English Commentary by Sergio Cánovas 

Bruckner’s Symphony in F minor (sometimes numbered as No.00) was composed between February 15 and May 26 of 1863, being the final exercise from his composition teacher Otto Kitzler. Coming after the Overture in G minor, it was his first attempt at a large-scale purely orchestral composition. It was not very successful however, being described as «uninspired» by Kitzler. Bruckner showed the score to composer and conductor Franz Lachner, who promised a premiere that never came. Bruckner initially considered it as his Symphony No.1, and gave the score to his friend Cyrill Hynais. In 1866, after finishing his Symphony No.1 in C minor, he decided to retire it from his catalogue, viewing it as a mere student exercise.

The symphony was laid aside for the rest of Bruckner’s life, not being performed nor published. However, the fact that he still corrected and revised the piece showcases that he still saw some value in it. It was finally premiered in Klosterneuburg on October 12 of 1924, performed by the Klosterneuberg Philharmonic Orchestra conducted by Franz Franz Moißl. It had been 28 years after Bruckner’s death. The second movement was published in 1913, but the whole work wasn’t until 1973. The piece clearly showcases the influence of the early romantics, specially Schumann and Mendelssohn, as well as the sonorities of the organ and the liturgical music the composer heard in the Linz cathedral. Bruckner’s style occasionally flashes through, most notably in the scherzo.

The first movement is structured in an expanded sonata form. It begins with a solemn and imposing main theme, built on a series of forte-piano contrasts. It is contrasted by a deeply lyrical, chorale-like second theme introduced by strings. A transition starts with a heroic variation on the main theme, answered by a series of lyrical solos of flute and cellos, variations of the second one. This extensive exposition is then repeated, something unique in Bruckner’s cycle which some conductors decide to omit. The development combines and transforms these materials, with brass calls piercing through and leading to a powerful climax. A gentle, almost religious transition leads us to a varied recapitulation of the themes. The transition material is absent however, instead an extensive coda, based on the main theme, ends the movement with great force.

The second movement is written in sonata form. It opens with a broad and lyrical main theme on strings, rising in an expressive climax. A dotted rhythm leads us to the cantabile second theme introduced by oboe, unravelled with great lyrism. An agitated and dramatic central section, heavily syncopated, offers great contrast. A gentle transition then leads us to the recapitulation of the themes, with the second one appearing this time on bassoon. After two climaxes, the music subdues in a peaceful coda based on the main theme.

The third movement is a short scherzo in ternary form. It begins with a rhythmic and forceful main theme with clarinets and bassoons alternating with even staccato notes in the strings. It already anticipates the scherzi of Bruckner’s latter symphonies, most notably in the always forward, continuous driving rhythm. The trio section features a bucolic, lyrical second theme on woodwinds underpinned by staccato strings, greatly contrasting in nature. The scherzo is then reexposed with no variation. An abbreviated version of the main theme ends the movement.

The fourth movement is also structured in sonata form. It opens with a lively and passionate main theme, contrasted by a gentle and delicate second theme, characterized by its syncopations. The shadow of Schumann is heavily present in this movement, being also criticised as the weakest of the whole symphony. As in the first part, these materials are unravelled in a substantial transition. Again we find a complete repetition of the exposition, which some conductors decide to ignore. A Horn figure leads us to the development section, marked by its modulations and mysterious tone. A powerful climax is reaching as the main theme triumphally reappears, launching the recapitulation. In it, the second theme appears beautifully in F Major, leading us to an imperious and brilliant coda in this key.

Picture: «Interrupted Pilgrimage (Assistance)» (1853) by the Austrian painter Ferdinand Georg Waldmüller.

Musical analysis mostly written by myself. Source: https://tinyurl.com/22wkengp To check the score: https://tinyurl.com/27ua9w2a