Symphony No. 3 (Bruckner)

Anton Bruckner Symphony No. 3 in D minor (WAB 103) was dedicated to Richard Wagner and is sometimes referred to as Wagner Bruckner symphony. Bruckner wrote in 1873, they revised in 1877 and again 1888/89.

Occupation

• 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
• 4 horns, 3 trumpets, 3 trombones
• Swot
• Strings

Running time:

• Original 75 min
• Second and third version about 55-60 min

Formation

The first set was completed in the sketch on February 21, 1873, on July 16 in the score, the Adagio on 24 May. The Scherzo shall be marked " Vienna, March 11, 1873 " and the finale was completed in the sketch on August 31 in Czech Marienbad. On the same day he traveled to Bayreuth Wagner and put both his second symphony and his latest work in D Minor ( 3 ) before, with the request to find the one he likes better and this would give unto him. As Bruckner later in the day Wagner, on his invitation, again sought to learn his choice, Wagner wanted to take some time to look through the notes, enjoyed the two too much beer, so that Bruckner after his return could not remember which Wagner had chosen. The two had to clarify in writing, which was the Chosen. The relationship between the two composers was after this evening but very friendly.

On the last page of the score of Bruckner 's Symphony No. 3 had entered " completely finished December 31, 1873 at night ." The autograph of the Symphony No. 3 in this form is, however, not obtained because of Bruckner 1877 entered the changes to the second version in the manuscript and individual sheets of the manuscript all exchanged in the fundamental revision of the symphony. Fortunately, the arches of the first version have received, so that the first version ( with uncertainties ) could recover from them and the modified arches of the autograph. 1888 Bruckner Symphony turned to this again and revised it again fundamentally. For this reason, there are now a total of three versions of this symphony.

The first version was made famous by its quotations from Wagner 's Tristan and ring that were inserted in blocks and could therefore be removed without interfering with the substance. This also illustrates the basic composition, the first version in the periodic portions, which are marked as such, are separated from each other by pauses and pauses next to each other.

About the Music

1st set misterioso

The symphony begins with the establishment of a rhythmically structured D minor field in the inside sounds a trumpet motif, with about the bottom falling octave ( this motif particle later called Te Deum, and then at each plant Bruckner somewhere to find) and a triplet in ascending order. This distinctive but discrete, such as sounding of trumpets afar theme will complete the symphony later apotheosis in radiant major.

The first movement exposed actually four subjects instead of the usual three: the aforementioned homophonic theme on the trumpet, then a heterologous phones triplet theme (these two, despite their different character often portrayed as the first topic, which is summarized by the D minor - sphere ), then the polyphonically elaborated, three-part vocal period, and as a final group of issues heterophony chorale. Common to all subjects is a triplet, which can be regarded as the nucleus of the thematic material.

Clear turning points separate the individual parts of the sentence.

The implementation of the A section culminates in a fortissimo, which is an apparent recapitulation, followed by the other threads are processed and combined in particular in the first version. The implementation of the original version is appended to a part where the head motif is Bruckner's Symphony No. 2 repeats several times. This phase was later deleted entirely.

The recapitulation brings the first trumpet theme almost unchanged and then within the versions very different combinations of topics. In the version of 1888/1889 the topic sections are each significantly reduced in favor of the exaggeration of the trumpet theme in the recapitulation.

In the original version of the quote from the Symphony No. 2 before the coda is taken up again.

In all versions, the movement ends strong, monumental in D minor with the trumpet theme.

2nd movement Adagio, emotional, quasi Andante

In particular, this set is highly differing in subject matter and structure in the various versions. A first complete revision took Bruckner 1876 before.

The Adagio begins with a diatonic A theme in warm string sound, starting with two rising thirds. Upper and lower voices move in the measured chant rhythm, and the Terzintervall is determinative. The bass mimics the Terzsprung G - Bb in the upper voice, which drives the fifth of the dominant with the F. About Derivative formation in cycle 2, the tonic is reached again. With the upbeat two -eighths to the end of cycle 2, the bass resolves down in border district accompaniment of the tonic. The harmony moves into the area of the subdominant A-flat major. In addition to the solo violin rises in an up and then descending figure. A sigh like sinking derivative determined clock 4-8. A descending chromatic bass line on c- ces -b -as fills in the pauses of a sighing motif. The dynamic ebbs in a diminuendo to ppp. It is not driven the dominant but distant keys such as Ces and Fez major. This is followed by an eight-bar section (bars 9-17) in crescendo halbtönig descending bass. The violins to bring in the first 4 cycles a chromatically -strewn and rising question and answer game. And from clock 13, a higher and higher screwing sequence. Alternating, to the sighing motif of clock 4 ff reminiscent woodwinds and horns enrich the sound quality in addition. The following is a fully instrumented climax in ff (bar 17-20). However, this is immediately interrupted by a three-bar string section in pp. This was characterized by Haas with reference to Bruckner's Ave Maria motet of 1856 as " Mary - cadence ". The second interruption applies this cadence to minor and ends in a dominant seventh chord with chromatic reproached fifth, which sounds twice, once with the strings and the woodwinds ( T. 33 & 35); it refers to the relationship of the so-called Tristan chord.

