How to make Bruckner‘s Ninth Symphony even more apocalyptic? Spend several decades collecting the stray pages of the manuscript score from the fourth movement that he was working on when he died, and which his friends and students took away as souvenirs from his desk after he passed on. Then reassemble the finale.
There have been several versions of the finale to this symphony over the years, but most of them are pure fantasy and have little to do with Bruckner. But a group of scholars slowly assembled the finale from actual manuscripts. In some cases they found the partitur, in other cases only the sheet music for strings or other individual parts but the full orchestration is known. A few very small gaps remain, and they can be filled with educated guesses, at least until the originals turn up. And it is this reassembled version that Simon Rattle and the Berlin Philharmonic use for performances (as far as I know, this is the only conductor/orchestra combination that uses this version – I don’t know if that is because they have some special agreement with the Anton Bruckner Society in Vienna that is sponsoring this work, or if simply no one else feels ready to perform the four-movement version).
Bruckner likely would have made some adjustments anyway, so it is in no way a finished product. But Bruckner’s adjustments to his symphonies were not always improvements – sometimes they were due to his insecurities and criticism from well-meaning friends.
This morning’s concert was the first time I got to hear this version live, with the Berliners visiting Vienna’s Musikverein. I do own a recording of these forces performing the four-movement version, so it is not entirely new to me. But I have wanted to experience it live, and Rattle’s farewell tour with the Berlin Philharmonic featured it, so off I went.
The finale is indeed apocalyptic. Bruckner was looking forward to what music might become in the 20th century, with dissonance and jarring themes on top of his usual chorale apotheosis. The first three movements, normally performed to fade into oblivion at the end of the slow movement, here build to the originally-planned climax, and Rattle and the Berliners certainly went in that direction.
Conversely, their performance felt a bit clinical – something I have noticed in general about their Bruckner interpretations in the past. There was nothing really special about the first three movements (the fourth at any rate has a slightly artificial and unfinished feel). A little emotion would have taken this a long way. I wonder what the Vienna Philharmonic, the Concertebouw Orchestra, or the Symphony Orchestra of the Bavarian Radio – all quite different in approach but all consumate Bruckner orchestras in their own right – might make of this performing version. For all of the excellent technical playing by the Berliners, they did little more than go through the motions.
The concert opened with Three Pieces for Orchestra by the Danish composer Hans Abrahamsen, which had its premiere with this orchestra and conductor last week. Abrahamsen champions “simplified” music, but it is not minimalism (and certainly not the nihilism of Philip Glass), but rather has all the bits it needs without anything extraneous. The first of the three pieces was quite lively, as if to wake everyone up for the morning concert. The next two pieces set a more sedate mood. As a stand-alone set, it worked quite well. If Bruckner’s Ninth looked into the future, then Abrahamsen is clearly part of that future.