WordProLWP7. YƤ1ZWord Pro Text File/DFBAl@PPPPP-PPP@Jonathan Darnborough@@Y@@@ @ SmartMasterH@ASMH@Jonathan DarnboroughH@AJDXP p@@Jonathan Darnborough@EJDX@@@q pcPP`@@q pcPP` @UNIVERSAL_ALL_OTHERS_EDITOR@FOTRX@@@q pcPP`@@q pcPP` @UNIVERSAL_SMARTMASTER_EDITOR@ESMX@@@q pcPP`@@q pcPP`B@QCB PP p  q@Tp= yqp~ qPHPHPHPH(x qQdIZ+}!A@Bz$Bp= A!@B?Bp= !A}@FFp= APHBPHBgf ( xAQdHHAQdHHq ~APHBgf PHB(AAk qAyZ(3&AItB&A3Bz$Bz* A&PHPH3ACFSHHc ACFSHHe }-?@En;A#@P@P@@@ P@@@P @@@PpP@@@Pp @@@d*plC|@@@"q!@@ @@P@Zc xpp  @@@PppP @@@ fqcP`R@d H@dZ Z Z Z pH@PZ  pH@P pH@P pH@P pH@PZZZZ(( /!("(# ($(%(&('Z)Z*Z,Z-fZ.cZ/dZ0eZ17Z2Z3Z4uZ5Z6#Z7,Z8 #Z9 %Z:Z;Z Z Z >H@@ ??X@P`@@P`@@Pp@P`@@Hx``@@Hx``PC q@@P@ A@A yx@Hx@Hx@Hx@Hx` % x@@@Q $ $ %AAy'ABBBBRBBB q %@@@@Q  A]Ayq@AJB]A%AHHPHA ABffbff€BBB7@-@<@Pc@P c@P c@P ABffbff, Aff, ABff4A@Aj A%@p@  ?%]A $Azs>LH- }Ex$ ?}+@ExP:An@P@P@@@ P@@@P @@@ X@@@Pplq@@@@P |C@@@P !"AO@@ @@P@|p@@@P *>$@EH @ Heading 1 #Ox@@@P@& $ p`@x@&  p`@x@>!A*@EH@ Default Text s-ExP:A@P@P@@@ P@@@P @@@ P@@@PpO!A #@@ @@P@7q@P@P@@@ P@@@P @@@PpP@@@ #)nx@@@ @@@PPPP@@@PPP$*A'@@@@P'$A)@@@@D@DP)'A,@@@@P+?Au@@@O@O, )xP@Pu +x@@G@G} xPBp=  xAJB PPP $AAyADq=3aAPPHq={PHAPPH HBHADaAPPHƅ-H |ףaAPPHףVBAPPH HCأ(APPH HC s PH HC^H$@P@P P P  DADxQE @QDs%D@@EBodytBPP@EBody@p (g(ir H@@a FV uAuxpA@P # AyU@@Default FooterXA@BQJA +A P@EFooter %A@@@Default Footer Styleh$@aAAAyA@ @YAfAdAe@ XQ $@c .X +u@pA@A XRA =A +P@EFooterI /A #A %Iyy@ @Y XQ@c /* BA ,yd@Q . $@FStory BA ,Y 0A 0AmU A xpA@P q #yU@@Default HeaderXA@BQJPA #AP@EHeader A@@@Default Header Styleh$@aAAAyA@ @YAfAdAe@ XQ@c +Wq .yu@pA@A XRPA .A #P@EHeaderI ,A A Iyy@ @Y XQ@c ,, /Bqd@Q + $@FStory /BQ -A -Am(Ruc #AyU@@ Default FrameQ A@IQXAAP@DFrameH@@Default Frame Styleh$@@ Default TextIAAAAc@ @YAfAdAe@ A]@qyX@@ Default CellQAA@@@R@0@AAP@CCellH@@Default Table Cell Styleh$@ @ Table TextI3AAAA@7Ay[AyX@@Default ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!`AyX@@Default Left ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!_X@@Default Right ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!mqW@@ Default TableQH@@RB0PAAP @ SuperTableH@@Default Table StyleAy@. A@U@@Default Drop CapQ A@IQXA AP @FDropCapIAxH@@Default Drop Cap Styleh$@@ Default TextI&AAAyA@!AfAdAe@ X@Dzb%@@ =Wq Cy@pH@B PRPA CA .P@EHeaderI BA A Iyy@ @Y XQ@c CX =@pH@B PRA|A =P@EFooterI HA #A %Iyy@ @Y XQ@cu .A +AV@@ Default PageQA@JIXA @CPageH@@Default Page Styleh$@@ Default TextIxAA~AyAc@ iAfAdAe@ `$@@ +yAAd@Q ,@FStory AAmT AxpA@P H*8A Byd@Q C $@@FStory8A BY IA IAm B* HA /yd@Q = $@@FStory HA /Y KA KAmBq|A CA =AT@iH@IAAuP@CPageIAu+ A p@t q@@P\* "FF(A@D@H7. Versions of the symphonies.@dPBrkA'DPSpcA#CSEnd KPAmFF(A B@ASSEnd/d Ax @mzqk@ Default TextP@@@i@@Default Text Style@@@pE A@x`aAnD}AA"x@@@PP@@@  IPAmFF(A H@ASSEndZHZOZGqA Z -ZIYmZLZP:ZNZW AxpA@PX AxpA@P\[u^_`abZJZKZQb(SM(e(fc(h(j]  # 0PAm /@ASSEnd ) ,Bqd@d@FStory ,BWm -PAm ,@ASSEnd *yd@Q $@StoryYAAm 'Ayd@d@FStoryAYAAm 8'A Hyd@d@FStoryA HY9A9Amk0mAo@ Note Initials`P@Y@x`al2 :1@Engineering NumberingI8@ OX+A"@Outline (Not Indented)P@@@i@"@ Left Justified Outline Numbering@@@pE A@A+@D  O @@@QP 1b@Default Headingsa; '/:qAu 'yd@d@Story_m SmCHHBvSSEnd 'Ayd@d@FStoryAYAAmPAm@ASSEndaSm@D@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE)@@ap@PT@@apE)@@ap@PT@@apE)@@apE(@@ap@P T@@apB)SSEnd9RSm8@D@@ap@PT@@apF.0@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@a?pE.@@a?p@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@P QSSEndo,kA @ Note Date`P@Y@x`al2 .A:@Legal NumberingI@ OX+@Outline (Indented)P@@@i@(@&Traditional Indented Outline Numbering@@@pE A@CfD?" @@@QP ,q@Default OutlineI@ OPZa  ' ; #  SmCHHBSSEndTSm@D@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@P?xE.@@@P?x@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@QpE.