The B -themed complex includes in all versions of a diverse, first cadenza -like harmony spectrum, however, is basically otherwise in the versions differ: in the original version it starts with a period of small seconds, as amended by 1888 /89 of a second and subsequent scales. This second variance is much more original and emotional, especially in their minor cadence Share it expresses deep pain from.

The third topic C is a singing period, the relationship has to be the head of the sentence. - The following Misterioso is the heart of the sentence and expresses an ethereal, mystical mood. It first recalls a sarabande or the Christmas carol ' Es ist ein Ros ' sprung. -

After the processing of the following three topics Bruckner added in the original version added a quotation from Wagner's Tannhäuser, until he decides the sentence with the first two topics.

The structure of the later versions after Misterioso is significantly different.

In all versions, the Adagio ends with the diatonic first topic.

3rd movement - Scherzo

- With three-piece - symmetrical structure Scherzo Trio - Scherzo. Scherzo and Trio are like most in Bruckner in also, but asymmetrically divided into three parts. -

The actual Scherzo theme complex is a prototype of a bruckner between scherzo: powerful, affirming existing minor phrases on a pounding rhythm, wild and slightly threatening, contrasted by a rural- diatonic Ländlertrio. The main theme develops from an initially as an introductory phrase treated rotary motive. The strings based Scherzo intermediate part can be called singing period and has been as a trio. The trio itself is an even tänzerischere variant of the intermediate portion.

The good 10 -minute scherzo remained virtually unchanged in all versions.

4th movement - Allegro

That even in the original version no longer than 20 minute long finale is basically constructed on three contrasting complexes or four thematic ideas: first the lively, frenetic violin runs of the first clocks as background occur again and again in the finals, at least, 2 the actual Final topic, dynamic interval jumps and heavy brass gives an impression of monumentality with its massive minor dynamics, 3rd as a singing period, a polka -like dance theme, its volatility is balanced by a worn brass chorale, and 4 a scherzohaftes unison, in which the bass the high registers the look up is irritatingly and related to the rotation motif of the scherzo. The polka is so embedded in two serious, powerful, cyclopean themes and contrasts therefore particularly. The keys are deliberately diverse: from the D minor basis, the F-sharp major polka and the D flat major of the unison raise considerably from.

The later versions are substantially reduced, the final issue appears only in the exposition in the version of 1888/1898. In all versions of the finale ends terrific in the variant of the trumpet theme in the triumphant D major. A characteristic feature is the gesture of orchestral silencing before using the final increase, which is often interpreted as awesome bowing before the return of the main theme; the effect emphasizes the almost religious cant and emphasizes its character as a major issue, even if the sentence has dealt with other subjects in the other three.

Effect

The first performance of the symphony was in 1877 in Vienna and was conducted by Bruckner himself. However, the concert was a disaster. Bruckner was indeed able to direct a choir, but had little experience in the management of a symphony orchestra. The accustomed to good concerts Viennese audience that is not very receptive to Bruckner's work was at the time, left to a large extent the concert hall or during the performance. Even members of the orchestra left the stage. One of the few supporters was Gustav Mahler, who worked among other things, a piano score of the symphony and Bruckner received thanks from the handwritten manuscript of the first three sentences. Gustav Mahler's widow, Alma Mahler -Werfel tried in the late 1930s to sell this autograph to the Nazis, who tried in Europe because of Adolf Hitler's interest in Bruckner's music, to collect the remaining manuscripts.

It was the premiere of the third amended on 21 December 1890 in Vienna under the direction of Hans Richter was a great success.

Revisions

In the revisions after the debacle of the first performance took Bruckner especially cuts to his work, especially in the last sentence, above. Only in 1977 the original manuscript has been published. Still listed at the most is the cut-price version from 1891, followed by the of 1877. Few conductors of recent times such as Georg Tintner or Johannes Wildner prefer the original version of 1873, although this is clearly different and filled by the later versions with Wagner quotes that Bruckner has removed itself later. Eliahu Inbal, Jonathan Nott, Kent Nagano, Marcus Bosch and Simone Young played the original version of a CD.