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Symphony No. 3 (Bruckner)

Anton Bruckner's Symphony No. 3 in D minor, WAB 103, was dedicated to Richard Wagner and is sometimes known as his "Wagner Symphony".[1] It was written in 1873, revised in 1877 and again in 1889.

Symphony No. 3
by Anton Bruckner
Dedication to Wagner
KeyD minor
CatalogueWAB 103
Composed
  • 1872–1873
  • 1876–1877
  • 1889
DedicationRichard Wagner
Published
1890 (1890)
  • 1950 (1950) (ed. Fritz Oeser)
  • 1959 (1959) (ed. Leopold Nowak) (1889 version)
  • 1977 (1977) (ed. Leopold Nowak) (1873 version)
  • 1981 (1981) (ed. Leopold Nowak) (1877 version)
Recorded1952 (1952) Hans Schmidt-Isserstedt, Berliner Sinfonie-Orchester
Movements4
Premiere
Date16 December 1877 (1877-12-16)
LocationVienna
ConductorAnton Bruckner

The work has been characterised as "difficult", and is regarded by some as Bruckner's artistic breakthrough.[2] According to Rudolf Kloiber, the third symphony "opens the sequence of Bruckner's masterpieces, in which his creativity meets monumental ability of symphonic construction."[3] The work is notorious as the most-revised of Bruckner's symphonies, and there exist no fewer than six versions, with three of them being widely performed today.

History edit

Bruckner wrote the first version of the symphony in 1873. In September 1873, before the work was finished, Bruckner visited Richard Wagner, whom he had first met in 1865 at the premiere of Tristan und Isolde in Munich.[4] Bruckner showed both his Second and Third symphonies to Wagner, asking him to pick one he preferred. To Bruckner's delight, Wagner chose the Third, and Bruckner dedicated the symphony to the master he highly respected. After arriving home, Bruckner continued to work on the symphony, finishing the finale on 31 December 1873.[5]

According to an anecdote, Bruckner and Wagner drank so much beer together that, upon arriving home, Bruckner realized he had forgotten which symphony Wagner had chosen. He wrote a letter back to Wagner saying "Symphony in D minor, where the trumpet begins the theme?" Wagner scribbled back "Yes! Best wishes! Richard Wagner." After this, Wagner often referred to Bruckner as "Bruckner the trumpet" and the two became firm friends. In the dedication, Bruckner referred to Wagner as "the unreachable world-famous noble master of poetry and music".[citation needed]

The 1873 version was rehearsed by the Vienna Philharmonic in June or July 1874, but it was not accepted for performance. The premiere of the Symphony (1877 version) was given in Vienna on 16 December 1877. The conductor was meant to be Johann von Herbeck, though his death a month before the concert forced Bruckner himself to step in and conduct. The concert was a complete disaster: although a decent choral conductor, Bruckner was a barely competent orchestral director: the Viennese audience, which was not sympathetic to his work to begin with, gradually left the hall as the music played.[6] Even the orchestra fled at the end, leaving Bruckner alone with a few supporters, including Gustav Mahler. (The score of the first three movements was later owned by Mahler; his widow Alma Mahler ensured she took it with her when fleeing the Nazi invasion of France in 1940 for the United States.)[7]

Stunned by this debacle, Bruckner made several revisions of his work, leaving out significant amounts of music including most quotations from Wagner's Tristan und Isolde and Die Walküre. The original 1873 score was not published until 1977.

Description edit

The symphony has been described as "heroic" in nature. Bruckner's love for the grand and majestic is reflected especially in the first and last movements. Stark contrasts, cuts and forcefulness mark the signature of the entire composition.[8] The signal-like trombone theme, heard at the beginning after the two crescendo waves, constitutes a motto for the whole symphony.[9] Many typical elements of his later symphonies, such as the cyclical penetration of all movements and especially the apotheosis at the coda of the finale, which ends with the trombone theme, are heard in the Third for the first time.[5]

The symphony has four movements:

  1. Gemäßigt, mehr bewegt, misterioso (Moderate, more animated, mysterious) (also Sehr langsam, misterioso) — D minor
  2. Adagio: Bewegt, quasi Andante (With motion, as if Andante) — E major
  3. Scherzo: Ziemlich schnell (Fairly fast) (also Sehr schnell) — D minor, ending in D major. Trio in A major
  4. Finale: Allegro (also Ziemlich schnell) — D minor, ending in D major

First movement edit

The symphony opens with an ostinato on the strings, similarly to the unnumbered Symphony in D minor. Soon after, the trumpet sounds out the main theme:

