Symphony No. 6 (Bruckner)

Anton Bruckner's Symphony No. 6 in A major (WAB 106) was started on September 24, 1879 and completed on September 3, 1881 in St. Florian.

The composer has his Sixth completely only once heard in the orchestra rehearsal during his lifetime, because only the two middle movements ( Adagio and Scherzo ) were played in public under the direction of Wilhelm Jahn on February 11, 1883 in the series of the Vienna Philharmonic concerts in the great hall of the Musikverein. A first complete performance took place on February 26, 1899 by Gustav Mahler, who made interventions in the work and presented severely cut it. Bruckner's version was heard first hand AM14. March 1901 in Stuttgart under the direction of Karl Pohlig. Since the first edition was partially severely flawed and no long critical editions of the work were available, it was not until October 9, 1935, to the symphony for the first time sounded by the Dutch conductor Paul van Kempen (using the output from Robert Haas ) as required by the original score.

Duration: about 56 min

Occupation

2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani in A, D and E, string orchestra.

General

The Sixth Bruckner was long (along with the Second ) as stepchild among his symphonies - although he himself has declared it whimsically as his " boldest ". This condition has evolved positively over the decades in terms of performance numbers and you can tell that this work today claimed a repertoire place. The symphony is one of the creative process of the previous two symphonies, No. 4 in E flat major " Romantic " (1874 /80) and No. 5 in B flat major (1875 ) and is considered a precursor to the last big boom, the Bruckner since the composition of the Te Deum (first draft in 1881 ) with the following symphonies 7, 8 and 9 achieved in sublime grandeur. In particular, the Adagio of Symphony No. 6 as a model for the later composed and so became famous Adagio of the Symphony No. 7.

The time chosen by Bruckner Key A major gives the musical content of the work sometimes a bright timbre, which unfolds into a festive shine for example, by modulating rich tonartlicher relations in the coda of the first movement.

The work

The first sentence ( " Majestoso ") sets at the beginning with sharply accented notes on " cis " in the violins the main rhythm of the work firmly. The immediate onset of main theme is dark tinted - as later in the 8th Symphony - presented by the cellos and double basses. The repetition of the theme is heard in full orchestral splendor and leads to the second theme, which begins in E minor with a descending bass line and the melody of which evolved to the striking quintuplets. Immediately appeared on a chorale -like secondary thought, which leads back to a repeat of the second theme in now kraftvollerem robe. The process ends in a transition section for the 3rd issue ( C major ), which in a postscript exposure in peace and tranquility can turn swing out on E major.

The highlight of the following implementation coincides with the beginning of the recapitulation. A similar design is encountered also in the first sentences of the last three symphonies. After the recapitulation Bruckner wrote a rating based on the main theme extended coda, whose greatness is in the symphonies without precedent to his sentence statements of head sets. Constant changes in the flooded as sunlight harmonies under the eternal pulsating rhythm lead to the apotheosis of the powerfully bright A major, the last closing bars.

The Adagio ("very solemnly " ) in F major with three themes enjoys celebratory mood and flourishing string sound, the ( constantly prominent in E major, cellos) gives in particular the second issue its own special charm. The third theme ( in C minor ), in character of episode of a funeral march is similar, short and forms in the recapitulation as the reconciliation to turn very broad coda in which completely dominates the string sound. Dream -imposed and transfigures the set includes ( herein the Adagio of the second Schumann not dissimilar ).

The Scherzo ( " Not fast " ) in A Minor ( Form: ABA) has a throbbing basic rhythm, Part A is brightened in the course and ends in blaring fanfares in A Major. Original interspersed with pizzicato strings and beats the answering horns Call the Trio (Part B, "Slow" ) a. An unexpectedly turns up side thought the woodwinds reminiscent of the main theme of the first movement of the 5th Symphony. After quietly fading away Trio part Part A of the scherzo is repeated.

The finale ( " moving, but not too fast" ) begins in A Minor, which, however, soon gives way to a festive major, and presents three thematic groups, of which the second group again comes up with a flourishing string sound. The basic characteristic style of the sentence is clear and comes to an end in a short quote of the main theme from the first movement.

Versions

Like the 7th Symphony has left its Sixth in the original form Bruckner. Consequently, there are no second or third versions.

Dedication

Discography (selection)

Pictures of Symphony No. 6 (Bruckner)

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Werkverzeichnis Anton Bruckner Robert Haas (musicologist) Symphony No. 4 (Bruckner) Symphony No. 5 (Bruckner) Symphony No. 7 (Bruckner) Symphony No. 8 (Bruckner) Symphony No. 9 (Bruckner) Royal Concertgebouw Orchestra Study Symphony in F minor Symphony No. 1 (Bruckner) Symphony No. 2 (Bruckner) Symphony No. 3 (Bruckner)
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