"Dear God, please let me get well soon. You know I must have strength to finish the Ninth!" – Bruckner
In the orchestral repertoire, there has always been a special reverence for unfinished works: valedictory masterpieces left incomplete, often due to the composer's demise. In many cases – such as with Mozart's Requiem, Bartók's 3rd piano concerto, and Mahler's 10th symphony – these works were later completed by students and scholars, using a combination of sketches, notes, and their own imagination.
For nearly a century, Bruckner's 9th symphony has been performed as a three-movement fragment, left unfinished like Schubert's 8th symphony. The prevailing wisdom has been that what Bruckner left of the 4th movement finale was too rough and scattered to reassemble into a coherent whole – and it would be more fitting at any rate to end with the poignant Adagio, Bruckner's "Farewell to Life."
We now know these assumptions couldn't be further from the truth. Since 1983, musicologists Nicola Samale, Giuseppe Mazzuca, John Phillips and Benjamin-Cunnar Cohrs have pored over the substantial material Bruckner left at his death in 1896 to reconstruct the final movement. Of the 653 bars contained in the finale, only 28 – about two minutes of music – had to be composed from scratch. Indeed, Bruckner himself had orchestrated more than 200 bars. (You can hear an early version of their reconstruction on YouTube here.)
Why, then, has this music remained in the dark for so long? The answer, according to Simon Rattle (see video below), has to do with the "Bruckner Problem": the tendency of Bruckner's well-meaning disciples to take his music and smooth out the rough edges to make them more "digestible." When his disciples found the finale among his papers, they thought that Bruckner "had completely lost his mind," according to Rattle. "They said, 'It's too strange, it's too dissonant, this cannot be right.'"
Of course, it was absolutely what Bruckner had intended: the final, visionary statement of a composer peering into the realm beyond his own death. In truth, Bruckner's finale was no less strange than the final quartets of Beethoven, or the late paintings of Turner. It was meant to be heard.
Last night at Carnegie, Rattle and the Berlin Philharmonic made their case for the completed 9th symphony, performing it for the first time in the U.S. (They performed it in Berlin for the first time two weeks ago.) Of course, having one of the world's great orchestras perform this reconstruction is it's own validation; in Rattle's view, they were simply honoring Bruckner's original intentions.
From the outset, Rattle – who conducted without a score – employed broad tempi, drawing out the music for maximum effect while coaxing impossibly loud crescendi from the orchestra. Throughout the first movement, the string players were all in perfect unison, digging into their instruments with mad intensity. At the end of the movement, the timpani (played by Wieland Welzel) started with an almost indetectible hum, signaling the final coda with its furious trumpets and tubas, as if the Rapture were upon us. It was completely overwhelming: I was stunned, lost.
The second movement Scherzo started innocently enough, with its winds and pizzicato strings playing a delicate, pastoral theme. Which, less than a minute later is completely brutalized by staccato brass and timpani, pounding the strings into submission. It was like something out of Shostakovich: furious and unforgiving, with the orchestra gyrating like a huge, seething organism.
At first, the third movement Adagio seems to offer some reprieve from the darkness, with its tender strings and glowing Wagner tubas. But, before long, the rolling timpani and searing brass join forces in a fanfare of frightening intensity. Back and forth the music went, until finally Rattle exhorted the players to go for broke, strings and winds flying everywhere before crash landing on one of the harshest, most terrifying dissonances in all of music. Throughout, he kept the pace quicker than normal, refusing to milk the Adagio's pathos as if to telegraph there was still more to come.
Even so, it was strange not to hear applause after the soft, slow fade of the horns, so long familiar as the conclusion of this monumental symphony. But, after a pause, Rattle raised his baton and struck the downbeat for the finale, which was completely new to my ears. It started strangely, with dissonant chords and tempi that were all over the map. The music was clipped, restrained, as if someone were fumbling about in an unlit room. Finally, it came together with a loud, triumphant fanfare that reprised the central theme from the Adagio.
The mystery of how to deal with the coda, for which almost no music was written, was resolved when Samale, Mazzuca, Phillips and Cohrs decided to follow Bruckner's standard blueprint by ending with all of the main themes from the preceding movements superimposed one on top of the other, ending with a final, major key chorale. According to Rattle, there was literally only one way that all of the themes could fit together, so that the ending "almost wrote itself."
As I sat there listening to the Berliners pour themselves into these final bars, I welled up with emotion. It was if they were saying: "We'll take it from here, Anton. Well done." A three-movement 9th will never sound the same again.
The full Berlin performance can be seen (for a fee) on the Berlin Philharmonic's website here. Other info available on Carnegie's website here. Back tonight for the final sold-out performance, featuring Hugo Wolf songs and Mahler's 2nd.
When I listen to the original sketches of this finale as played by the Oslo Philharmonic and conducted by Yoav Talmi, then I can understand why Bruckner’s disciples thought that he “had completely lost his mind”, because this music sounds as if Bruckner in fact has rewritten the first movement of his First Symphony (Vienna version). So I believe that Rattle has gone one ‘Brücke’ too far with this performance. Somehow indeed this just cannot be right.
When I listen to the original sketches of this finale as played by the Oslo Philharmonic and conducted by Yoav Talmi, then I can understand why Bruckner’s disciples thought that he “had completely lost his mind”, because this music sounds as if Bruckner in fact has rewritten the first movement of his First Symphony (Vienna version). So I believe that Rattle has gone one ‘Brücke’ too far with this performance. Somehow indeed this just cannot be right.