 

The music builds to a loud climax and the second theme of the first group is given by the full orchestra:

 

The music goes back to the string ostinato and the first theme, this time in A major and builds to another loud climax with the second theme. After this first theme group, the second theme group is introduced with a quiet, descending passage played by the strings:

 

The movement then enters the third theme group. This group alternates between loud and soft and combines two Bruckner hallmarks: octave falls and the Bruckner rhythm:

 

Following this section, the movement settles into the development. During the development, the main theme is developed through inversion and is the subject of a massive climax near the center of the movement. The secondary group is also developed. In the original version, Bruckner quotes the "sleep motif" from Wagner's Die Walküre right before the recapitulation begins. The recapitulation goes through the theme groups (the first group only has one climax instead of the exposition's two). The movement ends in an unusual fashion: while there is no ambiguity as to the tonic (D), the final "chord" only contains an open fifth of D and A. Since there is no third, the ending is neither major nor minor:

 

Second movement edit

The Adagio opens quietly and has a contrapuntal flair, with the strings playing in four parts:

 

The second part of the movement shifts to 3
4
time and features a melody played by the violas and accompanied by the violins:

 

Depending on the version, the second part may not be heard again, as the reprise was cut during the first revision. Near the end of the movement, there are (also depending on the version) one or two quotations from Wagner: one from Die Walküre and another from Tannhäuser that was cut in subsequent revisions.[10]

Third movement edit

The Scherzo begins quietly, quickly building up to a belligerent opening that consists mainly of the notes D and A:

 

The dainty Trio that follows has the violas and violins in a dialogue:

 

Fourth movement edit

The Finale's main theme is a recall of the main theme of the first movement, by sharing the same rhythm, as shown below:

 

The second theme group is in a slower tempo and has a somewhat similar delicateness as the Trio of the third movement:

 

During this theme group there are quotations from Tristan und Isolde and the main motive of the Second Symphony that were cut after the first versions. After this group, the third theme group makes use of syncopated octaves, making it very rhythmic:

 

The original version has a quotation of Rienzi near the end of the recapitulation. Additionally, the earlier versions feature a "catalogue" of themes from previous movements, similar to the Finale of Beethoven's Ninth Symphony, albeit near the end of the movement rather than the beginning. Eduard Hanslick, one of Bruckner's greatest critics, described the symphony as such: "Bruckner's poetic intentions were not clear to us – perhaps a vision of Beethoven's Ninth becoming friendly with Wagner's Valkyries and finishing up being trampled under their hooves."[11] The catalogue was removed in the final version. As the symphony draws to a close, the main theme of the first movement is recalled, and in the final version, is actually used to bring about the final D major cadence.

Instrumentation edit

The symphony requires an instrumentation of one pair each of flutes, oboes, clarinets and bassoons, with four horns, three trumpets, three trombones, timpani and strings.

Reception edit

According to widespread opinion, the Third can be regarded as Bruckner's artistic breakthrough. In it, the "real and complete Bruckner" comes into expression for the first time.[12] According to Rudolf Kloiber, the third symphony "opens the sequence of Bruckner's masterpieces, in which his creativity meets monumental ability of symphonic construction."[3] However, the difficult work has never received general critical acceptance. Especially the question of the different versions and their judgement is still as open as ever.[13]

Despite being very critical of this Symphony, Robert Simpson quoted a passage from the first movement, rehearsal letter F, in his own Symphony No. 9. Simpson later modified his critical view (expressed in the 1966 edition of his The Essence of Bruckner) after encountering the 1873 version, which he described in a programme note for the Royal Philharmonic Society in 1987 as "a great work – not perfect by any means but possessing a majestic momentum the later revisions altogether destroyed".

Symphony No. 3 was a favorite of conductor Hans Knappertsbusch.

Versions edit

There exist no fewer than six versions, three of them being issued: the 1873 original version, the 1877–78 version, and the composer's last thoughts of 1889.

First version (1873) edit

The 1873 version was the version that Bruckner sent to Wagner for his approval. It is available in an edition by Leopold Nowak (published 1977), which is based on Wagner's fair copy. It was first performed by Hans-Hubert Schönzeler at the Adelaide Festival of Arts in Australia in 1978.

The 1874 revision edit

Bruckner revised the symphony in 1874.

As described by Carragan in its presentation paper "Bruckner's Trumpet",[14] the "significant improved" 1874 version[15] is, movement for movement, of the same length and structure as the 1873 original version, but there are many passages, particularly in the first movement, with major changes in texture (canonic imitation) and orchestration. The 1874 version has been premiered and recorded by Gerd Schaller and the Philharmonie Festiva.