@@@Qp@P QSSEndGoA @ Body Singlep@i@P@@@pE A@Am@D= Xw+@DTitleP@@@i@P@@@pEAm@DdB}q*A # @@@  f\Uw @ Number Listp@i@P@@@pE A@Am@D  ! @@@QP  {U  c '  ZB @GBullet 1p@i@P@@@pE A@Am@D  " @@@RH wOf @ Table Textp@i@P@@@pE A@Am@Db|r}# U[Df @ Heading 3P@ @@i@P@@@pEAm@D B}t> # @@@   A CDc  b ZB( @GBullet 2p@i@P@@@pE A@Am@D  " @@@RH c PD[2U @ Heading 2P@ @@ i@P@@@pEAm@D B}t> # @@@   q C2 c (S2 @First Line Indentp@i@P@@@pE A@Am@D-# c P2[(D @ Heading 1P@ @@ i@P@@@pEAm@D B}t> # @@@        yP  AAA PP  "1A(@AH4P@@@@Y@Am@` #$ (3"A@ENormal`@@@Y@Am@` #) *2AA 1P A(FF¥A@BA-CA-DHB@ @ @ Bruckner'sHHm symphonies can be divided into three groups. To the first may be assigned the two early symphonies from the HB@ @ @ GLinzHH years: the HHM HHStudyHHM HHD HH#Symphony, sometimes referred to as HB@ @ @ no.00HH (1863), and Symphony HB@ @ @ Gno.1HH (1865HHM HHA6). The second group includes the five symphonies composed after HB@ @ @ Bruckner'sHH move to Vienna in 1868: the HHM HH NullifiedHHM HHD HHFor HB@ @ @ M HB@ @ @ NullteHB@ @ @ M HHD HH*Symphony in D minor (1869) and Symphonies HB@ @ @ nos.2HB@ @ @ M HB@ @ @ D5HH (1871HHM HHF6). Completion of the contrapuntal Fifth Symphony, which testified to HB@ @ @ EBrHB@ @ @ uckner'sHHݿ consummate mastery of all the technical aspects of composition, marked a watershed in his creativity. From 1876 to 1879 he paused to rework his music; there was a hiatus in the composition of symphonies while he revised HB@ @ @ nos.2HB@ @ @ M HB@ @ @ E4.HH* Then he composed the String Quintet (1878HHM HHk9) and between 1879 and 1887 completed in unbroken succession the next three symphonies in the final group HB@ @ @ (no.6,HHD HB@ @ @ Gno.7HH and the first version of HB@ @ @ no.8)HH and began the Ninth.HdPIdtA+DPBrkA,DPSpcA#CSEnd--3iy@PPA*A*@.q4@music.40030.P52-/ ;5.0 q1A-@1 0y-@28A*A 7P A(FF¥A@BA3CA3DHHcIt is noteworthy that Bruckner had already embarked upon an overhaul of the Fourth Symphony before HB@ @ @ HermannHHa Levi's rejection of the first version of the Eighth in 1887; therefore, the significance of the HB@ @ @ GLeviHH episode for the later revisions remains controversial. Another sequence of revisions, of the First, Third, Fourth and Eighth symphonies, in the late 1880s and early 1890s slowed down composition of the Ninth so that its finale was unfinished at HB@ @ @ Bruckner'sHH death. Symphonies HB@ @ @ nos.2HB@ @ @ M HB@ @ @ D4HHO underwent considerable revision, resulting in multiple versions; by contrast, HB@ @ @ nos.5HB@ @ @ M HB@ @ @ D7HHп were comparatively little revised and exist in only one version. There are two distinct versions of the Eighth (1887 and 1890) but only one of the Ninth. It is notable that in the last three symphonies (1883HHM HH96) the orchestra is enlarged to include Wagner tubas and in the last two the scherzo is placed before the slow movement (as in Beethoven's Ninth).HdPIdtA+DPBrkA,DPSpcA#CSEnd-39A-iy@PPA2A2@4.A:@music.40030.P5335 /;46 q7A3@7 6y3@8x>A2A =P A(FFA@BA9CA9DHHXIt is important to bear in mind that international success and recognition came late in HB@ @ @ Bruckner'sHHݿ life. Until the 1880s the symphonies were mostly unperformed and unpublished. The extent to which they remained unknown in the 19th century is revealed by the lack of performances (especially of the first versions): the HB@ @ @ M HB@ @ @ NullteHB@ @ @ M HB@ @ @ D,HOQ the Sixth (not given complete until 1899), the Ninth and the first versions of the Third, Fourth and Eighth symphonies were never played during the composer's lifetime. Also, Bruckner never heard the Fifth Symphony, except in a two-piano arrangement. The second performance of the Seventh Symphony (Munich, 10 March 1885), conducted by HB@ @ @ Levi,HH was one of HB@ @ @ Bruckner'sHHX first unequivocal triumphs and important for the wider dissemination of his music. The @H Berliner @B@ @ @ TageblattHHU critic summed up the general reception when he wrote (10 August 1885) that Bruckner HHM HHbeguiled us all so that when the last chord of his creation died away, we asked with amazement: how is it possible that you remained unknown to us for so long?HHM HdPIdtA+DPBrkA,DPSpcA#CSEnd-9?A3iy@PPA8A8@:4A@@music.40030.P549; 5A:< q=A9@= DA8A CP A(FFA@BA?CA?DHH:The two versions of the First Symphony elegantly straddle HB@ @ @ Bruckner'sHH symphonic output. The first HB@ @ @ D(HB@ @ @ M HB@ @ @ GLinzHB@ @ @ M HB@ @ @ D)HH version was composed in 1865HHM HH(6 (edited by Robert Haas in 1935 and by HB@ @ @ LeopoldHHD HB@ @ @ NowakHH in 1953) and reworked and HB@ @ @ reorchestratedHH in 1890HHM HH 91, during HB@ @ @ Bruckner'sHH last creative period, to celebrate the granting of the honorary doctorate by the University of Vienna in 1891. It is notable that Bruckner confined his revisions to reworking the texture and orchestration in accordance with his own ideas concerning HB@ @ @ consecutivesHH (see HHDHH38 below). The first printed edition (supervised by HB@ @ @ CyrillHHD HB@ @ @ Hynais)HH was published during HB@ @ @ Bruckner'sHH lifetime (1893), but HB@ @ @ Gthe@B@ @ @ StichvorlageHHa (engraver's copy) has disappeared and it is impossible to verify which of its variants from the HHM HHGVienHHEnaHHM HHD HH manuscript HB@ @ @ E(@B@ @ @ GA-WnHB@ @ @ Mus.19473)HH& originate directly from the composer.HdPIdtA+DPBrkA,DPSpcA#CSEnd-?EA9iy@PPA>A>@@:AF@music.40030.P55?A ;G@B qCA?