When I listen to the original sketches of this finale as played by the Oslo Philharmonic and conducted by Yoav Talmi, then I can understand why Bruckner’s disciples thought that he “had completely lost his mind”, because this music sounds as if Bruckner in fact has rewritten the first movement of his First Symphony (Vienna version). So I believe that Rattle has gone one ‘Brücke’ too far with this performance. Somehow indeed this just cannot be right.
When I listen to the original sketches of this finale as played by the Oslo Philharmonic and conducted by Yoav Talmi, then I can understand why Bruckner’s disciples thought that he “had completely lost his mind”, because this music sounds as if Bruckner in fact has rewritten the first movement of his First Symphony (Vienna version). So I believe that Rattle has gone one ‘Brücke’ too far with this performance. Somehow indeed this just cannot be right.
When I listen to the original sketches of this finale as played by the Oslo Philharmonic and conducted by Yoav Talmi, then I can understand why Bruckner’s disciples thought that he “had completely lost his mind”, because this music sounds as if Bruckner in fact has rewritten the first movement of his First Symphony (Vienna version). So I believe that Rattle has gone one ‘Brücke’ too far with this performance. Somehow indeed this just cannot be right.
When I listen to the original sketches of this finale as played by the Oslo Philharmonic and conducted by Yoav Talmi, then I can understand why Bruckner’s disciples thought that he “had completely lost his mind”, because this music sounds as if Bruckner in fact has rewritten the first movement of his First Symphony (Vienna version). So I believe that Rattle has gone one ‘Brücke’ too far with this performance. Somehow indeed this just cannot be right.
The recording of Yoav Talmi with the Oslo Philharmonic does NOT contain “the original sketches of this Finale”; it contains a small selection from the surviving material for the Finale as William Carragan used it for his “completion”. The materials for the Finale of the Ninth, by the way, have NOTHING to do with the revised Finale version of the first symphony.
Readers should know that Bert Brouwer is a strange man with the strange idea that Bruckner´s Ninth should better be completed with a choral piece by Arvo Pärt, as he mentioned in some of his postings in the yahoo Anton Bruckner Club. Did he listen to Rattle´s performance at all?
Some listeners may be ready to accept Bruckner´s wishes regarding the Finale; others will welcome such an idiomatic, well-done performing version like SPCM, and hundreds like Mr. Brouwer may for all eternity continue for “own solutions”.
But it is not do be denied that Rattle´s performances and recording of this attempt at a performing version will broaden the understanding for Bruckner´s Ninth and the problem of the Finale.
The recording of Yoav Talmi with the Oslo Philharmonic does NOT contain “the original sketches of this Finale”; it contains a small selection from the surviving material for the Finale as William Carragan used it for his “completion”. The materials for the Finale of the Ninth, by the way, have NOTHING to do with the revised Finale version of the first symphony.
Readers should know that Bert Brouwer is a strange man with the strange idea that Bruckner´s Ninth should better be completed with a choral piece by Arvo Pärt, as he mentioned in some of his postings in the yahoo Anton Bruckner Club. Did he listen to Rattle´s performance at all?
Some listeners may be ready to accept Bruckner´s wishes regarding the Finale; others will welcome such an idiomatic, well-done performing version like SPCM, and hundreds like Mr. Brouwer may for all eternity continue for “own solutions”.
But it is not do be denied that Rattle´s performances and recording of this attempt at a performing version will broaden the understanding for Bruckner´s Ninth and the problem of the Finale.
The recording of Yoav Talmi with the Oslo Philharmonic does NOT contain “the original sketches of this Finale”; it contains a small selection from the surviving material for the Finale as William Carragan used it for his “completion”. The materials for the Finale of the Ninth, by the way, have NOTHING to do with the revised Finale version of the first symphony.
Readers should know that Bert Brouwer is a strange man with the strange idea that Bruckner´s Ninth should better be completed with a choral piece by Arvo Pärt, as he mentioned in some of his postings in the yahoo Anton Bruckner Club. Did he listen to Rattle´s performance at all?
Some listeners may be ready to accept Bruckner´s wishes regarding the Finale; others will welcome such an idiomatic, well-done performing version like SPCM, and hundreds like Mr. Brouwer may for all eternity continue for “own solutions”.
But it is not do be denied that Rattle´s performances and recording of this attempt at a performing version will broaden the understanding for Bruckner´s Ninth and the problem of the Finale.
The recording of Yoav Talmi with the Oslo Philharmonic does NOT contain “the original sketches of this Finale”; it contains a small selection from the surviving material for the Finale as William Carragan used it for his “completion”. The materials for the Finale of the Ninth, by the way, have NOTHING to do with the revised Finale version of the first symphony.
Readers should know that Bert Brouwer is a strange man with the strange idea that Bruckner´s Ninth should better be completed with a choral piece by Arvo Pärt, as he mentioned in some of his postings in the yahoo Anton Bruckner Club. Did he listen to Rattle´s performance at all?
Some listeners may be ready to accept Bruckner´s wishes regarding the Finale; others will welcome such an idiomatic, well-done performing version like SPCM, and hundreds like Mr. Brouwer may for all eternity continue for “own solutions”.
But it is not do be denied that Rattle´s performances and recording of this attempt at a performing version will broaden the understanding for Bruckner´s Ninth and the problem of the Finale.
The recording of Yoav Talmi with the Oslo Philharmonic does NOT contain “the original sketches of this Finale”; it contains a small selection from the surviving material for the Finale as William Carragan used it for his “completion”. The materials for the Finale of the Ninth, by the way, have NOTHING to do with the revised Finale version of the first symphony.