This symphony and the Fourth are the most-revised compositions in Bruckner’s canon … As one follows the increasing sophistication in the developing style of Bruckner’s canonic writing one obtains a window into the expert and intricate counterpoint of the great fugue of the Fifth Symphony.[14]

Second version (1876–1878) edit

The "1876" version edit

Bruckner revised the Symphony in 1876.

The 1876 Adagio has been edited by Nowak in 1980. In this version of the Adagio, the openings of parts 1 and 3 were broadened, and in part 5 the difficult accompaniment in syncopated semiquavers is replaced by that used by Wagner in the overture of Tannhäuser.[16]

The other movements of the "1876" version of the Symphony have been reconstructed by Carragan.

In this revision … the citations of themes from Wagner’s operas Tristan und Isolde and Die Walküre were removed from the first movement and finale... [I]n the first movement the opening trumpet theme was added as a two-part canon near the end of the exposition. [I]n the finale that same motto theme was also made into a brilliant four-part canon which was placed in the middle of the development. [It] is an interesting passage of 38 measures in which the chorale theme from the second or B theme group is played unexpectedly loudly accompanied by material from the A theme and the motto theme from the first movement. This is followed by a dialogue between the loud C theme and the quiet B theme chorale.[16]

As Carragan writes, "This version, though completed in the spring of 1877, is called the "1876" version because its characteristic five-part slow movement was dated 1876 and was published many years ago by Nowak with that date. In that way confusion with the version as later revised in the fall of 1877 can be avoided."[16]

The reconstructed "1876" version of the Third Symphony, which constitutes the earliest phase of the second version of that much-revised symphony, was given its first performance on March 2, 2019, by the New England Philharmonic Orchestra under the direction of Richard Pittman in Boston, Massachusetts.[16][17]

The 1877/1878 revision edit

From the fall of 1877, Bruckner revised the symphony further:

  • In the Adagio, part 3, devoted to the A theme, was completely deleted along with the first third of Part 4 (bars 129–176), and, in part 5, the quote of the overture of Tannhäuser was replaced by another motive. The result was a sort of approximation to a three-part song form ABA.[18]
  • An additional cut in the Finale of a passage, in which the chorale theme from the B theme group is played unexpectedly loudly, accompanied by material from the A theme and the trumpet theme from the first movement, followed by a dialogue between the loud C theme and the quiet B theme chorale, was also done.[19]
  • In 1878, a powerful coda was added to the Scherzo.[10]

According to an advertisement in the Neue Freie Presse in Vienna, on 23 May 1880, the full score and parts of the 1877 version had just appeared in print by Thomas Rättig in Vienna. The 1877 version, which was first published without Scherzo coda by Fritz Oeser in 1950, was republished with the Scherzo coda of 1878 by Nowak in 1981. A transcription of this version for piano duet was prepared by Gustav Mahler (the last movement presumably by Rudolf Krzyzanowski), though only Mahler's name appears on the title page of the score, published on 1 January 1880 by A. Bösendorfer in Vienna.

Third version (1889) edit

The 1889 version was published by Nowak in 1959. In this version, the Scherzo coda is removed and additional cuts are done in the first movement and the Finale.

The 1890 revision edit

The first published version of 1890, published by Thomas Rättig (Vienna), remains controversial because it has not been ascertained how much it reflected Bruckner's wishes, and how much it was influenced by Josef and Franz Schalk.

Discography edit

The first commercial recording of part of this symphony was made by Anton Konrath [de] with the Vienna Symphony in 1928. It featured only the scherzo and trio.

The oldest complete performance preserved on disc is by Eugen Jochum with the Philharmonisches Staatsorchester Hamburg from 1944.

The first commercial recording of the complete symphony was made in 1953. The recording, from a live concert, was issued by the Allegro-Royale label with the conductor "Gerd Rubahn" (pseudonym for Hans Schmidt-Isserstedt).[20] This historical recording has been remastered to CD (CD abruckner.com BSVD-0114).

The 1890 Rättig edition is generally used by the older conductors of the LP era, such as Hans Knappertsbusch conducting the Bavarian State Opera Orchestra and Carl Schuricht conducting the Vienna Philharmonic Orchestra.

With the dawn of the CD era, the 1877 and 1889 versions, as edited by Nowak, were more commonly used, by conductors such as Bernard Haitink and Karl Böhm.