@C By?@DJA>AQQIP A(@BAECAEDHHThe Second Symphony exists in at least three versions. The first was completed in 1872 and Bruckner revised it in 1873, 1876, 1877 and 1892. The editions of 1938 (Haas) and 1965 HB@ @ @ (Nowak),HH which purportedly presented the 1877 version, actually conflated elements of the earlier and later versions. The first edition, published by HB@ @ @ DoblingerHH( in 1892, used the copyist's manuscript HB@ @ @ E(@B@ @ @ GA-WnHB@ @ @ Mus.6035,HH0 one of the copy scores owned by Bruckner) as a @B@ @ @ StichvorlageHB@ @ @ D.HdPIdtA+DPBrkA,DPSpcA#CSEnd-EKA?iy@PPADAD@F@AL@music.40030.P56EG AMFH qIAE@I HyE@JPADA OP A(@BAKCAKDHHOne of the many remarkable features of the Second Symphony is the extensive use of rests between main formal sections, for which the work was nicknamed (not entirely in a friendly manner) the ÂHHM HHSymphony of RestsHHM HHD HB@ @ @ E(@B@ @ @ PausensymphonieHB@ @ @ E).HH Using HB@ @ @ Bruckner'sHH metrical grids (see HHDHH/8 below), research has shown that the cuts and HHM HH tighteningHHM HH`, particularly of the rests in the later versions, were made by Bruckner (not by the conductor, HB@ @ @ Herbeck)HHտ to make the music fit the grid. The main cuts indicated by Bruckner in 1877, preserved in the first edition, concern the approach to the final cadence and the coda in the finale. Bruckner cut the citation of the HB@ @ @ KyrieHH# of the Mass in F minor in bars 540HHM HHL62, probably because he felt it was redundant after the citation in bars 200HHM HHy19. The original coda twice completes a cycle through related material; Bruckner eliminated the first cycle as redundant.HdPIdtA+DPBrkA,DPSpcA#CSEnd-KQAEiy@PPAJAJ@LFAR@music.40030.P57KM GSLN qOAK@O NyK@P VAJA UP A(@BAQCAQDHHkThere are three distinct versions of the Third Symphony. Bruckner completed the first version in 1873 (ed. HB@ @ @ Nowak,HH 1977). The second version exists in no less than three phases. In 1876 Bruckner revised the symphony rhythmically and reworked the Adagio (ed. HB@ @ @ Nowak,HOS 1980). Between May 1876 and 25 April 1877 Bruckner made substantial revisions to the entire symphony. He further revised the Adagio in October 1877, and in January 1878 added two bars to the first movement and modified the Scherzo, including the addition of a new coda. In 1948 the autograph score of the first three movements of the 1876HHM HHg8 version (including the October 1877 Adagio), which Bruckner had given to Mahler, was acquired by the HB@ @ @ DւHB@ @ @ sterreichischeHHD HB@ @ @ Nationalbibliothek.HH) In 1981 the 1878 score was published by HB@ @ @ Nowak,HH׿ who incorrectly identified it as the 1877 version. In fact, it is the 1878 version, which includes two additional bars in the First movement, slight modifications to the scherzo and a coda for the scherzo. In 1950 HB@ @ @ FritzHHD HB@ @ @ Oeser'sHH5 new edition of the first print was published as the HHM HHSecond Version of 1878HHM HHG. This also is misleading because the first print was not published by HB@ @ @ TheodorHHD HB@ @ @ DRHB@ @ @ DHB@ @ @ GttigHHӿ until 1879. It contained the third and last stage of the second version of the symphony. Perhaps the most important difference between the Mahler manuscript and the printed edition are the cuts indicated (with HB@ @ @ M HB@ @ @ Vi-deHB@ @ @ M HHD HH6signs) in the recapitulation of the finale at bars 379HHM HH4432, eliminating the first theme group, and bars 465HHM HH|514, removing the second part of the second group and the first part of the third. Another cut, in the development (bars 283HHM HHF96)HH, was indicated by Bruckner in his copy of the first print. These cuts, already suggested by Bruckner in 1879, were