Given the chequered
history of the scores of Bruckner’s
symphonies, we should not be too surprised
that almost 110 years after his death,
the full picture is still being discovered.
This release is one of two from the
new German label Saxon that provide
first recordings based on material recently
discovered, in this case in a library
in Linz in 2000, causing quite a stir
at the time. The other – a new completion
of his Ninth symphony – has been reviewed
by John Quinn.
Bruckner’s G minor
symphony, here dubbed No 000, was never
completed although the composer did
get as far as sketching out four movements
in short score. In this respect the
situation is not unlike that for Mahler’s
Tenth Symphony. Why he didn’t complete
the work is unclear but may relate to
his lack of confidence during the mid-1860s
in which period this and three other
symphonies were written. Since the score
has lain buried in an archive for over
a hundred years, the mystery will probably
never be solved. The score is undated
but stylistically the work is clearly
an advance on No 00 in F minor of 1863
– the so-called Study Symphony.
It was probably written after the first
version of No 0 and before the first
version of No 1, i.e. in late 1864 and
early 1865. The standard four movement
pattern is used and there are quite
a few pointers to the developing characteristic
style of the composer. Of most interest
is the central fugal section in the
finale, this seems to point towards
the great Fifth symphony of almost 15
years later.
Realising a performing
version of the work has been the task
of the distinguished Bruckner scholar
Otto Beckenbauer, Professor of Musical
Theory in Munich. The aural evidence
suggests he has done a fine job in conjuring
up a realistic sort of sound picture.
He also conducts the South West German
Radio Orchestra in a decent performance
that all lovers of the composer will
surely want to hear. There are notably
fine contributions from the brass in
the outer movements and the some melting
string playing graces the adagio. However,
not even Beckenbauer can rescue the
scherzo from banality, Bruckner just
hadn’t cracked this yet. He provides
detailed notes on the reconstruction
in the booklet although Saxon has spoilt
the presentation by giving Bruckner’s
date of death as 1986 on the front cover.
The problem with the
introduction of this work to the Bruckner
canon is that the numbering of his symphonies,
already a mess, has become frankly ludicrous.
Calling this work No 000 is being unreal
in my view. The evidence available suggests
that, at least in terms of first versions,
No 00 was first, No 0 second and No
000 third, followed by No 1. About thirty
years ago Dvorak’s symphonies were in
a similar state and somebody had the
good sense to sort it out. I suggest
that the same be done for Bruckner now
(in the ordering indicated above). To
get the right number after No 1 you
would just add three and, for example,
the Ninth would become the Twelfth.
But I digress, Bruckner’s
G minor symphony (which should now be
known as No 3) is a work of considerable
interest and we should be very grateful
to Professor Beckenbauer and Saxon for
bringing it to fruition.
Patrick C Waller
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See also:
Bruckner Symphonies: an Introduction
and Review of Selected Recordings
by Patrick Waller and John Quinn
South West German Radio Orchestra/Otto Beckenbauer