Readers should know that Bert Brouwer is a strange man with the strange idea that Bruckner´s Ninth should better be completed with a choral piece by Arvo Pärt, as he mentioned in some of his postings in the yahoo Anton Bruckner Club. Did he listen to Rattle´s performance at all?
Some listeners may be ready to accept Bruckner´s wishes regarding the Finale; others will welcome such an idiomatic, well-done performing version like SPCM, and hundreds like Mr. Brouwer may for all eternity continue for “own solutions”.
But it is not do be denied that Rattle´s performances and recording of this attempt at a performing version will broaden the understanding for Bruckner´s Ninth and the problem of the Finale.
The recording of Yoav Talmi with the Oslo Philharmonic does NOT contain “the original sketches of this Finale”; it contains a small selection from the surviving material for the Finale as William Carragan used it for his “completion”. The materials for the Finale of the Ninth, by the way, have NOTHING to do with the revised Finale version of the first symphony.
Readers should know that Bert Brouwer is a strange man with the strange idea that Bruckner´s Ninth should better be completed with a choral piece by Arvo Pärt, as he mentioned in some of his postings in the yahoo Anton Bruckner Club. Did he listen to Rattle´s performance at all?
Some listeners may be ready to accept Bruckner´s wishes regarding the Finale; others will welcome such an idiomatic, well-done performing version like SPCM, and hundreds like Mr. Brouwer may for all eternity continue for “own solutions”.
But it is not do be denied that Rattle´s performances and recording of this attempt at a performing version will broaden the understanding for Bruckner´s Ninth and the problem of the Finale.
I’m afraid our ‘finalefriend’ lost track on reality three times over:
1) What is played by the Oslo Philharmonic are the original sketches. It is not a small selection, but everything that was available at the time they were recorded in 1986, which is still about 85% of what’s available today.
2) I didn’t say these sketches have something to do with a “revised Finale version” of the First symphony. I said they sound as if Bruckner has rewritten the first movement of that symphony (Vienna version).
3) When in Yahoo’s Anton Bruckner Club I suggested an alternative for the finale of the Ninth, I mentioned Henryk Gorecki’s ‘Beatus Vir’, not a choral piece by Arvo Pärt.
So maybe I should warn everyone about Bruckner’s 9th (complete) as played by Simon Rattle and the Berlin Philharmonic. It seems that listening to it can cause some strange, psychedelic side effects.
I’m afraid our ‘finalefriend’ lost track on reality three times over:
1) What is played by the Oslo Philharmonic are the original sketches. It is not a small selection, but everything that was available at the time they were recorded in 1986, which is still about 85% of what’s available today.
2) I didn’t say these sketches have something to do with a “revised Finale version” of the First symphony. I said they sound as if Bruckner has rewritten the first movement of that symphony (Vienna version).
3) When in Yahoo’s Anton Bruckner Club I suggested an alternative for the finale of the Ninth, I mentioned Henryk Gorecki’s ‘Beatus Vir’, not a choral piece by Arvo Pärt.
So maybe I should warn everyone about Bruckner’s 9th (complete) as played by Simon Rattle and the Berlin Philharmonic. It seems that listening to it can cause some strange, psychedelic side effects.
I’m afraid our ‘finalefriend’ lost track on reality three times over:
1) What is played by the Oslo Philharmonic are the original sketches. It is not a small selection, but everything that was available at the time they were recorded in 1986, which is still about 85% of what’s available today.
2) I didn’t say these sketches have something to do with a “revised Finale version” of the First symphony. I said they sound as if Bruckner has rewritten the first movement of that symphony (Vienna version).
3) When in Yahoo’s Anton Bruckner Club I suggested an alternative for the finale of the Ninth, I mentioned Henryk Gorecki’s ‘Beatus Vir’, not a choral piece by Arvo Pärt.
So maybe I should warn everyone about Bruckner’s 9th (complete) as played by Simon Rattle and the Berlin Philharmonic. It seems that listening to it can cause some strange, psychedelic side effects.
I’m afraid our ‘finalefriend’ lost track on reality three times over:
1) What is played by the Oslo Philharmonic are the original sketches. It is not a small selection, but everything that was available at the time they were recorded in 1986, which is still about 85% of what’s available today.
2) I didn’t say these sketches have something to do with a “revised Finale version” of the First symphony. I said they sound as if Bruckner has rewritten the first movement of that symphony (Vienna version).
3) When in Yahoo’s Anton Bruckner Club I suggested an alternative for the finale of the Ninth, I mentioned Henryk Gorecki’s ‘Beatus Vir’, not a choral piece by Arvo Pärt.
So maybe I should warn everyone about Bruckner’s 9th (complete) as played by Simon Rattle and the Berlin Philharmonic. It seems that listening to it can cause some strange, psychedelic side effects.
I’m afraid our ‘finalefriend’ lost track on reality three times over:
1) What is played by the Oslo Philharmonic are the original sketches. It is not a small selection, but everything that was available at the time they were recorded in 1986, which is still about 85% of what’s available today.
2) I didn’t say these sketches have something to do with a “revised Finale version” of the First symphony. I said they sound as if Bruckner has rewritten the first movement of that symphony (Vienna version).
3) When in Yahoo’s Anton Bruckner Club I suggested an alternative for the finale of the Ninth, I mentioned Henryk Gorecki’s ‘Beatus Vir’, not a choral piece by Arvo Pärt.