later incorporated into the third version (1887HHM HHL9), which served as the basis for the first printed edition (1890; the 1889 @B@ @ @ StichvorlageHB@ @ @ FwasHH edited by HB@ @ @ NowakHHa and published in 1959). For this last revision, Bruckner used a score of the finale prepared by HB@ @ @ FranzHHD HB@ @ @ Schalk.HH] It is interesting that he rejected, early in the revision process, the single passage where HB@ @ @ SchalkHH had introduced a substantial HB@ @ @ recompositionHH of his own. Perhaps at HB@ @ @ Bruckner'sHH request, HB@ @ @ SchalkHHT tried to abbreviate the final appearance of the principal theme in the third group HB@ @ @ (Nowak,HH 1959, bars 393HHM HH,441); but Bruckner was clearly unhappy with HB@ @ @ Schalk'sHH rather tame and incoherent 27-bar version of this crucial climax, and on 15 March 1890 sketched his own 44-bar reading of the climax, which became the final version.HdPIdtA+DPBrkA,DPSpcA#CSEnd-QWAKiy@PPAPAP@RLAX@music.40030.P58QS MYRT qUAQ@U TyQ@V \APAQQ[P A(@BAWCAWDHHvThe Fourth Symphony, like the Third, exists in three distinct versions. The first was completed in November 1874 (ed. HB@ @ @ Nowak,HH 1974). In 1878, Bruckner HHM HH tightened upHHM HHD HH:the first two movements, revised the finale (now entitled HB@ @ @ M HB@ @ @ VolksfestHB@ @ @ M HB@ @ @ D)HHB and replaced the original scherzo with a new movement designated HB@ @ @ M HB@ @ @ Jagd-ScherzoHB@ @ @ M HHD HH(ed. Haas, 1936, HB@ @ @ Nowak,HH` 1953 and 1981). In 1880 Bruckner substantially recomposed the finale (ed. Haas, 1936 and 1944, HB@ @ @ Nowak,HH 1953). The HHM HHsecondHHM HHD HOOversion, comprising the first three movements of 1878 and the finale of 1880, was given its first performance by the Vienna PO, conducted by Hans Richter, on 20 February 1881. After this performance, Bruckner unsuccessfully attempted to get the symphony published. In undertaking the third and final revision, Bruckner was assisted by HB@ @ @ FerdinandHHD HB@ @ @ DLHB@ @ @ DHB@ @ @ EweHH and probably by the HB@ @ @ SchalkHH brothers. The new score HHM HHD HH!which may have contained further HB@ @ @ unauthorizedHH revisions by the pupils HHM HHD HHwas eventually published by HB@ @ @ GutmannHO in September 1889. Of the changes between the second and third versions, those concerning the structure of the scherzo and the finale, and the orchestration, are the most significant. In the finale, the recapitulation of the first group was removed, necessitating a new transition from the development to the reprise of the second group. That Bruckner sanctioned this large cut is revealed by his metrical numbers at the affected place in the @B@ @ @ StichvorlageHB@ @ @ D.HH޿ The third version was first performed on 22 January 1888 (again with Richter). Based on his experience of this performance and in accordance with his ideas concerning consecutive octaves, extensive revisions to the pupilsHHM HHD HB@ @ @ reorchestrationHH were made by Bruckner in February 1888. It is interesting that shortly afterwards, in March, Bruckner was already revising the Ă@B@ @ @ StichvorlageHHG of HB@ @ @ Schalk'sHHS arrangement of the finale of the Third Symphony. A larger picture emerges: in 1887HHM HH8, Bruckner extensively HHM HH regulatedHHM HHD HH(his word) the pupils' HB@ @ @ reorchestrationsHH: of the third versions of the Third and Fourth symphonies.HdPIdtA+DPBrkA,DPSpcA#CSEnd-W]AQiy@PPAVAV@XRA^@music.40030.P59WY S_XZ q[AW@[ ZyW@\bAVA aP A(@BA]CA]DHH]The Fifth Symphony exists in essentially one version which is authentic (ed. Haas, 1936, and HB@ @ @ Nowak,HH 1951). HB@ @ @ Bruckner'sHH manuscript HB@ @ @ E(@B@ @ @ GA-WnHB@ @ @ Mus.19477)HHh contains both the first version (completed in 1876) and a slightly later revision (completed in 1878). HB@ @ @ FranzHHD HB@ @ @ SchalkHH made an arrangement (1892HHM HHG3), which formed the basis for the first printed edition (1896). Since HB@ @ @ Schalk's@B@ @ @ StichvorlageHH> is lost, there is no way of knowing whether Bruckner saw the HB@ @ @ SchalkHHO manuscript and corrected it. It is likely that the kind of collaboration with HB@ @ @ SchalkHHd that had taken place with the arrangements of the Third and Fourth symphonies did not occur in 1892HHM HH`3 because by that time Bruckner had