Eliahu Inbal conducting the Frankfurt Radio Symphony Orchestra for Warner Classics was in 1983 the first to record the 1873 version. Georg Tintner conducting the Royal Scottish National Orchestra followed 15 years later on the Naxos label. As Tintner writes, "this work as originally conceived suffered by its progressive mutilations more and more, and we should take the time to play and to listen to this amazing original."[21]

Gerd Schaller first recorded the 1874 version, edited by William Carragan, with the Philharmonie Festiva.

To facilitate comparison of the different versions, Johannes Wildner conducting the Neue Philharmonie Westfalen [de], in a studio recording (SonArte/Naxos) offers multi-disc sets. Naxos includes both the 1877 and 1889 versions while SonArte includes all three of the 1873, 1877 and 1889 versions.

References edit

  1. ^ Ethan Mordden, A Guide to Orchestral Music: The Handbook for Non-Musicians. New York: Oxford University Press: 211, 1980. "Bruckner himself called his Third the "Wagner" Symphony because he was hoping for Wagner's support in some small way, such as being permitted to dedicate the score to him."
  2. ^ Hinrichsen 2010, p. 164: Das schwierige Durchbruchswerk, quote from Peter Gülke: Brahms. Bruckner. Zwei Studien. Bärenreiter 1989. ISBN 9783761809495
  3. ^ a b Kloiber 1964, p. [page needed] "So eröffnet die Dritte die Reihe der Brucknerschen Meisterschöpfungen, bei denen sich Erfindungskraft mit monumentalem symphonischem Gestaltungsvermögen paaren."
  4. ^ Kloiber 1964, p. 250.
  5. ^ a b Hinrichsen 2010, p. 152.
  6. ^ Korstvedt, Benjamin M. (2000). Bruckner: Symphony No. 8. Cambridge University Press, pp. 65–66
  7. ^ Paul Kildea, Benjamin Britten: A Life in the Twentieth Century, p. 166
  8. ^ Hinrichsen 2010, p. 162.
  9. ^ Hinrichsen 2010, p. 155.
  10. ^ a b William Carragan. "Timing analysis Symphony No. 3 (1873–1889)" (PDF).
  11. ^ . www.gramophone.co.uk. Archived from the original on 2014-04-18.
  12. ^ Hinrichsen 2010, p. 151: "Hinter diesem Werk gab es kein Zurück mehr, und allgemeiner Einschätzung nach ist in der 'Wagner-Sinfonie' (vgl. Briefe I, 153) der 'echte und ganze Bruckner als fertige und abgeschlossene Erscheinung' erstmals zu finden."
  13. ^ Hinrichsen 2010, p. 163.
  14. ^ a b Carragan, William. "Bruckner's Trumpet".
  15. ^ "Bruckner Symphony Versions". bruckner.webs.com.
  16. ^ a b c d "A New Version of the Third Symphony".
  17. ^ Premiere of the 1876 version by Richard Pittman with the New England Philharmonic Orchestra (2 March 2019)
  18. ^ Carragan, William. "Part 2: The Five-Part Song Form".
  19. ^ William Carragan – Programme of the premiere of 2 March 2019 in Boston
  20. ^ "The "Gerd Rubahn" Symphony No. 3 (Updated July 8, 2013)" (PDF).
  21. ^ Bruckner, A.: Symphony No. 3 (original 1873 version, ed. L. Nowak) (Royal Scottish National Orchestra, Georg Tintner)). Naxos Records.

Sources edit

  • Hinrichsen, Hans-Joachim, ed. (2010). Bruckner Handbuch. Stuttgart: J. B. Metzler'sche Verlagsbuchhandlung and Carl Ernst Poeschel Verlag. ISBN 978-3-476-02262-2.
  • Kloiber, Rudolf (1964). Handbuch der klassischen und romantischen Symphonie. Wiesbaden: Breitkopf & Härtel. ISBN 3-7651-0017-X.
  • Anton Bruckner: Sämtliche Werke: Band III: III. Symphonie d-Moll, Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Vienna
    • III/1: 1. Fassung 1873 (Wagner Symphonie), Leopold Nowak (editor), 1977
    • III/1A: Adagio Nr. 2 1876, Leopold Nowak (editor), 1980
    • III/2: 2. Fassung 1877 (Wagner Symphonie), Leopold Nowak (editor), 1981
    • III/2: 3. Fassung 1889, Leopold Nowak (editor), 1959

