Τρίτη, 29 Οκτωβρίου 2013

ΗΜΙΤΕΛΕΙΣ ΣΥΜΦΩΝΙΕΣ ~ BRUCKNER ~





~ BRUCKNER ~ 




*Christos Sipsis
Η ημιτελης που θα ακουσουμε σημερα ειναι η (εκπληκτική ) 9η του Anton Bruckner . Ο μεγαλος Αυστριακος πρόλαβε να ολοκληρωσει τα τρια πρωτα μερη της συμφωνιας του. Το τελευταιο μερος (αν και απο ορισμενα σημεια εχουμε ακομα και την ενορχήστρωση) παρεμεινε ημιτελες. Την ακουμε απο τον Eugen Jochum.
  Bruckner Symphony No 9 D minor Eugen Jochum Berlin RSO
Anton Bruckner's Symphony No. 9 in D minor is the last symphony upon which he worked, leaving the last movement incomplete at the time of his death in 1896. The symphony was premiered under Ferdinand Löwe in Vienna in 1903, after Bruckner's death. Bruckner dedicated this symphony "to the beloved God" (in German, "dem lieben Gott").(While it may seem logical to call this work "Symphony in D minor, opus posthumous," that usually refers to the Symphony No. 0 in D minor).DescriptionThe symphony has four movements, although the fourth is incomplete and fragmentary. Of this finale, it seems that much material in full score may have been lost very soon after the composer's death, and therefore large sections exist only in two-stave sketch format. The placement of the Scherzo second, and the key, D minor, are only two elements this work has in common with Beethoven's Ninth Symphony.The symphony is so often performed without any sort of finale that some authors describe "the form of this symphony [as] ... a massive arch, two slow movements straddling an energetic Scherzo."[1]The score calls for three each of flutes, oboes, clarinets in B-flat and A (Adagio only), 2 bassoons and contrabassoon, with eight horns (5.–8. Hrn. doubling on Wagner tubas), three trumpets in F, three trombones, contrabass tuba, timpani and strings.Fourth movementBruckner had conceived the entire movement; whether the manuscripts he left would have made up the final form of the Finale is debatable. Several bifolios of the emerging autograph score survived, consecutively numbered by Bruckner himself, as well as numerous discarded bifolios and particellos sketches. The surviving manuscripts were all systematically ordered and published in a notable facsimile reprint, edited by J. A. Phillips, in the Bruckner Complete Edition, Vienna.Because of Bruckner's individual composing habits, reconstructing the Finale is in some ways easier, and in some ways harder, than it would be to reconstruct an unfinished piece by another composer. Compounding the problem, collectible hunters ransacked Bruckner's house soon after his death. Sketches for the Finale have been found as far away from Austria as Washington D.C.Large portions of the movement were almost completely orchestrated, and even some eminent sketches have been found for the coda (the initial crescendo/28 bars, and the progression towards the final cadence, even proceeding into the final tonic pedalpoint/in all 32 bars), but only hearsay suggesting the coda would have integrated themes from all four movements: The Bruckner scholars Max Graf and Max Auer reported that they have actually seen such a sketch when they had access to the manuscripts, at that time in the possession of Franz Schalk. Today such a sketch appears to be lost.More importantly than the loss of the score bifolios of the coda itself, composer and Bruckner scholar Robert Simpson asserts in his book The Essence of Bruckner, is that the sketches that survive do not support the momentum to support such a conclusion. Some people[who?] think that there is no real inner continuity or coherence inherent to indicate an organically growing musical structure. But in fact, the publications of the Bruckner-Gesamtausgabe edited by John Phillips revealed that Bruckner has left an emerging autograph score, numbered consecutively bifolio by bifolio, which constituted the intact score, at least up to the beginning of the coda. Around 50% of this final phase must be considered lost today.Bruckner knew he might not live to complete this symphony and suggested his Te Deum be played at the end of the concert. The presence in the sketches of the figuration heard in quarter-notes at the outset of the Te Deum led to a supposition that Bruckner was composing a link or transition between the two works. In fact, the sketch for such a transition can be found on two bifolios of the emerging autograph score. Some people think that at best this would have been a makeshift solution. The C major setting of the Te Deum conflicts with the D minor setting of the rest of the symphony. Because of this tonal clash, the Te Deum is rarely used as the Finale. However, others think it better to follow the composer's own wish and so argue against the tonal clash theory, since the Adagio ends in another key (E major) as well.
Symphony No. 9 (Bruckner) -      Wikipedia, the free encyclopedi
http://en.wikipedia.org/wiki/Symphony_No._9_(Bruckner)</a>Norbert Burgmuller - Symphony No. 2 Op. 11 I. Allegro Moderato (1/4)






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