Брукнердің үшінші симфониясы: Вагнерге арналған шығарманың тарихы

Anton Bruckner's Symphony No. 3 in D minor, WAB 103, was dedicated to Richard Wagner and is sometimes known as his "Wagner Symphony". It was written in 1873, revised in 1877 and again in 1889. The work has been characterised as "difficult", and is regarded by some as Bruckner's artistic breakthrough. According to Rudolf Kloiber, the third symphony "opens the sequence of Bruckner's masterpieces, in which his creativity meets monumental ability of symphonic construction." The work is notorious as the most revised of Bruckner's symphonies, and there exist no fewer than six versions, with three of them being widely performed today.

Bruckner wrote the first version of the symphony in 1873. In September 1873, before the work was finished, Bruckner visited Richard Wagner, whom he had first met in 1865 at the premiere of Tristan und Isolde in Munich. Bruckner showed both his Second and Third symphonies to Wagner, asking him to pick one he preferred. To Bruckner's delight, Wagner chose the Third, and Bruckner dedicated the symphony to the master he highly respected. After arriving home, Bruckner continued to work on the symphony, finishing the finale on 31 December 1873. According to an anecdote, Bruckner and Wagner drank so much beer together that, upon arriving home, Bruckner realized he had forgotten which symphony Wagner had chosen. He wrote a letter back to Wagner saying "Symphony in D minor, where the trumpet begins the theme?" Wagner scribbled back "Yes! Best wishes! Richard Wagner." After this, Wagner often referred to Bruckner as "Bruckner the trumpet" and the two became firm friends. In the dedication, Bruckner referred to Wagner as "the unreachable world famous noble master of poetry and music". The 1873 version was rehearsed by the Vienna Philharmonic in June or July 1874, but it was not accepted for performance. The premiere of the Symphony (1877 version) was given in Vienna on 16 December 1877. The conductor was meant to be Johann von Herbeck, though his death a month before the concert forced Bruckner himself to step in and conduct. The concert was a complete disaster: although a decent choral conductor, Bruckner was a barely competent orchestral director: the Viennese audience, which was not sympathetic to his work to begin with, gradually left the hall as the music played. Even the orchestra fled at the end, leaving Bruckner alone with a few supporters, including Gustav Mahler. (The score of the first three movements was later owned by Mahler; his widow Alma Mahler ensured she took it with her when fleeing the Nazi invasion of France in 1940 for the United States.) Stunned by this debacle, Bruckner made several revisions of his work, leaving out significant amounts of music including most quotations from Wagner's Tristan und Isolde and Die Walküre. The original 1873 score was not published until 1977.

The score calls for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani and strings.

According to widespread opinion, the Third can be regarded as Bruckner's artistic breakthrough. In it, the "real and complete Bruckner" comes into expression for the first time. According to Rudolf Kloiber, the third symphony "opens the sequence of Bruckner's masterpieces, in which his creativity meets monumental ability of symphonic construction." the "significant improved" 1874 version is, movement for movement, of the same length and structure as the 1873 original version, but there are many passages, particularly in the first movement, with major changes in texture (canonic imitation) and orchestration. The 1874 version has been premiered and recorded by Gerd Schaller and the Philharmonie Festiva. This symphony and the Fourth are the most revised compositions in Bruckner’s canon As one follows the increasing sophistication in the developing style of Bruckner’s canonic writing one obtains a window into the expert and intricate counterpoint of the great fugue of the Fifth Symphony. As Carragan writes, "This version, though completed in the spring of 1877, is called the "1876" version because its characteristic five part slow movement was dated 1876 and was published many years ago by Nowak with that date. In that way confusion with the version as later revised in the fall of 1877 can be avoided."

The 1889 version was published by Nowak in 1959. In this version, the Scherzo coda is removed and additional cuts are done in the first movement and the Finale.

The first published version of 1890, published by Thomas Rättig (Vienna), remains controversial because it has not been ascertained how much it reflected Bruckner's wishes, and how much it was influenced by Josef and Franz Schalk.

The first commercial recording of part of this symphony was made by de with the Vienna Symphony in 1928. It featured only the scherzo and trio. The oldest complete performance preserved on disc is by Eugen Jochum with the Philharmonisches Staatsorchester Hamburg from 1944. The first commercial recording of the complete symphony was made in 1953. The recording, from a live concert, was issued by the Allegro Royale label with the conductor "Gerd Rubahn" (pseudonym for Hans Schmidt Isserstedt). This historical recording has been remastered to CD (CD abruckner. com BSVD 0114). The 1890 Rättig edition is generally used by the older conductors of the LP era, such as Hans Knappertsbusch conducting the Bavarian State Opera Orchestra and Carl Schuricht conducting the Vienna Philharmonic Orchestra. With the dawn of the CD era, the 1877 and 1889 versions, as edited by Nowak, were more commonly used, by conductors such as Bernard Haitink and Karl Böhm. Eliahu Inbal conducting the Frankfurt Radio Symphony Orchestra for Warner Classics was in 1983 the first to record the 1873 version. Georg Tintner conducting the Royal Scottish National Orchestra followed 15 years later on the Naxos label. As Tintner writes, "this work as originally conceived suffered by its progressive mutilations more and more, and we should take the time to play and to listen to this amazing original." Gerd Schaller first recorded the 1874 version, edited by William Carragan, with the Philharmonie Festiva. To facilitate comparison of the different versions, Johannes Wildner conducting the de, in a studio recording (SonArte/Naxos) offers multi disc sets. Naxos includes both the 1877 and 1889 versions while SonArte includes all three of the 1873, 1877 and 1889 versions.