So maybe I should warn everyone about Bruckner’s 9th (complete) as played by Simon Rattle and the Berlin Philharmonic. It seems that listening to it can cause some strange, psychedelic side effects.
I’m afraid our ‘finalefriend’ lost track on reality three times over:
1) What is played by the Oslo Philharmonic are the original sketches. It is not a small selection, but everything that was available at the time they were recorded in 1986, which is still about 85% of what’s available today.
2) I didn’t say these sketches have something to do with a “revised Finale version” of the First symphony. I said they sound as if Bruckner has rewritten the first movement of that symphony (Vienna version).
3) When in Yahoo’s Anton Bruckner Club I suggested an alternative for the finale of the Ninth, I mentioned Henryk Gorecki’s ‘Beatus Vir’, not a choral piece by Arvo Pärt.
So maybe I should warn everyone about Bruckner’s 9th (complete) as played by Simon Rattle and the Berlin Philharmonic. It seems that listening to it can cause some strange, psychedelic side effects.
One should simply compare the Talmi recording of the finale fragments with the published score (Vienna, Musikwissenschaftlicher Verlag). (Can you read a score, Mr.Brouwer?)
Music lovers can certainly combine anything these days on music media. But Bruckner´s Ninth HAS a Finale – and actually two: the unfinished instrumental movement and the Te Deum. There is NO reason why people should refuse Bruckner´s own wish (except wishful thinking and/or a bad taste).
One should simply compare the Talmi recording of the finale fragments with the published score (Vienna, Musikwissenschaftlicher Verlag). (Can you read a score, Mr.Brouwer?)
Music lovers can certainly combine anything these days on music media. But Bruckner´s Ninth HAS a Finale – and actually two: the unfinished instrumental movement and the Te Deum. There is NO reason why people should refuse Bruckner´s own wish (except wishful thinking and/or a bad taste).
One should simply compare the Talmi recording of the finale fragments with the published score (Vienna, Musikwissenschaftlicher Verlag). (Can you read a score, Mr.Brouwer?)
Music lovers can certainly combine anything these days on music media. But Bruckner´s Ninth HAS a Finale – and actually two: the unfinished instrumental movement and the Te Deum. There is NO reason why people should refuse Bruckner´s own wish (except wishful thinking and/or a bad taste).
One should simply compare the Talmi recording of the finale fragments with the published score (Vienna, Musikwissenschaftlicher Verlag). (Can you read a score, Mr.Brouwer?)
Music lovers can certainly combine anything these days on music media. But Bruckner´s Ninth HAS a Finale – and actually two: the unfinished instrumental movement and the Te Deum. There is NO reason why people should refuse Bruckner´s own wish (except wishful thinking and/or a bad taste).
One should simply compare the Talmi recording of the finale fragments with the published score (Vienna, Musikwissenschaftlicher Verlag). (Can you read a score, Mr.Brouwer?)
Music lovers can certainly combine anything these days on music media. But Bruckner´s Ninth HAS a Finale – and actually two: the unfinished instrumental movement and the Te Deum. There is NO reason why people should refuse Bruckner´s own wish (except wishful thinking and/or a bad taste).
One should simply compare the Talmi recording of the finale fragments with the published score (Vienna, Musikwissenschaftlicher Verlag). (Can you read a score, Mr.Brouwer?)
Music lovers can certainly combine anything these days on music media. But Bruckner´s Ninth HAS a Finale – and actually two: the unfinished instrumental movement and the Te Deum. There is NO reason why people should refuse Bruckner´s own wish (except wishful thinking and/or a bad taste).
It’s always good to keep an open mind about things, not only around April 1st. I sure would grant Bruckner the last laugh on this one.
It’s always good to keep an open mind about things, not only around April 1st. I sure would grant Bruckner the last laugh on this one.
It’s always good to keep an open mind about things, not only around April 1st. I sure would grant Bruckner the last laugh on this one.
It’s always good to keep an open mind about things, not only around April 1st. I sure would grant Bruckner the last laugh on this one.
It’s always good to keep an open mind about things, not only around April 1st. I sure would grant Bruckner the last laugh on this one.
It’s always good to keep an open mind about things, not only around April 1st. I sure would grant Bruckner the last laugh on this one.
Dear Mr. Brouwer, if once you leave this world you may get Bruckner´s last word on this directly from himself, but I suppose persons of your arrogancy would rather take the other direction after the Last Judgement …
Dear Mr. Brouwer, if once you leave this world you may get Bruckner´s last word on this directly from himself, but I suppose persons of your arrogancy would rather take the other direction after the Last Judgement …
Dear Mr. Brouwer, if once you leave this world you may get Bruckner´s last word on this directly from himself, but I suppose persons of your arrogancy would rather take the other direction after the Last Judgement …
Dear Mr. Brouwer, if once you leave this world you may get Bruckner´s last word on this directly from himself, but I suppose persons of your arrogancy would rather take the other direction after the Last Judgement …
Dear Mr. Brouwer, if once you leave this world you may get Bruckner´s last word on this directly from himself, but I suppose persons of your arrogancy would rather take the other direction after the Last Judgement …
Dear Mr. Brouwer, if once you leave this world you may get Bruckner´s last word on this directly from himself, but I suppose persons of your arrogancy would rather take the other direction after the Last Judgement …
When my time has come, I’d like to present Bruckner my own completion of his last written movement and I hope he will have a good laugh about it.
When my time has come, I’d like to present Bruckner my own completion of his last written movement and I hope he will have a good laugh about it.