External links edit

symphony, bruckner, anton, bruckner, symphony, minor, dedicated, richard, wagner, sometimes, known, wagner, symphony, written, 1873, revised, 1877, again, 1889, symphony, anton, brucknerdedication, wagnerkeyd, minorcataloguewab, 103composed1872, 1873, 1876, 18. Anton Bruckner s Symphony No 3 in D minor WAB 103 was dedicated to Richard Wagner and is sometimes known as his Wagner Symphony 1 It was written in 1873 revised in 1877 and again in 1889 Symphony No 3by Anton BrucknerDedication to WagnerKeyD minorCatalogueWAB 103Composed1872 1873 1876 1877 1889DedicationRichard WagnerPublished1890 1890 1950 1950 ed Fritz Oeser 1959 1959 ed Leopold Nowak 1889 version 1977 1977 ed Leopold Nowak 1873 version 1981 1981 ed Leopold Nowak 1877 version Recorded1952 1952 Hans Schmidt Isserstedt Berliner Sinfonie OrchesterMovements4PremiereDate16 December 1877 1877 12 16 LocationViennaConductorAnton Bruckner The work has been characterised as difficult and is regarded by some as Bruckner s artistic breakthrough 2 According to Rudolf Kloiber the third symphony opens the sequence of Bruckner s masterpieces in which his creativity meets monumental ability of symphonic construction 3 The work is notorious as the most revised of Bruckner s symphonies and there exist no fewer than six versions with three of them being widely performed today Contents 1 History 2 Description 2 1 First movement 2 2 Second movement 2 3 Third movement 2 4 Fourth movement 3 Instrumentation 4 Reception 5 Versions 5 1 First version 1873 5 1 1 The 1874 revision 5 2 Second version 1876 1878 5 2 1 The 1876 version 5 2 2 The 1877 1878 revision 5 3 Third version 1889 5 3 1 The 1890 revision 6 Discography 7 References 7 1 Sources 8 External linksHistory editBruckner wrote the first version of the symphony in 1873 In September 1873 before the work was finished Bruckner visited Richard Wagner whom he had first met in 1865 at the premiere of Tristan und Isolde in Munich 4 Bruckner showed both his Second and Third symphonies to Wagner asking him to pick one he preferred To Bruckner s delight Wagner chose the Third and Bruckner dedicated the symphony to the master he highly respected After arriving home Bruckner continued to work on the symphony finishing the finale on 31 December 1873 5 According to an anecdote Bruckner and Wagner drank so much beer together that upon arriving home Bruckner realized he had forgotten which symphony Wagner had chosen He wrote a letter back to Wagner saying Symphony in D minor where the trumpet begins the theme Wagner scribbled back Yes Best wishes Richard Wagner After this Wagner often referred to Bruckner as Bruckner the trumpet and the two became firm friends In the dedication Bruckner referred to Wagner as the unreachable world famous noble master of poetry and music citation needed The 1873 version was rehearsed by the Vienna Philharmonic in June or July 1874 but it was not accepted for performance The premiere of the Symphony 1877 version was given in Vienna on 16 December 1877 The conductor was meant to be Johann von Herbeck though his death a month before the concert forced Bruckner himself to step in and conduct The concert was a complete disaster although a decent choral conductor Bruckner was a barely competent orchestral director the Viennese audience which was not sympathetic to his work to begin with gradually left the hall as the music played 6 Even the orchestra fled at the end leaving Bruckner alone with a few supporters including Gustav Mahler The score of the first three movements was later owned by Mahler his widow Alma Mahler ensured she took it with her when fleeing the Nazi invasion of France in 1940 for the United States 7 Stunned by this debacle Bruckner made several revisions of his work leaving out significant amounts of music including most quotations from Wagner s Tristan und Isolde and Die Walkure The original 1873 score was not published until 1977 Description editThe symphony has been described as heroic in nature Bruckner s love for the grand and majestic is reflected especially in the first and last movements Stark contrasts cuts and forcefulness mark the signature of the entire composition 8 The signal like trombone theme heard at the beginning after the two crescendo waves constitutes a motto for the whole symphony 9 Many typical elements of his later symphonies such as the cyclical penetration of all movements and especially the apotheosis at the coda of the finale which ends with the trombone theme are heard in the Third for the first time 5 The symphony has four movements Gemassigt mehr bewegt misterioso Moderate more animated mysterious also Sehr langsam misterioso D minorAdagio Bewegt quasi Andante With motion as if Andante E majorScherzo Ziemlich schnell Fairly fast also Sehr schnell D minor ending in D major Trio in A majorFinale Allegro also Ziemlich schnell D minor ending in D major First movement edit The symphony opens with an ostinato on the strings similarly to the unnumbered Symphony in D minor Soon after the trumpet sounds out the main theme nbsp source Audio playback is not supported