become suspicious of his collaborators. The letters between HB@ @ @ FranzHH and HB@ @ @ JosefHHD HB@ @ @ SchalkHH= reveal that from 1892 they conspired to publish and perform HB@ @ @ Franz'sHH^ arrangement while convincing Bruckner that it was his own version which was being reproduced.HdPIdtA+DPBrkA,DPSpcA#CSEnd-]cAWiy@PPA\A\@^XAd@music.40030.P60]_ Ye^` qaA]@a `y]@bhA\A gP A(@BAcCAcDHHMThe Sixth Symphony exists in only one authentic version (ed. Haas, 1935, and HB@ @ @ Nowak,HH 1951). It appears that Bruckner wanted the original manuscript to serve as the basis for the edition since he lent it to the publisher HB@ @ @ Eberle.HH- An annotation on the wrapper in the hand of HB@ @ @ CyrillHHD HB@ @ @ HynaisHHD HHM HH@ E HH@Original [manuscript]. Returned into my hands after typesetting.ÂHHM HH@ E HHD HH'is signed by Bruckner and witnessed by HB@ @ @ Hynais.HHA It seems that the manuscript had been sent to the printer under HB@ @ @ Hynais'sHH8 supervision and returned safely to the composer. Since HB@ @ @ Bruckner'sHO signature is shaky, presumably from illness and old age, one suspects that these events date from the last few years of his life, perhaps even from early 1896. But in spite of its trip to the typesetter, the Sixth Symphony was not published until 1899, in an arrangement by HB@ @ @ Hynais.HHD HB@ @ @ Hynais'sHHE @B@ @ @ StichvorlageHHM for the edition surfaced during the 1940s before disappearing again; Alfred HB@ @ @ Orel,HH4 who had the opportunity to study it, reported that HB@ @ @ Bruckner'sHHK handwriting did not appear anywhere in the manuscript. This suggests that HB@ @ @ HynaisHHp made his arrangement without any involvement by Bruckner, probably after the composer's death; it is therefore HB@ @ @ unauthentic.HdPIdtA+DPBrkA,DPSpcA#CSEnd-ciA]iy@PPAbAb@d^Aj@music.40030.P61ce _kdf qgAc@g fyc@h nAbA QQmPA(@BAiCAiDHHfThe Seventh Symphony probably existed in three distinct versions. The original version dates from 1881HHM HHx3. A second version resulted from changes apparently made in preparation for the first performance, conducted by Arthur HB@ @ @ NikischHHB on 30 December 1884. In a letter written shortly before the premiHHDHHGre, HB@ @ @ NikischHH told Bruckner that HHM HHUin certain places you will have to change the instrumentation, because it is written HB@ @ @ impracticallyHH and does not sound goodHHM HHD HHk(21 December 1884). The third version resulted from revisions made in January 1885. They were suggested by HB@ @ @ JosefHHD HB@ @ @ SchalkHH and HB@ @ @ DLHB@ @ @ DHB@ @ @ Fwe,HOD who went through the score with Bruckner and discussed further improvements to the instrumentation. However, since these seem to have been relatively minor changes, and no cuts were involved, the revisions were entered directly into the manuscript with paste-overs and erasures rather than into a copy score. The autograph HB@ @ @ E(@B@ @ @ GA-WnHB@ @ @ Mus.19479),HH/ incorporating the changes, then served as the @B@ @ @ StichvorlageHB@ @ @ FforHH# the printed edition, published by HB@ @ @ GutmannHHT in December 1885 (this is the only case where a Bruckner autograph was used as the @B@ @ @ StichvorlageHHh for the first edition). Haas, in the first collected edition (1944), tried to restore the piece to its HHM HHoriginalHHM HHD HHTstate, presumably to the reading before the changes made for the first performance. HB@ @ @ Nowak,HHC on the other hand (1954), incorporated the revisions suggested by HB@ @ @ Nikisch,HHD HB@ @ @ SchalkHH and HB@ @ @ DLHB@ @ @ DHB@ @ @ EweHH% as sanctioned by Bruckner. Since theHH! tempo indications were probably HB@ @ @ Bruckner'sHH (conveyed to HB@ @ @ NikischHH in preparation for the premiHHDHHre), HB@ @ @ NowakHH included them in parentheses. HdPIdtA+DPBrkA,DPSpcA#CSEnd-ioAciy@PPAhAh@jdAp@music.40030.P62ik eqjl qmAi@m lyi@ntAhA sPA(@BAoCAoDHH]There are two authentic manuscript versions of the Eighth Symphony: the first from 1887 (ed. HB@ @ @ Nowak,HH 1972) and the second from 1890 HB@ @ @ (Nowak,HH3 1955). The first printed edition (1892), based on HB@ @ @ Bruckner'sHH! 1890 version, was supervised by HB@ @ @ FMaxHHD HB@ @ @ FvonHHD HB@ @ @ OberleithnerHH working in consultation with HB@ @ @ JosefHHD HB@ @ @ Schalk.HH Like his edition