When my time has come, I’d like to present Bruckner my own completion of his last written movement and I hope he will have a good laugh about it.
When my time has come, I’d like to present Bruckner my own completion of his last written movement and I hope he will have a good laugh about it.
When my time has come, I’d like to present Bruckner my own completion of his last written movement and I hope he will have a good laugh about it.
When my time has come, I’d like to present Bruckner my own completion of his last written movement and I hope he will have a good laugh about it.
Since the debat about Bruckner’s 9th (complete) seems to have died out a little, I would like to share one last thought.
Bruckner suggested that if God wouldn’t grant him the time to finish his last symphony, that we could play the Te Deum as finale instead (which in my opinion also means that from Bruckner’s point of view, finishing his 9th would be in God’s hands: “In Te Domine speravi” – he never suggested that we should try to finish it).
Most conductors find the Te Deum a bit too brisk and bold to be a fitting conclusion for Bruckner’s last symphony, so this is hardly ever done. I however get the sense, that when Bruckner’s Te Deum is played as finale for Beethoven’s 9th, it all works out quit well.
Since the debat about Bruckner’s 9th (complete) seems to have died out a little, I would like to share one last thought.
Bruckner suggested that if God wouldn’t grant him the time to finish his last symphony, that we could play the Te Deum as finale instead (which in my opinion also means that from Bruckner’s point of view, finishing his 9th would be in God’s hands: “In Te Domine speravi” – he never suggested that we should try to finish it).
Most conductors find the Te Deum a bit too brisk and bold to be a fitting conclusion for Bruckner’s last symphony, so this is hardly ever done. I however get the sense, that when Bruckner’s Te Deum is played as finale for Beethoven’s 9th, it all works out quit well.
Since the debat about Bruckner’s 9th (complete) seems to have died out a little, I would like to share one last thought.
Bruckner suggested that if God wouldn’t grant him the time to finish his last symphony, that we could play the Te Deum as finale instead (which in my opinion also means that from Bruckner’s point of view, finishing his 9th would be in God’s hands: “In Te Domine speravi” – he never suggested that we should try to finish it).
Most conductors find the Te Deum a bit too brisk and bold to be a fitting conclusion for Bruckner’s last symphony, so this is hardly ever done. I however get the sense, that when Bruckner’s Te Deum is played as finale for Beethoven’s 9th, it all works out quit well.
Since the debat about Bruckner’s 9th (complete) seems to have died out a little, I would like to share one last thought.
Bruckner suggested that if God wouldn’t grant him the time to finish his last symphony, that we could play the Te Deum as finale instead (which in my opinion also means that from Bruckner’s point of view, finishing his 9th would be in God’s hands: “In Te Domine speravi” – he never suggested that we should try to finish it).
Most conductors find the Te Deum a bit too brisk and bold to be a fitting conclusion for Bruckner’s last symphony, so this is hardly ever done. I however get the sense, that when Bruckner’s Te Deum is played as finale for Beethoven’s 9th, it all works out quit well.
Since the debat about Bruckner’s 9th (complete) seems to have died out a little, I would like to share one last thought.
Bruckner suggested that if God wouldn’t grant him the time to finish his last symphony, that we could play the Te Deum as finale instead (which in my opinion also means that from Bruckner’s point of view, finishing his 9th would be in God’s hands: “In Te Domine speravi” – he never suggested that we should try to finish it).
Most conductors find the Te Deum a bit too brisk and bold to be a fitting conclusion for Bruckner’s last symphony, so this is hardly ever done. I however get the sense, that when Bruckner’s Te Deum is played as finale for Beethoven’s 9th, it all works out quit well.
Since the debat about Bruckner’s 9th (complete) seems to have died out a little, I would like to share one last thought.
Bruckner suggested that if God wouldn’t grant him the time to finish his last symphony, that we could play the Te Deum as finale instead (which in my opinion also means that from Bruckner’s point of view, finishing his 9th would be in God’s hands: “In Te Domine speravi” – he never suggested that we should try to finish it).
Most conductors find the Te Deum a bit too brisk and bold to be a fitting conclusion for Bruckner’s last symphony, so this is hardly ever done. I however get the sense, that when Bruckner’s Te Deum is played as finale for Beethoven’s 9th, it all works out quit well.
I went to Berlin in early February to see the first performance of the completed 9th. In my opinion I heard and saw a performance of the greatest completed symphony EVER composed.
If the experts can take the Frank Sinatra ” My Way” from very early on in the symphony to the iron and steel music of Shostakovich in the second movement. The very late Mahler or infact early Schoenberg at the beginning of the third and Vaughn Williams “Tallis Fantasia” later on . Why not the birth of minimilism in the fourth, even a hint of later Schoenberg and the film score music from the end of Hans Zimmers Da Vinci code in the Finale?
Remembering that Bruckner composed all this music first ,we are just about listening to the most original as well as the finest in the symphonic repertory .After more than 100 years Bruckner can climb up and stand side by side with Beethoven!
I agree with Mr. Bernstein that Bruckner can stand side by side with Beethoven. I pointed this already out with my latest remark, suggesting that Beethoven’s Ninth could be played with Bruckner’s Te Deum as finale.
In some respects I think Bruckner even surpasses Beethoven, even with an unfinished Ninth.
What experts can do with the last movment however, doesn’t interest me as much as what Bruckner wanted us to do, which brings me back to the text of the Te Deum. From that it is clear to me the Bruckner trusts in God, not in experts, and that we should do the same. That is what I consider to be Bruckner’s last wish.
