Symphony No. 8 (Bruckner)
The Symphony No. 8 in C minor ( WAB 108 ) was completed in the first version of Anton Bruckner on July 3, 1887 after three years work.
After presenting the first version to the conductor Hermann Levi this expressed his horror at the new, huge factory. The desperate composer did what he used so often do: He built a second version, which was completed in 1890. But between he put the work at times again out of the hand, in favor of writing a new version of the Symphony No. 3 in D minor (1888 /89), the third version to the present day often preferred listed the work.
The later edited by Leopold Nowak pure second version of the Symphony No. 8 is also different to a study published by Robert Haas mixed version of both editions. In the concert we met today the pure second version of 1890 most frequently. The differences from the original version are significant, but not comparable with the erstwhile makeovers of Symphonies No. 3 and 4
The actual work on the new version of the Symphony No. 8 began precisely in April 1889 and lasted until March 1890. A scheduled performance by Felix Weingartner 1891 in Mannheim could not take place. For the highly successful premiere of the Symphony No. 8 in its second version, there was only then, on 18 December 1892, the Vienna Philharmonic under the baton of Hans Richter.
- 6.1 version 1887
- 6.2 version 1890
Occupation
Large string orchestra, three flutes, three oboes, three clarinets, three bassoons (third also contrabassoon ), eight horns ( four alternate with Wagner tubas ), three trumpets, three trombones, tuba, timpani, triangle, cymbals and three harps.
Duration: about 82 min
About the Music
The symphony is in four movements, with a slow movement and scherzo are contrary to the principles of the classical symphony reversed, as well as other composers had already applied (eg Beethoven in his Ninth Symphony and Schumann in his second ). However, it is noteworthy that this procedure after Bruckner String Quintet for the first time officially begins in a symphony, although already in retrospect arranges to 1872, the first draft of his Symphony No. 2 in C minor, this type of block sequence.
The four movements are called:
With an average playing time of over 80 minutes Bruckner's "Watch " the first symphony, which has reached such a temporal scale ( Mahler symphonies follow after this example), and at the same time Bruckner's longest symphony.
1st movement: Allegro moderato
The movement begins in a mysterious mood with a tonally indeterminate strings and horn in F, followed immediately sounds an equally dark tinted motif with immediately subsequent double dotting the lower strings. Thus, the clamping to the end of the entire symphony is set in compelling shortly; the Erklungene just before the beginning of the coda sound in a threatening gesture towards the end of the final movement to emphasize it once.
In a roundabout way gets the head with a topic not to be listening desperate search for a resolution of the tension on the main key of C minor. The rhythm used here by Bruckner is consistent with that of the first d -minor theme in Beethoven's Symphony No. 9 match (bars 17-18 of the 9th symphony ). The powerful repetition of the presented material leads after a short transition to the second theme with ascending scales in G major. This in total short first set fairly broad phase is followed by the third theme, a motif unison. It develops harmonious sharpening in the reversal descending cascade of the once rising duplets / Triolenmotivs from the beginning of the second theme. Dramatic increases with forward 's urging, constant change of keys lead to the blaring finale in the sheet metal, the end of exposure, immediately announcing.
The implementation provides space for the shattering sound of discharge of a large-scale increase wave: The second theme, in time about the middle of the first set depicting first unfolds in its reversal and lead to an overwhelming outbreak of those passages in which stacked Theme 1 and 2 will sound. This section applies with respect to its dramatic intensity only once a correspondence in the course of the movement, namely in the last wave increase before the coda.
The transition to the recapitulation is fluid - again, the scale issue spreads out in all its beauty, to which also re- sounding 3 theme enters the increase, which rears up with unrelenting C minor incantation and corroborating trumpets and breaks off.
In the coda is the only set of financial statements of Bruckner's outer movements, the fades softly. 1887 nor the set ended with a pithy fortissimo passage about 29 cycles, which was removed in the version of 1890. Bruckner himself described the coda of 1890 as a death-watch beetle. Quote Bruckner: " Dös is as if one is dying and over hangs the clock, which, during his life comes to an end, always uniformly continuous beats ... "
2nd movement: Scherzo. Allegro moderato - Trio. slow
" The German Michel dreams into the country " is a programmatic declaration Bruckner to C minor Scherzo 's Symphony No. 8. This scherzo of considerable extent which has the form ABACABA, beyond existing conventions, proceeds in its steady rhythm accompanied pithy, but also the delicate and even dreamy episodes are not forgotten.
The symbolic figure of the German Michels, often written, is the national figure of a peace-loving, dreamy Biedermann, simple-minded, dozy, but good-natured. "If this hinsinnende right hineinträumt farmer's son in the countryside ", the musical imaging is to be discovered in broad flat major Trio of the Scherzo. And it is ultimately Bruckner himself, who hineinträumt in this peaceful landscape.