of the Second Symphony (1938), Haas's version of the Eighth (1939) conflates two versions. For the most part, he followed the second (1890) score, but he restored passages from the first version where he felt that HB@ @ @ JosefHHD HB@ @ @ SchalkHH had given Bruckner poor advice and the 1887 reading better reflected the composer's original intentions. Although Haas's method of splicing disparate sources now seems untenable, HB@ @ @ DeryckHHD HB@ @ @ CookeHH (G1969, HB@ @ @ pp.480HB@ @ @ M HB@ @ @ F82)HH# supported Haas's restorations and HB@ @ @ criticizedHHD HB@ @ @ NowakHH for following HB@ @ @ Bruckner'sHH 1890 treatment of the HB@ @ @ M HB@ @ @ GesangsgruppeHB@ @ @ M HHD HH(see HHDHH/9 below) in the exposition and recapitulation. HB@ @ @ CookeHHi was troubled because the 1890 version includes a reminiscence of the Seventh Symphony in the exposition HB@ @ @ (Nowak,HH 1955, bars 85HHM HH+98) but not in the recapitulation (bars 563HHM HH26). In the course of preparing the first edition, HB@ @ @ JosefHHD HB@ @ @ SchalkHH asked HB@ @ @ OberleithnerHHg to make a cut in the exposition so that the citation would be eliminated in both places. According to HB@ @ @ Cooke,HHD HdPIdtA+DPBrkA,DPSpcA#CSEnd-owAiiy@PPAnAn@pjAx@music.40030.P63oq kypr qsAo@s ryo@tvAnH PA(@CHH$in making the cut in the exposition HB@ @ @ [Schalk]HH" did show that he cared about the HHM HHbalance of motivesHHM HH , whereas HB@ @ @ Nowak,HH" by leaving out what Bruckner and HB@ @ @ SchalkHH3 had cut in the recapitulation and keeping in what HB@ @ @ SchalkHH^ had cut of his own accord in the exposition [in the first edition], achieved only a piece of HB@ @ @ musicologicalHH- pedantry which makes no structural sense at HB@ @ @ all.ButHHD HB@ @ @ NowakHH" was fully justified in following HB@ @ @ Bruckner'sHH 1890 cut: in 1877 Bruckner had made a similar cut in the finale of the Second Symphony, when he kept the first citation of the ÂHB@ @ @ Kyrie,HH[ in the exposition, but removed the second (presumably redundant) from the recapitulation. HdPIdtAuDPBrkA,DPSpcA#CSEndvAtAQQPA(@BAwCAwDHHdThe Ninth Symphony, like the Fifth and Sixth, has been published in only one authentic version (ed. HB@ @ @ Orel,HH 1934, and HB@ @ @ Nowak,HH= 1951). The first edition (1903), based on an arrangement by HB@ @ @ DLHB@ @ @ DHB@ @ @ Fwe,HHI was probably not sanctioned by Bruckner. In addition to making cuts and HB@ @ @ reorchestratingHH the work, HB@ @ @ DLHB@ @ @ DHB@ @ @ EweHH^ toned down the dissonance of the original. For example, at the climax of the Adagio (bars 205HHM HHG6), HB@ @ @ Bruckner'sHH score presents a HB@ @ @ sevenHB@ @ @ M HB@ @ @ GnoteHH dominant 13th chord of CHHA|CHH minor (GHHACHHM HHDBHHACHHM HHDDHHACHHM HHDFHHACHHM HHDAHHM HHDCHHACHHM HHGE); HB@ @ @ DLHB@ @ @ DHB@ @ @ EweHH[ apparently found it too harsh and in his version eliminated the dissonant 11th and 13th (CHHACHHM HHFE).HdPBrkA,DPIdtA+DPSpcA#CSEnd-wAoiy@PPAvAv@xpA@music.40030.P65wy qxz q{Aw@{ zAAw@|[AyT@i" A@IQXAA CP@DFrameIAAAAyxA`@RvA}Af A@)@Q| @ @GraphicA8Y @D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp735.tmp {AA|@[|AyT@i" A@IQXAA|P@DFrameIAAAAyxA`@RvA}Af A@)Ay@Q @ @GraphicAYAP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp737.tmp AA@[AyT@i" A@IQXAAP@DFrameIAAAAyxA`@RvA}Af A@)Ay@Q @ @GraphicAYAP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp739.tmp AA@[AyT@i" A@IQXAAP@DFrameIAAAAyxA`@RvA}Af A@)Ay@Q @ @GraphicAYAP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp73B.tmp AA@[AyT@i" A@IQXAAP@DFrameIAAAAyxA`@RvA}Af A@)Ay@Q @ @GraphicAYAP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp73D.tmp AA@[AyT@i" A@IQXAAP@DFrameIAAAAyxA`@RvA}Af A@)Ay@Q @ @GraphicAYAP@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp73F.tmp AA@VT@i" A@IQXyP@DFrameIAAAAyxA`@RvA}Af A@)qy@Q @ @GraphicA P@D.wmfwĠ?5@G.wmf IH.