in your browser You can download the audio file The music builds to a loud climax and the second theme of the first group is given by the full orchestra nbsp source Audio playback is not supported in your browser You can download the audio file The music goes back to the string ostinato and the first theme this time in A major and builds to another loud climax with the second theme After this first theme group the second theme group is introduced with a quiet descending passage played by the strings nbsp source Audio playback is not supported in your browser You can download the audio file The movement then enters the third theme group This group alternates between loud and soft and combines two Bruckner hallmarks octave falls and the Bruckner rhythm nbsp source Audio playback is not supported in your browser You can download the audio file Following this section the movement settles into the development During the development the main theme is developed through inversion and is the subject of a massive climax near the center of the movement The secondary group is also developed In the original version Bruckner quotes the sleep motif from Wagner s Die Walkure right before the recapitulation begins The recapitulation goes through the theme groups the first group only has one climax instead of the exposition s two The movement ends in an unusual fashion while there is no ambiguity as to the tonic D the final chord only contains an open fifth of D and A Since there is no third the ending is neither major nor minor nbsp source Audio playback is not supported in your browser You can download the audio file Second movement edit The Adagio opens quietly and has a contrapuntal flair with the strings playing in four parts nbsp source Audio playback is not supported in your browser You can download the audio file The second part of the movement shifts to 34 time and features a melody played by the violas and accompanied by the violins nbsp source Audio playback is not supported in your browser You can download the audio file Depending on the version the second part may not be heard again as the reprise was cut during the first revision Near the end of the movement there are also depending on the version one or two quotations from Wagner one from Die Walkure and another from Tannhauser that was cut in subsequent revisions 10 Third movement edit nbsp Third movement excerpt source source 2006 recording by the Frankfurt Radio Symphony directed by Paavo Jarvi Problems playing this file See media help The Scherzo begins quietly quickly building up to a belligerent opening that consists mainly of the notes D and A nbsp source Audio playback is not supported in your browser You can download the audio file The dainty Trio that follows has the violas and violins in a dialogue nbsp source Audio playback is not supported in your browser You can download the audio file Fourth movement edit The Finale s main theme is a recall of the main theme of the first movement by sharing the same rhythm as shown below nbsp source Audio playback is not supported in your browser You can download the audio file The second theme group is in a slower tempo and has a somewhat similar delicateness as the Trio of the third movement nbsp source Audio playback is not supported in your browser You can download the audio file During this theme group there are quotations from Tristan und Isolde and the main motive of the Second Symphony that were cut after the first versions After this group the third theme group makes use of syncopated octaves making it very rhythmic nbsp source Audio playback is not supported in your browser You can download the audio file The original version has a quotation of Rienzi near the end of the recapitulation Additionally the earlier versions feature a catalogue of themes from previous movements similar to the Finale of Beethoven s Ninth Symphony albeit near the end of the movement rather than the beginning Eduard Hanslick one of Bruckner s greatest critics described the symphony as such Bruckner s poetic intentions were not clear to us perhaps a vision of Beethoven s Ninth becoming friendly with Wagner s Valkyries and finishing up being trampled under their hooves 11 The catalogue was removed in the final version As the symphony draws to a close the main theme of the first movement is recalled and in the final version is actually used to bring about the final D major cadence Instrumentation editThe symphony requires an instrumentation of one pair each of flutes oboes clarinets and bassoons with four horns three trumpets three trombones timpani and strings Reception editAccording to widespread opinion the Third can be regarded as Bruckner s artistic breakthrough In it the real and complete Bruckner comes into expression for the first time 12 According to Rudolf Kloiber the third symphony opens the sequence of Bruckner s masterpieces in which his creativity meets monumental ability of symphonic construction 3 However the difficult work has never received general critical acceptance Especially the question of the different versions and their