Symphony No. 5 (Bruckner)
The Symphony No. 5 in B flat major (WAB 105) by Anton Bruckner is a symphony in four movements.
Formation
Anton Bruckner composed the Symphony No. 5 in 1873 to 1875. During these years he worked all four movements of the work, but brought "improvements" to the year 1877. In the years 1877-1879, the composer underwent the symphonies 2, 4 and 5 of a critical review, in 1877, was the second version of the Symphony No. 3 in D minor. 1878 Bruckner added the orchestral forces are not initially provided for tuba added. The force during this period, to focus on new, was somewhat slowed down.
General
With the composition of the 5th Symphony, which stands out as a monumental block in the neighborhood to the earlier symphonies and the Symphony No. 6, Bruckner created a very personal work - the work of a solitary - a deep-rooted faith in people. The dependence of the measured compositions is stripped to the formation time of the Fifth, fully repaid a certain dependence on Wagner as the days of the 3rd Symphony.
Posterity gave the work sporadically nicknames or descriptions such as " faith Symphony" or "Catholic ". Bruckner himself referred to his fifth about as the " Great " or " contrapuntal masterpiece". Nevertheless, the easiest typing reaches a symphony of perfect. The now enormous temporal dimensions of the new composition, are all reflected later only once in the eighth, but from which it differs fundamentally.
Bruckner has never heard played by an orchestra, his fifth. The first performance on April 9, 1894 in Graz by the Municipal Orchestra under Franz Schalk Graz, he had to stay away because of a serious illness. Franz Schalk led the work on in a distorted editing: His version contains instrumentation retouching, a shortened Scherzo and especially a line of 122 bars in the finale as well as the inclusion of a remote orchestra, cymbals and triangle for the final apotheosis of the work. The version is indeed available today on recordings, but has the performance practice of no importance, as long the original version has prevailed.
Factory data
- Orchestra Instrumentation: 2222-4331, Pk, Str
- Duration: about 78 min
About the Music
1st set - Introduction: Adagio - Allegro
As uniqueness in his symphonic oeuvre represents the Allegro Bruckner a slow introduction above, which establishes the basic thematic material for the entire symphony. After initial pizzicato clocking the double basses ( B flat major ) uses a worn string chorale. This, in F ebbing, pauses for a moment and already uses unison upswing on Ges, which leads into a solemn brass chorale and finds a first end point in A. Then unison recovery replication in B, again brass chorale, this time ending subsequent to E. Now the impressive peak of the introduction in A- flat major is achieved by means of a fulminant increase.
The sound of noise breaks off and the main theme of the Allegro - part is presented. After the usual repetition through the entire orchestra of the flow of the topic comes to a standstill and dull to cautious as choral episode in pizzicato chords in the strings uses the second theme in F minor. The third theme group begins in a melodic ascending the woodwinds in Des. This is followed by an epilogue and coda of exposure ( tremolo passages, horn ).
The implementation has, in addition to the general processing of the main theme in artful counterpoint memories of the brass fanfares from the Introduction and opens into a large crescendo in the recapitulation. The recapitulation is reduced and gets a massive set of notes, which begins with a similar Bassostinato as in the introduction. At the end: main theme in B flat major fortissimo, reminiscent of the introduction as background, schmetterndes plate, drum roll, Unisonoabschluss.
2nd movement - Adagio: Very Slow
The Adagio in D minor opens with an introductory pizzicato line in quarter note triplets, which will be later for the Scherzo of importance. It has the major form of an extended song form (ABA 'B' A '). A plaintive oboe melody rises in duolischem rhythm via the triplet foundations, achieve a striking effect the Septsprünge in the further course. The set continues with a big second theme in exquisite beauty, which undergoes a further increase in the second part by the delicate spotted accompaniment chords the melody.
3rd movement - Scherzo: Molto vivace (fast) - Trio: In the same pace
The rather big Scherzo in D minor builds on the form to the Scherzi the preceding symphonies. The introductory melody line of the Adagio is used here in a rapid pace as Scherzobeginn. It sounds immediately the scherzo main theme in D minor, in the woodwinds and very soon is the second theme, a Landler in F major, a. In the further course of the first theme mixed again, the Landler topic but will never be forgotten. Completion of the first scherzo in D Major. The Trio in C Major bears serene, march-like character. It is short and quickly leads to the repetition of the scherzo part A.
4th movement - Finale: Adagio - Allegro moderato
The final first brings in some abbreviated form the beginning of the introduction of the first movement, but already under Oktaveinwürfen the clarinet as advance notice of upcoming main theme, which is presented after a short break only on the clarinet. It is quite similar along the lines of Beethoven's 9th symphony then heard the beginnings of sentences of the Allegro section of the first sentence and the Adagio before the main theme now in Fugatostil finally gets the dominance. The out -onset second theme, reminiscent in the upward direction at the beginning of the Landler the Scherzo, has lovely character, is expansive and leads with an insertion of the first theme in the further course of the brass chorale of the third subject. From the festive finale this third group out the double fugue developed ( a fugue with two subjects ). The section is working very skilfully extended and was completely reduced with deletion of the recapitulation of the second theme in the processing by Franz Schalk. With the presentation of the original version, the right proportions and logical relationships have been restored. The factory sounds in a very glamorous apotheosis of the brass chorale theme, followed by the main theme from the first movement.
Quote of the topic
In the magazine "Now" ( weekend supplement for teens Süddeutsche Zeitung ) Item is made to a certain similarity of the first Allegro main theme of the first movement of the symphony with the pop song Seven Nation Army of the rock band The White Stripes. This established itself since the UEFA Champions League 2003 /04 to a still extremely popular football fan chant.
Significant recordings / performances ( Discography )
Wilhelm Furtwängler (Berliner Philharmoniker ), October 1942, Testament, 2011.