@,C:\DOCUME~1\JONATH~1\LOCALS~1\Temp\wp741.tmp y@/AvA PA(@BACADHHTo what extent did Bruckner complete the finale of the Ninth Symphony? The answer to this question is much more problematic than in the case of HB@ @ @ Mahler'sHOY Tenth Symphony. Mahler drafted almost all of his last symphony in one continuous short score which could be orchestrated by others. Bruckner, on the other hand, especially in his late period, tended to work in a more piecemeal way, sometimes drafting sections of music directly into full score several times before continuing with composition. HB@ @ @ MariannaHHD HB@ @ @ SonntagHH has observed HB@ @ @ (H(iii)HHD 1987) that, in composing the first movement of the Ninth Symphony, HdPIdtA+DPBrkA,DPSpcA#CSEnd-Awiy@PPAA@xA@music.40030.P66 y qA@ y@AHPA(@CHHin general, [Bruckner] evidently did not establish an over-all structure for the piece, at least not on paper, but composed one section at a time, systematicalHH5ly completing one before moving on to the subsequent HB@ @ @ passage.DrHH Heller, HB@ @ @ Bruckner'sHHQ physician during his last years, reported a similar kind of sectional approach: HdPIdtAuDPBrkA,DPSpcA#CSEndnAAQ A(@CHHthen [Bruckner] sat at the piano and played for me with trembling hands, but correctly and energetically, parts [of the Ninth Symphony's Finale] HHM& HHD HHAlthough he was really weak, I often begged him to write down the symphony in its main ideas, but he was not to be moved. Page by page, he composed the whole instrumental HB@ @ @ realization.TheHH sketches for the last motet, @B@ @ @ Vexilla@H RegisHHH (1892), show a similar process of drafting the piece phrase by phrase. HdPIdtAuDPBrkA,DPSpcA#CSEndYAA P A(@BACADHHResearch has suggested that in spite of this sectional approach Bruckner had progressed considerably further with the composition of the finale than HB@ @ @ Orel,HH in the early 1930s, HB@ @ @ recognized;HHp indeed, it has been shown that the incompletely preserved sources contain a rough draft for the whole movement HHM HHD HH though with unfortunate lacunae HHM HHD HOSto the end of the coda. Bruckner began composing the finale in May 1895 and, although gradually becoming weaker, he continued to work on it from January to May 1896. In drafts dated 19 and 23 May 1896, he set down the main outlines of the final cadence and then began to revise the movement's earlier sections. An article that appeared in HB@ @ @ Gthe@B@ @ @ Steyrer@HE @B@ @ @ ZeitungHH (10 May 1896) reported that he HHM HH has already completely sketched HB@ @ @ E[@B@ @ @ vollst@B@ @ @ E@B@ @ @ ndig@HE @B@ @ @ skizziertHB@ @ @ D]HHi the final movement of his Ninth Symphony but, as he himself told [his friend, the choral conductor from HB@ @ @ Steyr,]HH Mr. Bayer, no longer believes that he will be able to work it out completely'. There are gaps in the draft because of lost pages and the sketch itself is HHM HHnot completely worked outHHM HHD HH(as Bayer stated).HdPIdtA+DPBrkA,DPSpcA#CSEnd-Aiy@PPAA@A@music.40030.P67  qA@ y@AA P A(@BACADHHkDuring the last three years of his life, distracted by illness and preoccupied with new projects, Bruckner HB@ @ @ realizedHHv that he had lost control of the publication of his music. As a consequence, he became increasingly suspicious of the HB@ @ @ SchalkHH brothers and HB@ @ @ DLHB@ @ @ DHB@ @ @ Fwe,HH and concerned HHM HHD HHwith good reason HHM HHD HHthat the published versions did not represent his final intentions. The making of his will (10 November 1893), in which he declared his intention to lend the original manuscripts (HHM HHGdie HB@ @ @ OriginalmanuskripteHB@ @ @ M HB@ @ @ D)HH| of his most important works to the imperial library and asked that they serve as the basis for publications by the firm of HB@ @ @ Eberle,HH may be taken as an indication of his lack of confidence in the published scores. Are we to assume from the stipulations in the will that in 1893 Bruckner reconsidered the 1889 version of the Fourth Symphony? Did he want the HHM HHoriginal manuscriptHHM HHD HH of the 1878HHM HH 80 version HB@ @ @ E(@B@ @ @ GA-WnHB@ @ @ Mus.19476),HHm which he lent to the library, to be the definitive reading? Without more evidence, the question must remain.HdPIdtA+DPBrkA,DPSpcA#CSEnd-Aiy@PPAA@A@music.40030.P68  qA@ y@kAA PA(@BACADHHFTo HB@ @ @ summarize:HOL the versions of the symphonies which Bruckner regarded as definitive at the time of his death are preserved in a combination of autographs and copy scores. When Bruckner accepted the suggestions of others, he made them his own. His extensive involvement in the pre-publication revisions of the Third, Fourth and Seventh symphonies HHM HHD HHGhis HHM HH regulationHHM