Moreover, let me remind everyone, that in his last year Bruckner instructed his housekeeper, Frau Kathi Kachelmayr, to not let anyone come near him or his music. If the text of the Te Deum isn’t enough to convince everyone, then perhaps Frau Kachelmayr’s broom can.
I went to Berlin in early February to see the first performance of the completed 9th. In my opinion I heard and saw a performance of the greatest completed symphony EVER composed.
If the experts can take the Frank Sinatra ” My Way” from very early on in the symphony to the iron and steel music of Shostakovich in the second movement. The very late Mahler or infact early Schoenberg at the beginning of the third and Vaughn Williams “Tallis Fantasia” later on . Why not the birth of minimilism in the fourth, even a hint of later Schoenberg and the film score music from the end of Hans Zimmers Da Vinci code in the Finale?
Remembering that Bruckner composed all this music first ,we are just about listening to the most original as well as the finest in the symphonic repertory .After more than 100 years Bruckner can climb up and stand side by side with Beethoven!
I went to Berlin in early February to see the first performance of the completed 9th. In my opinion I heard and saw a performance of the greatest completed symphony EVER composed.
If the experts can take the Frank Sinatra ” My Way” from very early on in the symphony to the iron and steel music of Shostakovich in the second movement. The very late Mahler or infact early Schoenberg at the beginning of the third and Vaughn Williams “Tallis Fantasia” later on . Why not the birth of minimilism in the fourth, even a hint of later Schoenberg and the film score music from the end of Hans Zimmers Da Vinci code in the Finale?
Remembering that Bruckner composed all this music first ,we are just about listening to the most original as well as the finest in the symphonic repertory .After more than 100 years Bruckner can climb up and stand side by side with Beethoven!
I went to Berlin in early February to see the first performance of the completed 9th. In my opinion I heard and saw a performance of the greatest completed symphony EVER composed.
If the experts can take the Frank Sinatra ” My Way” from very early on in the symphony to the iron and steel music of Shostakovich in the second movement. The very late Mahler or infact early Schoenberg at the beginning of the third and Vaughn Williams “Tallis Fantasia” later on . Why not the birth of minimilism in the fourth, even a hint of later Schoenberg and the film score music from the end of Hans Zimmers Da Vinci code in the Finale?
Remembering that Bruckner composed all this music first ,we are just about listening to the most original as well as the finest in the symphonic repertory .After more than 100 years Bruckner can climb up and stand side by side with Beethoven!
I went to Berlin in early February to see the first performance of the completed 9th. In my opinion I heard and saw a performance of the greatest completed symphony EVER composed.
If the experts can take the Frank Sinatra ” My Way” from very early on in the symphony to the iron and steel music of Shostakovich in the second movement. The very late Mahler or infact early Schoenberg at the beginning of the third and Vaughn Williams “Tallis Fantasia” later on . Why not the birth of minimilism in the fourth, even a hint of later Schoenberg and the film score music from the end of Hans Zimmers Da Vinci code in the Finale?
Remembering that Bruckner composed all this music first ,we are just about listening to the most original as well as the finest in the symphonic repertory .After more than 100 years Bruckner can climb up and stand side by side with Beethoven!
I went to Berlin in early February to see the first performance of the completed 9th. In my opinion I heard and saw a performance of the greatest completed symphony EVER composed.
If the experts can take the Frank Sinatra ” My Way” from very early on in the symphony to the iron and steel music of Shostakovich in the second movement. The very late Mahler or infact early Schoenberg at the beginning of the third and Vaughn Williams “Tallis Fantasia” later on . Why not the birth of minimilism in the fourth, even a hint of later Schoenberg and the film score music from the end of Hans Zimmers Da Vinci code in the Finale?
Remembering that Bruckner composed all this music first ,we are just about listening to the most original as well as the finest in the symphonic repertory .After more than 100 years Bruckner can climb up and stand side by side with Beethoven!
I agree with Mr. Bernstein that Bruckner can stand side by side with Beethoven. I pointed this already out with my latest remark, suggesting that Beethoven’s Ninth could be played with Bruckner’s Te Deum as finale.
In some respects I think Bruckner even surpasses Beethoven, even with an unfinished Ninth.
What experts can do with the last movment however, doesn’t interest me as much as what Bruckner wanted us to do, which brings me back to the text of the Te Deum. From that it is clear to me the Bruckner trusts in God, not in experts, and that we should do the same. That is what I consider to be Bruckner’s last wish.
Moreover, let me remind everyone, that in his last year Bruckner instructed his housekeeper, Frau Kathi Kachelmayr, to not let anyone come near him or his music. If the text of the Te Deum isn’t enough to convince everyone, then perhaps Frau Kachelmayr’s broom can.
I agree with Mr. Bernstein that Bruckner can stand side by side with Beethoven. I pointed this already out with my latest remark, suggesting that Beethoven’s Ninth could be played with Bruckner’s Te Deum as finale.
In some respects I think Bruckner even surpasses Beethoven, even with an unfinished Ninth.
What experts can do with the last movment however, doesn’t interest me as much as what Bruckner wanted us to do, which brings me back to the text of the Te Deum. From that it is clear to me the Bruckner trusts in God, not in experts, and that we should do the same. That is what I consider to be Bruckner’s last wish.
Moreover, let me remind everyone, that in his last year Bruckner instructed his housekeeper, Frau Kathi Kachelmayr, to not let anyone come near him or his music. If the text of the Te Deum isn’t enough to convince everyone, then perhaps Frau Kachelmayr’s broom can.