Even as amended in 1887 provides the trio at the beginning a comforting melody in A-flat major before, then something moving in pace, while the trio of the second version of 1890 processed the same material in a rich variation and within the framing Scherzo parts small Adagio creates.
In the first version still lacked the harps, which develop a magical atmosphere in the second version already here and not only in the third movement (Adagio ). Also, the trio is again constructed in three parts, after the first appearance of the harp learns the musical expression of a more internalized - it's loud Bruckner the place " where the Michel briefly pausing in prayer ." After returning to the first trio section is again the degree with harp, before the repetition of the massive scherzo begins and decays of the sentence in auftrumpfendem C major.
3rd movement: Adagio. Solemnly slow, but not slow
The Adagio as a five-part rondo (AB -A' -B' -A '') and its arch structure as already tested at the time of the Second Symphony, Bruckner 's Symphony longest sentence and is in D flat major. After quietly floating introductory bars, built on the resultant rhythm through the use of syncopation, heard the slogan of the movement, a delicate and long-drawn dotted Streicherton on as, following heses and again AS. Here succeeds Bruckner, with a motive, which in its extent is highly advised shortly to unfold largest forces in the course of the movement to the end, always recurring, be it hidden or present heard. The first highlight of the theme with its distinguished quintuplet as early as the second theme of the first movement, immediately awakens memories of the ascending theme of the 1st movement of the Symphony No. 7.
The more frequently recurring echoes of the previous works have been Bruckner often criticized for. The allegations are refuted when one examines the quite deliberate change related quotes the entire late work closer. The initial appearance of the main theme of the 7th Symphony creates a wide berth until the end of the Adagio of the Ninth, even over such works as Heligoland or the 150th Psalm.
In the Adagio of Bruckner 's Symphony No. 8 put one as in the first and second frame harps, giving, for example, the continuing episode of the first theme with its Choralaufschwüngen a distinctive timbre. Harps come in Bruckner's symphonies otherwise not intend to use them in the Eighth says Bruckner nevertheless the following: "A Harf'n g'hert in ka Symphony; i ' got ' ma nöt helf'n könna! "
The second theme of the Adagio contains a descending interval, the sixth, the hidden or distinctly pronounced the whole symphony permeates, later distinctly pronounced at the beginning of the second theme in the finale. After the presentation of the second Adagiothemas follow in time- extended sequence several waves increase or sudden collapse in blocks of sound in sublime grandeur, the 5th part filigree embellishments the main theme will also receive by the violas. One of the highlights includes a quotation the Siegfried motif of Wagner, " in memory of the master." The final climax of the movement uses the cymbal crash, followed by a repetition of the passages with the Choralaufschwüngen, which still contained a hint of Parsifal by Wagner in the first version, the broad coda directs that also in their warm sound of tubes and low strings Abwärtstonfolge the death-watch beetle from the first sentence can be heard.
4th movement: Finale. Solemnly, not fast
The monumental finale will be opened after a short Einleitungscrescendo the strings with massive brass chords. This first thematic section commented Bruckner was referring to the time of composition " Three Emperors ": " Our emperor then had a visit of the Tsar in Olomouc, therefore strings; Ride of the Cossacks; Sheet: Military music: trumpet; Fanfare as the majesties meet ".
However, Bruckner researchers repeatedly point out that Bruckner with such statements may only wanted to meet a supposed contemporary taste. Whether he actually had the three emperors when composing in mind, now seems more than questionable and is one of the many secrets, mysteries and ambiguities that surround the person Bruckner.
The second issue contains the strings at the beginning again the ascending and descending sixth and thus causes a delicate reminder of the preceding Adagio awake. The third topic, steeped in marschartigem character, ties connecting to the beginning of the final movement. Relaxed sound exposure using the brass theme from the beginning of the lecture by three flutes with the effect of an echo.
In the implementation, which requires quite an attentive and focused audience, find out how in Bruckner usual, great dramatic increases in place before the recapitulation falls with a force that still increases the inferno of the sentence beginning.
The recapitulation of the second theme promises a brief respite before the two recent large increases in the rate, still to come. The first is the Fugatoverarbeitung the third theme, which leads to desperate outbreak of the main theme (here in F minor ) from the first set and reaffirms the clamping of the whole work from beginning to end. But the grand finale brings the detailed coda in their last 13 bars all the main topics of the four sets played simultaneously. The main theme of the first sentence to the very end of his reconciling variant in C major.
Curiosities
The 8th symphony by Bruckner has occasionally prompted to provide them with epithets. Bruckner himself spoke of his "mystery", isolated is the nickname to read " Apocalyptic ". In many cases, the Eighth is also referred to as the "crown of the music of the 19th century".
Dedication
The symphony was dedicated to the Emperor Franz Joseph I of Austria.