judgement is still as open as ever 13 Despite being very critical of this Symphony Robert Simpson quoted a passage from the first movement rehearsal letter F in his own Symphony No 9 Simpson later modified his critical view expressed in the 1966 edition of his The Essence of Bruckner after encountering the 1873 version which he described in a programme note for the Royal Philharmonic Society in 1987 as a great work not perfect by any means but possessing a majestic momentum the later revisions altogether destroyed Symphony No 3 was a favorite of conductor Hans Knappertsbusch Versions editThere exist no fewer than six versions three of them being issued the 1873 original version the 1877 78 version and the composer s last thoughts of 1889 First version 1873 edit The 1873 version was the version that Bruckner sent to Wagner for his approval It is available in an edition by Leopold Nowak published 1977 which is based on Wagner s fair copy It was first performed by Hans Hubert Schonzeler at the Adelaide Festival of Arts in Australia in 1978 The 1874 revision edit Bruckner revised the symphony in 1874 As described by Carragan in its presentation paper Bruckner s Trumpet 14 the significant improved 1874 version 15 is movement for movement of the same length and structure as the 1873 original version but there are many passages particularly in the first movement with major changes in texture canonic imitation and orchestration The 1874 version has been premiered and recorded by Gerd Schaller and the Philharmonie Festiva This symphony and the Fourth are the most revised compositions in Bruckner s canon As one follows the increasing sophistication in the developing style of Bruckner s canonic writing one obtains a window into the expert and intricate counterpoint of the great fugue of the Fifth Symphony 14 Second version 1876 1878 edit The 1876 version edit Bruckner revised the Symphony in 1876 The 1876 Adagio has been edited by Nowak in 1980 In this version of the Adagio the openings of parts 1 and 3 were broadened and in part 5 the difficult accompaniment in syncopated semiquavers is replaced by that used by Wagner in the overture of Tannhauser 16 The other movements of the 1876 version of the Symphony have been reconstructed by Carragan In this revision the citations of themes from Wagner s operas Tristan und Isolde and Die Walkure were removed from the first movement and finale I n the first movement the opening trumpet theme was added as a two part canon near the end of the exposition I n the finale that same motto theme was also made into a brilliant four part canon which was placed in the middle of the development It is an interesting passage of 38 measures in which the chorale theme from the second or B theme group is played unexpectedly loudly accompanied by material from the A theme and the motto theme from the first movement This is followed by a dialogue between the loud C theme and the quiet B theme chorale 16 As Carragan writes This version though completed in the spring of 1877 is called the 1876 version because its characteristic five part slow movement was dated 1876 and was published many years ago by Nowak with that date In that way confusion with the version as later revised in the fall of 1877 can be avoided 16 The reconstructed 1876 version of the Third Symphony which constitutes the earliest phase of the second version of that much revised symphony was given its first performance on March 2 2019 by the New England Philharmonic Orchestra under the direction of Richard Pittman in Boston Massachusetts 16 17 The 1877 1878 revision edit From the fall of 1877 Bruckner revised the symphony further In the Adagio part 3 devoted to the A theme was completely deleted along with the first third of Part 4 bars 129 176 and in part 5 the quote of the overture of Tannhauser was replaced by another motive The result was a sort of approximation to a three part song form ABA 18 An additional cut in the Finale of a passage in which the chorale theme from the B theme group is played unexpectedly loudly accompanied by material from the A theme and the trumpet theme from the first movement followed by a dialogue between the loud C theme and the quiet B theme chorale was also done 19 In 1878 a powerful coda was added to the Scherzo 10 According to an advertisement in the Neue Freie Presse in Vienna on 23 May 1880 the full score and parts of the 1877 version had just appeared in print by Thomas Rattig in Vienna The 1877 version which was first published without Scherzo coda by Fritz Oeser in 1950 was republished with the Scherzo coda of 1878 by Nowak in 1981 A transcription of this version for piano duet was prepared by Gustav Mahler the last movement presumably by Rudolf Krzyzanowski though only Mahler s name appears on the title page of the score published on 1 January 1880 by A Bosendorfer in Vienna Third version 1889 edit The 1889 version was published by Nowak in 1959 In this version the Scherzo coda is removed and additional cuts are done in the first movement and the Finale The 1890 revision edit The first published version