HHD HHof their orchestration HHM HHD HH,suggests that the readings preserved in the @B@ @ @ StichvorlagenHB@ @ @ GwhenHH they left HB@ @ @ Bruckner'sHHb possession are his final readings. The last authentic versions of the symphonies are as follows: HdPIdtA+DPBrkA,DPSpcA#CSEnd-qiy@PPAA@@music.40030.P69  qA@ y@cAAQ A(@CHB@ @ @ No.1:HHE @B@ @ @ GA-WnHB@ @ @ Mus.19473,HH autograph of the HHM HHViennaHHM HHD HHversion completed in 1891 (ed. HB@ @ @ Nowak,HH 1980).H[HB@ @ @ No.2:HHE @B@ @ @ GA-WnHHD HB@ @ @ Mus.6015,HH copy score of the 1877 version.H[HB@ @ @ No.3:@B@ @ @ GA-WnHHD HB@ @ @ Mus.6081,HH2 copy score of the version completed in 1889 (ed. HB@ @ @ Nowak,HH 1959).H[HB@ @ @ No.4:HHE @B@ @ @ A-WstHHD HB@ @ @ M.H.9098/c,HH3 photograph of the 1889 copy score; or, because of HB@ @ @ Bruckner'sHH# instructions in his will, the 1878HHM HH 80 autograph @B@ @ @ GA-WnHHD HB@ @ @ Mus.19476.H[HB@ @ @ No.5:HHE @B@ @ @ GA-WnHHD HB@ @ @ Mus.19477,HH1 autograph of the version completed in 1878 (ed. HB@ @ @ Nowak,HH 1951).H[HB@ @ @ No.6:HHE @B@ @ @ GA-WnHB@ @ @ Mus.19478,HH# autograph, completed in 1881 (ed. HB@ @ @ Nowak,HH 1951).H[HB@ @ @ No.7:HHE @B@ @ @ GA-WnHB@ @ @ Mus.19479,HHE autograph, including the changes made for the 1885 publication (ed. HB@ @ @ Nowak,HH 1954).H[HB@ @ @ No.8:HHE @B@ @ @ GA-WnHHD HB@ @ @ Mus.19480,HH1 autograph of the version completed in 1890 (ed. HB@ @ @ Nowak,HH 1955).H[HB@ @ @ No.9:HHE @B@ @ @ GA-WnHHD HB@ @ @ Mus.19481,HH autograph of movements 1HHM HH!3 and draft of finale, 1896 (ed. HB@ @ @ Nowak,HH2 1951, excluding finale); finale reconstructed by HB@ @ @ GJ.A.HH Phillips (Vienna, 1994). HdPIdtAuDPBrkA,DPSpcA#CSEndAA a(FFQ&A@CHHDHHD HHADHCHOxford University PressHHADHH 2004H[HHADHCHHow to cite Grove Music OnlineHHADHdPBrkA,DPIdtA+DPSpcA#CSEnd 'A8yd@l@FStoryAYAAm AmAASSEnd^8 @ ClickHere1Qy@PPAAQ@P @P @@  @CURL@http://www.oup.comyZ qA@j+( @ Anchor (A)P@@@@Y@Am@` AA@ "qyd@l@DStoryqYAAm AmAASSEnd^8q @ ClickHere2Qy@PPAAQ@P @P @@y/ @CURL#@!/shared/views/help.html?topic=H09 AA@ y@-qAQ A(FF(A@ATPBrkA,CSEndqDP BA@  @qVBBA@ A AA PP   @qhB=.BA@ AAA PP   @qvBBA@ AAA PP   @q@@BA@ AAA PP   @qBNBA@ AAA PP   @qPBA@ qAA PP   @H$@P@P P P DuiEa H@H@@P@@P@@PPpPP`@p@P P t@ADQGAOALQPQHATANAYAZAVAUAWAXA\A[A^A_A`AaAbAIAJAKAQARASAM@ dAeAfAcAgAhAiAjP@P cpcH dP@QH pcPa cpccpcPaH pcPaUUH cpcP@QHdP@QTT cpcP@QTT cpcP@QH dP@QUUH cpcP@QHdP@QH cpcPa{H dP@QH xc{H xdP@P@@Times New RomanHWH@ MS Sans Serif H @ WingdingsH @ Arial Black H@Arial h@@ HGH@@p@@_i]AAQrys@@George P. Burdell832882267FA iaA@H@@P@@P@@PPpPP'@%c:\lotus\smasters\wordpro\default.mwpH@p@P P pAOLexmark Z65GwinspoolDNe00:l䤜CA@ p@BX@P@>P䤗Lexmark Z658K䤗IKX)A I K䤗PYHP P? PP PtPP pB'd@PB@@@ENe00: @ Lexmark Z65 @winspoolP@E1-9999XPDUVerR@P@Original Version@Jonathan Darnborough@@`@@ASMH@AJDl@AQA A Q QAA AAAAAAAAAAAAAAAAAAAA !A"A#A A$A%A&A'(A)A*A+A,A-A.A/A0A1A2A3A4A5A6A7A8A9A:A;@ A A A QAAQ>A?AAAB@ @Jonathan Darnborough1085412857A DYƤ1:.P@@CHH@sh PIHBJN   JGQv1XA<U]1!@Ec1AFe1H@aI IIBIIIIIIIIIIIIII+II=IOIIIjIaI$IsI|IIIPIIII III$II-I9I1IEIQI]IiIuIIIIIIIIIIII?INIHLQIII IVIII7IpI0I9IIZII@IIBIIOIIIdIII|IIIIIIIII%I~IyIhIsI0II;III IIlIDIIIIIII IIPIIIIIIIII III]IIk I IZI II#IIKIIVIIyI$II$ III%I-I&II I&II&I_IdI7 IO I&IIc II%I+IIwI]III IR"I#II IL%I I$II2IS&I%I Ii&I Ib%IQ$I II$I#I#I) II"I] I-I6IIIUIdIIKIIII=Io I4IIv#I}I I I IMI IIeII II}IDe1BHF2"@U&/2! ?0/2*G${R02UE72#E{23FKM5@E@@BH??XaII/IITI*IIIIIB II I,Iw I I It I\ II%I$Ie#I IIIIIIoI^IyI'I''II'I I P I'I I'I2 II II.Ij.I.I.I.I.I3I3I4I'4I84II4I9I9I:I%:I6:IG:IO@Is@I@I@I@I@ICICICICI DIDIII@IIfIIwIIIIII`WIWIWIWIWIWIcIcIcIcIdIdIiIiIjI*jI;jILjI7qI[qIqIqIqIqIv{I{I{I{I{I{IIIڄIII I] I I3IWI}IIIIq I I II IIIIII$IIʑI-IIӒI6IȓIܓI?IєIICIЕIII=IcItIIIjIICIgIIIIIII+I   24-   ,+T7   #$*   2 W$       ,)     '    !  -  #;'   !    44+  F%   M;"##!b  bb:8  Y  1  H       6    AA  !"(#[ % %# &  _   "/! #  !("I  " #) s b cE2   %  -&    )H    /"/   A#    +     f    )   @ $- '  /shi MiscellaneousMiscellaneousFileProtectionGr81,40B215F9-DGr81,40B215F9-SGr85,40B215F9-DGr85,40B215F9-SGr88,40B215F9-DGr88,40B215F9-SGr8B,40B215F9-DGr8B,40B215F9-SGr8E,40B215F9-DGr8E,40B215F9-SGr91,40B215F9-DGr91,40B215F9-SGr94,40B215F9-DGr94,40B215F9-SHeaderLWPStreamTypePreviewWordProData  TD  m|*9     ap- 8 00)F IYiy      >:CMHdrTD