Composers and their working methods

Re: Bruckner Symphony No.9

I found this review of the performing edition of the ‘completed’ Bruckner 9th, and of Rattle’s performance.

It came from Ken Ward, Editor, The Bruckner Journal, on 11th February 2012

“It [the Adagio] was certainly not the end of the symphony for Bruckner. He finished his work on the Adagio in November 1894, fell sick with pleurisy, but recovered quickly, and in May 1895 set to work on the Finale and was reportedly still working on it on the day he died. Although the symphony remained unfinished, at least two thirds of the movement was done, possibly more. The editorial team, Samale, Phillips, Cohrs and Mazzuca (all of whom appeared on stage for the first time together at Tuesday’s performance) have made it their generous ambition to let us hear what Bruckner wrote in the context of a completed movement. It has taken over 20 years for it to achieve its present form, which now has convinced Sir Simon Rattle and the Berlin Philharmonic that its quality merits performance with the preceding three movements. The repute of conductor and orchestra cannot do other than give added legitimacy to a project that many have claimed is not only impossible, but also unnecessary.

“Such criticism was swept aside by these concerts. The finale was performed with total conviction, its three themes characterised strongly. The second theme is a pale, enervated variation on the jagged lightning-bolts of the first theme, and Rattle communicated its melancholy progress very movingly. A blazing brass chorale above frenetic triplet-infested string accompaniment constitutes the third theme, and this is the sort of powerful, visionary music at which the Berlin Philharmonic excels. The double-dotted rhythm of the first two themes obsessively dominates much of the movement. Rattle ensured the rhythmic attack remained taut, and nowhere more so than in the wild fugue at the first theme’s recapitulation, whereupon Bruckner introduces a new assertive and heroic theme on horns, with a triplet at its core: once again, the Berlin Philharmonic horns showed the sort of stuff they are made of. This theme returns after the second and third theme recapitulations – and shortly after, but for a few sketches, we reach the end of the manuscripts that have survived.

“Discussion of how long the coda needs to be, what exactly should be its constituents, could – and probably will – go on endlessly. Whatever it was to be probably went to the grave with Bruckner; what is provided here has the limited but nevertheless ambitious function of providing an effective performing version. In this it succeeds wonderfully: the first movement main theme, anticipated in that heroic horn theme and stamping triplets that are almost the last of Bruckner’s notes, makes a return; an inversion of the finale main theme begins the crescendo into the coda (as sketched by Bruckner), there follows a dissonant grinding combination of all main themes of the movements, and then a breakthrough into D major, with the glorious rising trumpet theme from the Adagio at last coming into its own, reiterated thrice on three trumpets, and the movement ends in a blaze of fanfares. Rattle stood motionless, his arms aloft, the orchestra suddenly frozen. It seemed forever, but slowly he let his arms fall and the hall broke into stormy applause; many were on their feet.”

I’m really looking forward to hearing the CD. For anyone who is very impatient and has a good enough broadband connection, I see that it can be heard now via the Berlin Philharmonic Digital Concert Hall.

I'm also very skeptical about this well advertised 4th movement of Bruckner's Ninth. I don't think it can sound as genuine Bruckner and my fear is that it can be something like a sort of "poor relative" to the other 3 full of superlatives movements. 

Besides, having lived for years in Berlin and having had enough "live" listening experience of Rattle and the BPO as it has been developed under his baton (a gloriously flat sound and superbly homogenised performances), I have serious doubts about the real potential of this recording.

Anyway, we'll see.

Parla

Stop speculating and go out and get it!

That is my intention and I have only recently acquired EMI's other recent Bruckner 9 issue on SACD (and bl...y good it is, too!).

Rattle's, is it, notorious (?), attention to detail that some see as micromanaging may reveal other parts of the score.

It tells me I am forbidden and me a dedicated Brucknerian, too!

Ha, ha, it works!

Many thanks.

No you won't, unless the Beeb play it and I can record it, as I have no intention of buying any CDs this month...and yet there are so many tempting morsels out there i.e. Hyperion's Romantic Piano Concertos latest.

From what I have read, so far, yes...but I struggle reading long documents on a PC screen and will print it off.