Symphony No. 1 (Bruckner)

The Symphony No. 1 in C minor (WAB 101) by Anton Bruckner is a symphony in four movements.

• 5.1 Linz version
• 5.2 Vienna version

Genesis

Bruckner's Symphony No. 1 was built in the years 1865/66, when the composer was employed at the Linz Cathedral as organist. Premiered the work under its own line on May 9, 1868 a few months before he moved to Vienna. The performance, which was incidentally reviewed quite positively of Bruckner's later enemy Eduard Hanslick, although got a moderate success, however, could do nothing for the later career of the composer. This was probably in connection with decisive for the move from the provinces to the capital of the Habsburg Empire. As in the second half of the 1880s the music of Bruckner was able to prevail with the seventh symphony gradually and internationally, also found the earlier symphonies more attention. So it was not surprising that the conductor Hans Richter, one of the most outspoken supporter of the composer, after the performance of the material inquired First in Bruckner. Although Bruckner told, but also decided to revise the not played since the premiere work again. In this revised version, the symphony was played on December 13, 1891. Two years later she was sent to press, and has since been one of the standard repertoire of the orchestra.

The versions

The legislative history shows that there are two different versions are from the first symphony, which were created in contrast to other Bruckner symphonies exclusively by the composer without foreign intervention. You will be according to their places of origin as " Linz version " (1866 ) and " Vienna version " (1891 ), where noted is that the Linz version in Vienna in 1877 was subjected to minor retouching. While the Vienna version was present printed since the 1890s, the Linz was only rediscovered in the 1930s and published as part of the Bruckner Complete Edition by Robert Haas, 1935. Both versions have a very similar form of course. The differences relate primarily to the instrumentation as well as details in the processing of thematic ideas: So Bruckner constructed in the third sentence of the Vienna version - once in his career - a reconciliation passage from trio to the recapitulation of the Linz version clearly separated scherzo.

In the concert practice, the total buoyant ( Bruckner therefore as his " cheeky Beserl " [ a naughty woman Rooms] designated ) is amended Linzer clearly preferred, which is often justified with the argument that here the original intentions Bruckner were available documented. In addition distorts the Vienna version - after 25 years and seven symphonies made ​​later - the character of this early work. Proponents of the Vienna version, however, promise concerning this the "last will" of the composer performing this work, and raise the quality of the symphony in the meantime collected compositional experience. However, both versions each have their specific advantages and also give a good insight into Anton Bruckner's development as a symphonist. The playing time of the symphony is about 50 to 55 minutes.

( In the below description is based on work by the Linz version.)

Occupation

• Three flutes, two oboes, two clarinets, two bassoons
• Four horns, two trumpets, three trombones
• A kettledrum
• Strings

About the Music

First movement: Allegro

The first movement ( C minor, 4/4-time ) based, as in Bruckner since the f- minor Symphony usual, on three topics. It begins softly patting on bass with a march-like main theme in the violins, which will soon increase with the addition of other instruments to fortissimo. After further fitting the theme, the march rhythm dissolves into quiet eighth movement, and woodwinds and horns lead on to the second theme. Although still clearly dominated by a melody, it already shows on Bruckner's typical vocal themes style in which multiple overlapping thematic characters find themselves together on a topic. The immediate onset of powerful third theme is essentially dominated by a motive which already anticipates the rhythm of the final main theme. It was decided by a massive, fortissimo put forward by the brass thoughts. The pianissimo beginning implementation initially processed this topic. After a first order dynamic climax is reached set rhythmic figures that are reminiscent of the first theme, a. Presently there also appears himself, whereupon it is split into its individual elements with varied processing dominates the rest of this molding. The performance ends with a brief reminiscence of the third theme. The slightly varied reprise corresponds broadly in their end of the exposure. The third theme leads seamlessly into the stormy coda, which enhancing resumes after a short rest point, the head motif of the main theme and completes the sentence after a canonical passage in hammering out in C minor sounds.