of 1890 published by Thomas Rattig Vienna remains controversial because it has not been ascertained how much it reflected Bruckner s wishes and how much it was influenced by Josef and Franz Schalk Discography editThe first commercial recording of part of this symphony was made by Anton Konrath de with the Vienna Symphony in 1928 It featured only the scherzo and trio The oldest complete performance preserved on disc is by Eugen Jochum with the Philharmonisches Staatsorchester Hamburg from 1944 The first commercial recording of the complete symphony was made in 1953 The recording from a live concert was issued by the Allegro Royale label with the conductor Gerd Rubahn pseudonym for Hans Schmidt Isserstedt 20 This historical recording has been remastered to CD CD abruckner com BSVD 0114 The 1890 Rattig edition is generally used by the older conductors of the LP era such as Hans Knappertsbusch conducting the Bavarian State Opera Orchestra and Carl Schuricht conducting the Vienna Philharmonic Orchestra With the dawn of the CD era the 1877 and 1889 versions as edited by Nowak were more commonly used by conductors such as Bernard Haitink and Karl Bohm Eliahu Inbal conducting the Frankfurt Radio Symphony Orchestra for Warner Classics was in 1983 the first to record the 1873 version Georg Tintner conducting the Royal Scottish National Orchestra followed 15 years later on the Naxos label As Tintner writes this work as originally conceived suffered by its progressive mutilations more and more and we should take the time to play and to listen to this amazing original 21 Gerd Schaller first recorded the 1874 version edited by William Carragan with the Philharmonie Festiva To facilitate comparison of the different versions Johannes Wildner conducting the Neue Philharmonie Westfalen de in a studio recording SonArte Naxos offers multi disc sets Naxos includes both the 1877 and 1889 versions while SonArte includes all three of the 1873 1877 and 1889 versions References edit Ethan Mordden A Guide to Orchestral Music The Handbook for Non Musicians New York Oxford University Press 211 1980 Bruckner himself called his Third the Wagner Symphony because he was hoping for Wagner s support in some small way such as being permitted to dedicate the score to him Hinrichsen 2010 p 164 Das schwierige Durchbruchswerk quote from Peter Gulke Brahms Bruckner Zwei Studien Barenreiter 1989 ISBN 9783761809495 a b Kloiber 1964 p page needed So eroffnet die Dritte die Reihe der Brucknerschen Meisterschopfungen bei denen sich Erfindungskraft mit monumentalem symphonischem Gestaltungsvermogen paaren Kloiber 1964 p 250 a b Hinrichsen 2010 p 152 Korstvedt Benjamin M 2000 Bruckner Symphony No 8 Cambridge University Press pp 65 66 Paul Kildea Benjamin Britten A Life in the Twentieth Century p 166 Hinrichsen 2010 p 162 Hinrichsen 2010 p 155 a b William Carragan Timing analysis Symphony No 3 1873 1889 PDF The disastrous premiere of Bruckner s Third Symphony by Adrian Murdoch gramophone co uk www gramophone co uk Archived from the original on 2014 04 18 Hinrichsen 2010 p 151 Hinter diesem Werk gab es kein Zuruck mehr und allgemeiner Einschatzung nach ist in der Wagner Sinfonie vgl Briefe I 153 der echte und ganze Bruckner als fertige und abgeschlossene Erscheinung erstmals zu finden Hinrichsen 2010 p 163 a b Carragan William Bruckner s Trumpet Bruckner Symphony Versions bruckner webs com a b c d A New Version of the Third Symphony Premiere of the 1876 version by Richard Pittman with the New England Philharmonic Orchestra 2 March 2019 Carragan William Part 2 The Five Part Song Form William Carragan Programme of the premiere of 2 March 2019 in Boston The Gerd Rubahn Symphony No 3 Updated July 8 2013 PDF Bruckner A Symphony No 3 original 1873 version ed L Nowak Royal Scottish National Orchestra Georg Tintner Naxos Records Sources edit Hinrichsen Hans Joachim ed 2010 Bruckner Handbuch Stuttgart J B Metzler sche Verlagsbuchhandlung and Carl Ernst Poeschel Verlag ISBN 978 3 476 02262 2 Kloiber Rudolf 1964 Handbuch der klassischen und romantischen Symphonie Wiesbaden Breitkopf amp Hartel ISBN 3 7651 0017 X Anton Bruckner Samtliche Werke Band III III Symphonie d Moll Musikwissenschaftlicher Verlag der Internationalen Bruckner Gesellschaft Vienna III 1 1 Fassung 1873 Wagner Symphonie Leopold Nowak editor 1977 III 1A Adagio Nr 2 1876 Leopold Nowak editor 1980 III 2 2 Fassung 1877 Wagner Symphonie Leopold Nowak editor 1981 III 2 3 Fassung 1889 Leopold Nowak editor 1959External links editAnton Bruckner Critical Complete Edition Symphony No 3 in D minor Symphony No 3 Bruckner Scores at the International Music Score Library Project Free score from the Indiana University School of Music Michael Jameson Anton Bruckner Symphony No 3 in D minor WAB 103 at AllMusic Complete discography by John Berky Bruckner Symphony Versions David Griegel 19 September 2009 Timing analysis 1874 variant William Carragan Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Symphony No 3 Bruckner amp oldid 1190950773, wikipedia, wiki, book, books, library,

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