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Nikolaus Harnoncourt|Bruckner: Symphony No. 9

Bruckner: Symphony No. 9

Nikolaus Harnoncourt

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Anyone who loves Bruckner's music will want to hear this recording since it contains the Finale of his Symphony No. 9, the music which, according to Bruckner's musical executors, never existed except in the mind of the dying composer. But while that story fooled generations of conductors into performing a three-movement version of the Ninth, musicologists have long known that most of the Finale existed in score and sketch at Bruckner's death. But what the musicologists knew to be true has been almost completely ignored until this recording. Almost completely ignored because there have been three previous recordings of Ninth's Finale over the past 20 years and all of them are far more compelling than this one by Nikolaus Harnoncourt and the Vienna Philharmonic. For one thing, all the other recordings of the Finales have been completed with the bits that Bruckner didn't finish filled in, while Harnoncourt's recordings only have the bits that Bruckner finished and interpolates a lecture to describe what's missing. While this may be musicologically more accurate, in performance it is at best disruptive, at worst dull. For another thing, all the other Finales are performed with the overwhelming need to compel belief in the Finale while Harnoncourt himself seems unconvinced of its merits. But then, Harnoncourt's recording of the three completed movements are just as unconvincing. In Harnoncourt's performance, his opening movement alternates long stretches of quiet tedium with short bursts of loud bombast, his Scherzo alternates long stretches of loud hammering with short bursts of quiet inanity, and his Adagio alternates long stretches of loud, painfully dissonant music with shot bursts of louder, more painfully dissonant music. Harnoncourt's recording doesn't make a case for a four-movement Ninth; it doesn't even make a case for a three-movement Ninth.

© TiVo

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Bruckner: Symphony No. 9

Nikolaus Harnoncourt

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Wie ein Stein vom Mond - Gesprächskonzert: Sinfonie Nr. 9 d-moll WAB 109, Finale (unvollendet) - Dokumentation des Fragments (Hrsg. von John A. Phillips) (Various Composers)

1
Warum hat man eigentlich 100 Jahre lang gedacht, es gäbe nichts von diesem 4. Satz
00:11:12

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

2
Dokumentation, Takt 1-278
00:09:14

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

3
Gegen Ende eine extreme Dissonanz in den Trompeten
00:02:21

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

4
Nach dem Ende der Durchführung folgt eine wilde Fuge
00:00:51

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

5
Dokumentation, Takt 279-342
00:02:25

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

6
Quasi ein Schreckbild des Todes
00:01:52

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

7
Dokumentation, Takt 343-478
00:04:45

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

8
Danach fehlen 16 Takte; dazu ist nichts zu erklären; wir spielen einfach nicht.
00:01:48

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

9
Dokumentation, Takt 479-510. Lücke/fehlender Partiturbogen: T. 511-526
00:01:34

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

Like A Stone From The Moon - A Colloquial Concert: Symphony No. 9 in D minor, WAB 109, Finale (unfinished) - Documentation of the Fragment (Various Composers)

10
Why did we think for over hundred years that nothing of this finale existed?
00:10:59

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

11
Documentation, mm. 1-278
00:09:15

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

12
Extreme dissonances in the trumpets towards the end of the block
00:02:24

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

13
At the end of the developmnet a wild fugue begins
00:00:40

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

14
Documentation, mm. 279-342
00:02:24

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

15
A sudden vision of death
00:01:46

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

16
Documentation, mm. 343-478
00:04:43

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

17
Then there are sixteen bars missing. We will just leave them out.
00:01:39

Nikolaus Harnoncourt, Writer - Nikolaus Harnoncourt, Speaker - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

18
Documentation, mm. 479-510. Gap/missing score bifolio - mm. 511-226
00:01:36

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

DISQUE 2

Symphony No. 9 in D Minor, WAB 109 (Anton Bruckner)

1
I. Feierlich, misterioso
00:24:19

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

2
II. Scherzo. Bewegt, lebhaft - Trio. Schnell - Scherzo da capo
00:10:39

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

3
III. Adagio. Langsam, feierlich
00:23:53

Nikolaus Harnoncourt, Conductor - Anton Bruckner, Composer - René Möller, 2nd Engineer - Michael Brammann, Recording Engineer - Friedemann Engelbrecht, Producer - Wiener Philharmoniker, Performer - Philipp Knop, Edited By

(P)2003 BMG Ariola Classics GmbH

Chronique

Anyone who loves Bruckner's music will want to hear this recording since it contains the Finale of his Symphony No. 9, the music which, according to Bruckner's musical executors, never existed except in the mind of the dying composer. But while that story fooled generations of conductors into performing a three-movement version of the Ninth, musicologists have long known that most of the Finale existed in score and sketch at Bruckner's death. But what the musicologists knew to be true has been almost completely ignored until this recording. Almost completely ignored because there have been three previous recordings of Ninth's Finale over the past 20 years and all of them are far more compelling than this one by Nikolaus Harnoncourt and the Vienna Philharmonic. For one thing, all the other recordings of the Finales have been completed with the bits that Bruckner didn't finish filled in, while Harnoncourt's recordings only have the bits that Bruckner finished and interpolates a lecture to describe what's missing. While this may be musicologically more accurate, in performance it is at best disruptive, at worst dull. For another thing, all the other Finales are performed with the overwhelming need to compel belief in the Finale while Harnoncourt himself seems unconvinced of its merits. But then, Harnoncourt's recording of the three completed movements are just as unconvincing. In Harnoncourt's performance, his opening movement alternates long stretches of quiet tedium with short bursts of loud bombast, his Scherzo alternates long stretches of loud hammering with short bursts of quiet inanity, and his Adagio alternates long stretches of loud, painfully dissonant music with shot bursts of louder, more painfully dissonant music. Harnoncourt's recording doesn't make a case for a four-movement Ninth; it doesn't even make a case for a three-movement Ninth.

© TiVo

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