 9, 2018 .
  74. ^ Nors S. Josephson: Anton Bruckner, Symphony No. 9, final, reconstruction . Carus-Verlag, Stuttgart, Score no.50.588, 2007, p. IV, (preface) .
  75. ^ Gerd Schaller: Anton Bruckner, Ninth Symphony in D minor. IV. Movement, Supplemented from original sources and completed, full score . Verlag Ries & Erler, Berlin, Score 51487, Berlin, 2018, p. XLVII – XLVIII, (preface) .
  76. ↑ Hubert Soudant - Symphony No. 9 with Original Carragan Finale
  77. ^ Description of the Carragan completion
  78. ^ William Carragan: Timed Analysis Table of Symphony No. 9 with Finale Reconstructions
  79. ^ Mladen Tarbuk with the Croatian Radio SO with Carragan's final movement, revision 2017.
  80. ^ Richard Osborne, Bruckner Symphony No 9 (Carragan), Gramophone. https://www.gramophone.co.uk/review/bruckner-symphony-no-9-cpted-carragan
  81. ^ John A. Phillips (ed.): Anton Bruckner, IX. Symphony in D minor, finale (unfinished), reconstruction of the autograph score based on the sources received, documentation of the fragment, score including commentary and parts . Musicological publishing house Vienna, 1999.
  82. ^ John A. Phillips (ed.): Anton Bruckner, IX. Symphony in D minor, finale (unfinished), reconstruction of the autograph score based on the preserved sources. Study score . Musikwissenschaftlicher Verlag Wien, 1994 (and 1999).
  83. ^ John A. Phillips (ed.): Anton Bruckner, IX. Symphony in D minor, finale (unfinished), reconstruction of the autograph score based on the sources received, documentation of the fragment, score including commentary and parts . Musikwissenschaftlicher Verlag Wien, 1999, p. XIII (preface) .
  84. ↑ a b Nicola Samale, John A. Phillips, Giuseppe Mazzuca, Benjamin-Gunnar Cohrs (eds.): Anton Bruckner: IX. Symphony in D minor, finale. Completed performance version Samale-Phillips-Cohrs-Mazzuca. New edition with critical commentary (German / English) by Benjamin-Gunnar Cohrs . Musikproduktion Hoeflich, Munich, 2005 (last revised reprint 2012, Repertoire Explorer Study Score 444).
  85. ^ Anton Bruckner, 9th Symphony, Radiosymphonieorchester Frankfurt, Eliahu Inbal, CD, Label Teldec (CD 242 426-2), 1984.
  86. ^ Anton Bruckner, 9th Symphony, Katowice National Symphony Orchestra, Melodrama label (CD MEL 989 / 1–2), 1985.
  87. ^ Anton Bruckner, 9th Symphony, Bruckner Orchester Linz, Kurt Eichhorn, CD, Camerata (CMCD 15002), 1993.
  88. ^ Anton Bruckner, 9th Symphony, Neue Philharmonie Westfalen (conductor: Johannes Wildner), CD, Naxos (8.555933 / 34), 1998.
  89. ^ Anton Bruckner, 9th Symphony, Philharmonic Orchestra Aachen (conductor: Marcus Bosch), SACD, Coviello Classics (SACD 30711), 2007.
  90. ^ Anton Bruckner, 9th Symphony, Swedish Radio Symphony Orchestra, Daniel Harding, CD, Antec Music (CD AM 2520), 2007.
  91. ^ Anton Bruckner, 9th Symphony, Orchester des Nationaltheater Mannheim, Friedemann Layer, CD, Musikalische Akademie 2008.
  92. ^ Anton Bruckner, 9th Symphony, Berliner Philharmoniker, Simon Rattle, CD, EMI (CD 9 52969 2), 2012.
  93. ↑ Samale, Phillips, Mazucca, Cohrs, preface, score, Edition Hoeflich, Munich, 2012: https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/444.html
  94. ↑ Nors S. Josephson, score, preface, publisher: Carus, 40.588 / 00, 1992: https://www.carus-verlag.com/themen/instrumentalmusik/orchestermusik/anton-bruckner-finale-zur-9-sinfonie- oxide.html
  95. ↑ Dan Morgan, Anton BRUCKNER, Symphony No. 9 in D minor (1896 version, with reconstructed Finale by Nors S. Josephson, 1992), rec. 2014, Musikhuset, Aarhus, Denmark, DANACORD DACOCD754: http://www.musicweb-international.com/classrev/2015/Apr/Bruckner_sy9_DACOCD754.htm
  96. ^ Nors S. Josephson (ed.): Anton Bruckner, Finale to the 9th Symphony. Additions by Nors S. Josephson, score (DIN A4), 162 pages . Carus-Verlag, Stuttgart, 2007 (No. 40.588 / 00).
  97. ↑ The score and the orchestral material of the revised version have been published by Ries & Erler, Berlin (ISMN M-013-51487-8).
  98. ↑ TA Konsgaard: Bruckner - Symphony 9 with completed finale (completion Gerd Schaller 2018): https://thehigharts.com/bruckner-symphony-9-with-completed-finale-gerd-schaller-2018/
  99. ^ A new performing version of the Bruckner Ninth Finale
  100. ↑ See, for example, Barbara Frey's interview with Marthé on the occasion of the release of the CD recording. (PDF; 83 kB)
  101. ^ Messages from the poor madman
  102. ↑ Article on the abruckner.com website (PDF)
  103. ^ Peter Jan Marthé, Anton Bruckner, Symphony IX, Reloaded, Preiser Records, 2006 (PR 90728).
  104. ↑ CD recording: Gottfried von Eine, Bruckner Dialog op.39, live recording March 13, 1983, Wiener Symphoniker, conductor: Lovro von Matačič, Orfeo, Munich, C 235 901 A, 1990.
  105. ^ Gottfried von Eine: Bruckner Dialog op. 39 for orchestra, score . Boosey & Hawkes, 1971.
  106. ↑ http://sp-webdra.rbb-online.de/online/dokument/2008/dok2008-1.html