I agree with Mr. Bernstein that Bruckner can stand side by side with Beethoven. I pointed this already out with my latest remark, suggesting that Beethoven’s Ninth could be played with Bruckner’s Te Deum as finale.
In some respects I think Bruckner even surpasses Beethoven, even with an unfinished Ninth.
What experts can do with the last movment however, doesn’t interest me as much as what Bruckner wanted us to do, which brings me back to the text of the Te Deum. From that it is clear to me the Bruckner trusts in God, not in experts, and that we should do the same. That is what I consider to be Bruckner’s last wish.
Moreover, let me remind everyone, that in his last year Bruckner instructed his housekeeper, Frau Kathi Kachelmayr, to not let anyone come near him or his music. If the text of the Te Deum isn’t enough to convince everyone, then perhaps Frau Kachelmayr’s broom can.
I agree with Mr. Bernstein that Bruckner can stand side by side with Beethoven. I pointed this already out with my latest remark, suggesting that Beethoven’s Ninth could be played with Bruckner’s Te Deum as finale.
In some respects I think Bruckner even surpasses Beethoven, even with an unfinished Ninth.
What experts can do with the last movment however, doesn’t interest me as much as what Bruckner wanted us to do, which brings me back to the text of the Te Deum. From that it is clear to me the Bruckner trusts in God, not in experts, and that we should do the same. That is what I consider to be Bruckner’s last wish.
Moreover, let me remind everyone, that in his last year Bruckner instructed his housekeeper, Frau Kathi Kachelmayr, to not let anyone come near him or his music. If the text of the Te Deum isn’t enough to convince everyone, then perhaps Frau Kachelmayr’s broom can.
I agree with Mr. Bernstein that Bruckner can stand side by side with Beethoven. I pointed this already out with my latest remark, suggesting that Beethoven’s Ninth could be played with Bruckner’s Te Deum as finale.
In some respects I think Bruckner even surpasses Beethoven, even with an unfinished Ninth.
What experts can do with the last movment however, doesn’t interest me as much as what Bruckner wanted us to do, which brings me back to the text of the Te Deum. From that it is clear to me the Bruckner trusts in God, not in experts, and that we should do the same. That is what I consider to be Bruckner’s last wish.
Moreover, let me remind everyone, that in his last year Bruckner instructed his housekeeper, Frau Kathi Kachelmayr, to not let anyone come near him or his music. If the text of the Te Deum isn’t enough to convince everyone, then perhaps Frau Kachelmayr’s broom can.
Mr. Brouwer seems to need much attention … But in one point he is right: Indeed it was Bruckner´s last wish to conclude the Ninth with his Te Deum, did he not live long enough to complete the instrumental Finale. Any further speculation is wishful thinking. Facts speak for themselves.
Mr. Brouwer seems to need much attention … But in one point he is right: Indeed it was Bruckner´s last wish to conclude the Ninth with his Te Deum, did he not live long enough to complete the instrumental Finale. Any further speculation is wishful thinking. Facts speak for themselves.
Mr. Brouwer seems to need much attention … But in one point he is right: Indeed it was Bruckner´s last wish to conclude the Ninth with his Te Deum, did he not live long enough to complete the instrumental Finale. Any further speculation is wishful thinking. Facts speak for themselves.
Mr. Brouwer seems to need much attention … But in one point he is right: Indeed it was Bruckner´s last wish to conclude the Ninth with his Te Deum, did he not live long enough to complete the instrumental Finale. Any further speculation is wishful thinking. Facts speak for themselves.
Mr. Brouwer seems to need much attention … But in one point he is right: Indeed it was Bruckner´s last wish to conclude the Ninth with his Te Deum, did he not live long enough to complete the instrumental Finale. Any further speculation is wishful thinking. Facts speak for themselves.
Mr. Brouwer seems to need much attention … But in one point he is right: Indeed it was Bruckner´s last wish to conclude the Ninth with his Te Deum, did he not live long enough to complete the instrumental Finale. Any further speculation is wishful thinking. Facts speak for themselves.
I can’t say I asked for this kind of attention, but I’m glad that ‘finalefriend’ and I seem to have found some common ground after all. And for him there’s even more good news, because this Rattle/BPO performance is now released on CD.
So to him and everyone else who doesn’t has second thoughts after what I’ve said, my last word can only be: buy it and enjoy it.
Best wishes,
Bert Brouwer
I can’t say I asked for this kind of attention, but I’m glad that ‘finalefriend’ and I seem to have found some common ground after all. And for him there’s even more good news, because this Rattle/BPO performance is now released on CD.
So to him and everyone else who doesn’t has second thoughts after what I’ve said, my last word can only be: buy it and enjoy it.
Best wishes,
Bert Brouwer
I can’t say I asked for this kind of attention, but I’m glad that ‘finalefriend’ and I seem to have found some common ground after all. And for him there’s even more good news, because this Rattle/BPO performance is now released on CD.
So to him and everyone else who doesn’t has second thoughts after what I’ve said, my last word can only be: buy it and enjoy it.
Best wishes,
Bert Brouwer
I can’t say I asked for this kind of attention, but I’m glad that ‘finalefriend’ and I seem to have found some common ground after all. And for him there’s even more good news, because this Rattle/BPO performance is now released on CD.
So to him and everyone else who doesn’t has second thoughts after what I’ve said, my last word can only be: buy it and enjoy it.