Second movement: Adagio

The Adagio ( A flat major, 4/4-time ) does not yet have the formal structure of ABA -B' -A ', the Bruckner symphonies in later use is varied ( with the exception of the third and sixth ) again and again, but runs after the scheme ABCA' -B ' from. The first theme (A) is in horns and low strings. Actually, it's less of a closed topic, as a collection of various interrelated motifs that are alternately illuminated by different groups of instruments. After several missions this thread follows the second theme ( B) to anmutet substantially closed in comparison. A certain kinship to the second theme of the first movement is observed. It increases gradually to a use of the full orchestra. Following the central part of the sentence that stands out from the corner parts through his ¾ time begins. It is dominated by a very The vocal theme (C ), which is increasingly accompanied in the further course of semiquaver figures that eventually become independent and obscure the signature change in the recapitulation of the first theme (A ') artfully. The same passes through maintaining the accompanying figures to more cohesive than before. The second theme (B ') in turn leads to a climax, but which is made ​​substantially wider compared to that in the first part of the sentence. Subsequently, the melody dissolves into triads and soft major chords end in pianissimo the sentence.

Third movement: Scherzo. quickly

Like the fortissimo orchestral tutti in the beginning emphasizes the wild and fiery character of the Scherzo ( in G minor, ¾ time ). It is based on two issues that are processed by way of a simple sonata. The theme of subdued Trios ( G major ) consists of horn calls that are accompanied by the strings mostly with eighth notes in staccato. The main theme of the final movement sounds briefly. On the transition from the trio to the scherzo recapitulation in the Vienna version has already been made. The Da Capo of the scherzo adds Bruckner a brief, furious at Coda, which ends in G major.

Fourth proposition: Finale. Moving, fiery

The Final ( C minor, 4/4-time ), the longest sentence of the first symphony, the only conclusion a designated set of Bruckner as a " valid till " symphony ( apart from the fourth movement of the F minor Symphony at all the only symphonic finale Bruckner ), the raising loud not in pianissimo, but immediately. The main theme has features a fanfare and is consequently as the corresponding topic in the header record held strong rhythmic. His forward urgent character is further supported by the wild string figures that accompany it. Even in the final the main theme is to think twice before entering a relative calm and reconciled trill on the second topic. Its characteristic features are the prelude to the beginning and the trill at the end. The third theme again reminded strongly of its counterpart in the first sentence.

The implementation is a quiet and processed first, the main theme, which is now working much more melodic. His rhythmic character is, however, shortly afterwards played the more effective again, reduced the topic increasingly on his head motif. It follows the processing of the second theme, during which the trill motive peels getting stronger. This episode has been extended in the Vienna version. The Trill lead to a wild, fugatoartigen part about the motives of the third theme uses and firmly rammed into the end ostinato figures. A short transition leads to the recapitulation of the main theme in C major. The transitions between the themes are here shortened greatly. The coda increases the main theme over a Streicherostinato the broad statements in the brilliant C major fortissimo of the full orchestra. In the Vienna version previously held in the fast pace of the final coda has been significantly slowed by several ritardandi in adaptation to the conclusions of the later symphonies.

Discography (selection)

Linz version

• Vaclav Neumann, Leipzig Gewandhaus Orchestra, 1965, Berlin Classics
• Bernard Haitink, Concertgebouw Orchestra, in 1972, Philips
• Eugen Jochum, Staatskapelle Dresden, 1978, EMI
• Wolfgang Sawallisch, Bavarian State Orchestra, 1984, Orfeo
• Georg Solti, Chicago Symphony Orchestra, 1995, Decca
• Claudio Abbado, Wiener Philharmoniker (live ), 1996, DGG (with some orchestrations from the Vienna version )
• Georg Tintner, Royal Scottish National Orchestra, 1998, Naxos ( reconstructed original version of the Linz version of 1866 )
• Dennis Russell Davies, Bruckner Orchester Linz, (P) 2005 Austrian Broadcasting Corporation, (C) 2006 Sony BMG Music Entertainment Germany, series Arte Nova ( version 1866 Edition: Leopold Nowak )
• Philip of Steinaecker, Musica Saeculorum ( on period instruments), ℗ 2013 fra bernardo, © 2013 frabernardo gmbh ( original version of the Linz version of 1866 )

Vienna version

• Günter Wand, Radio - Sinfonie- Orchester Köln, 1981, RCA / BMG
• Riccardo Chailly, Radio -Sinfonie -Orchester Berlin, 1987, Decca