Best wishes,
Bert Brouwer
I can’t say I asked for this kind of attention, but I’m glad that ‘finalefriend’ and I seem to have found some common ground after all. And for him there’s even more good news, because this Rattle/BPO performance is now released on CD.
So to him and everyone else who doesn’t has second thoughts after what I’ve said, my last word can only be: buy it and enjoy it.
Best wishes,
Bert Brouwer
I can’t say I asked for this kind of attention, but I’m glad that ‘finalefriend’ and I seem to have found some common ground after all. And for him there’s even more good news, because this Rattle/BPO performance is now released on CD.
So to him and everyone else who doesn’t has second thoughts after what I’ve said, my last word can only be: buy it and enjoy it.
Best wishes,
Bert Brouwer
Dear Mr. Brouwer: It should read “for HER” (An understandable mismatch even if a typical male asumption that all debate is between men only)
Seriously: From your postings it is quite amazing how small your knowledge on the facts is. Perhaps you should invest more time in proper studying the matter instead of spreading gossip, opinion, wishful thinking and untenable assumption. That is not of help in order to understand Bruckner´s own intentions better.
Dear Mr. Brouwer: It should read “for HER” (An understandable mismatch even if a typical male asumption that all debate is between men only)
Seriously: From your postings it is quite amazing how small your knowledge on the facts is. Perhaps you should invest more time in proper studying the matter instead of spreading gossip, opinion, wishful thinking and untenable assumption. That is not of help in order to understand Bruckner´s own intentions better.
Dear Mr. Brouwer: It should read “for HER” (An understandable mismatch even if a typical male asumption that all debate is between men only)
Seriously: From your postings it is quite amazing how small your knowledge on the facts is. Perhaps you should invest more time in proper studying the matter instead of spreading gossip, opinion, wishful thinking and untenable assumption. That is not of help in order to understand Bruckner´s own intentions better.
Dear Mr. Brouwer: It should read “for HER” (An understandable mismatch even if a typical male asumption that all debate is between men only)
Seriously: From your postings it is quite amazing how small your knowledge on the facts is. Perhaps you should invest more time in proper studying the matter instead of spreading gossip, opinion, wishful thinking and untenable assumption. That is not of help in order to understand Bruckner´s own intentions better.
Dear Mr. Brouwer: It should read “for HER” (An understandable mismatch even if a typical male asumption that all debate is between men only)
Seriously: From your postings it is quite amazing how small your knowledge on the facts is. Perhaps you should invest more time in proper studying the matter instead of spreading gossip, opinion, wishful thinking and untenable assumption. That is not of help in order to understand Bruckner´s own intentions better.
Dear Mr. Brouwer: It should read “for HER” (An understandable mismatch even if a typical male asumption that all debate is between men only)
Seriously: From your postings it is quite amazing how small your knowledge on the facts is. Perhaps you should invest more time in proper studying the matter instead of spreading gossip, opinion, wishful thinking and untenable assumption. That is not of help in order to understand Bruckner´s own intentions better.
I’ve not been visiting this website for a while, but now I see there’s yet another comment from ‘finalefriend’. I gather her vehement reactions are based on fear, fear that the truth is not simply a matter of facts, but a matter of the right interpretation of the facts. Some other people with whom I’ve discussed the last sketsches understand what I mean and see the reason and the logic of it. For others, like maybe ‘finalefriend’, this apparently is beyond there comprehension and therefore threatening. So be it.
I’ve not been visiting this website for a while, but now I see there’s yet another comment from ‘finalefriend’. I gather her vehement reactions are based on fear, fear that the truth is not simply a matter of facts, but a matter of the right interpretation of the facts. Some other people with whom I’ve discussed the last sketsches understand what I mean and see the reason and the logic of it. For others, like maybe ‘finalefriend’, this apparently is beyond there comprehension and therefore threatening. So be it.
I’ve not been visiting this website for a while, but now I see there’s yet another comment from ‘finalefriend’. I gather her vehement reactions are based on fear, fear that the truth is not simply a matter of facts, but a matter of the right interpretation of the facts. Some other people with whom I’ve discussed the last sketsches understand what I mean and see the reason and the logic of it. For others, like maybe ‘finalefriend’, this apparently is beyond there comprehension and therefore threatening. So be it.
I’ve not been visiting this website for a while, but now I see there’s yet another comment from ‘finalefriend’. I gather her vehement reactions are based on fear, fear that the truth is not simply a matter of facts, but a matter of the right interpretation of the facts. Some other people with whom I’ve discussed the last sketsches understand what I mean and see the reason and the logic of it. For others, like maybe ‘finalefriend’, this apparently is beyond there comprehension and therefore threatening. So be it.
I’ve not been visiting this website for a while, but now I see there’s yet another comment from ‘finalefriend’. I gather her vehement reactions are based on fear, fear that the truth is not simply a matter of facts, but a matter of the right interpretation of the facts. Some other people with whom I’ve discussed the last sketsches understand what I mean and see the reason and the logic of it. For others, like maybe ‘finalefriend’, this apparently is beyond there comprehension and therefore threatening. So be it.
I’ve not been visiting this website for a while, but now I see there’s yet another comment from ‘finalefriend’. I gather her vehement reactions are based on fear, fear that the truth is not simply a matter of facts, but a matter of the right interpretation of the facts. Some other people with whom I’ve discussed the last sketsches understand what I mean and see the reason and the logic of it. For others, like maybe ‘finalefriend’, this apparently is beyond there comprehension and therefore threatening. So be it.