English Commentary by Sergio Cánovas 

Bruckner’s Symphony No.1 was composed between May 1865 and April 1866, while he was working as organist of the Linz Cathedral. It was premiered on May 9 of 1868, performed by the Linz Theatre Orchestra with added regimental bands and some local amateur musicians. The orchestra was not really up to the technical demands of the work, and the reception was mixed, although famous Viennese critic Eduard Hanslick wrote a favourable review of the work. After he moved to Vienna, Bruckner revised the piece in 1877 and 1884, being performed with success under the composer’s baton.

A final revision came in 1889-91, being premiered by Hans Richter on December 13 of 1891 and dedicated to the Vienna University after receiving an honorary doctorate. The work represented a great leap forward compared with the academic Study Symphony in F minor. The influence of Beethoven’s Symphonies (Most notably the fifth and ninth) is evident in the use of keys, as well as Wagner’s music, as Bruckner heard «Tristan und Isolde» in Munich while writing the work, and began incorporating Wagner’s advanced harmonic language into his own. Bruckner’s characteristic symphonic style was thus beginning to form.

As with several of Bruckner’s Symphonies, No.1 exists in multiple versions; first the Original 1866 version, reconstructed by William Carragan in 1998. The Revised Linz version from 1877-84 (actually revised in Vienna), and the Vienna 1889-91 version. The differences between the original and Linz versions are slight reorchestration and retouches of the work, with more substantial changes in the finale. In the Vienna version, however, the orchestration has been more greatly changed, although there are no structural variations. Despite said version being Bruckner’s chosen one, the Linz one is the most commonly performed today, probably for being more fresh and exciting. Rejected and fragmentary versions of the original adagio and scherzo movements have been recorded as well.

The first movement is structured in an expanded sonata form. It begins with dramatic string figures, which grow into a passionate and impetuous main theme in form of a march. It is contrasted by a bucolic, lyrical second theme introduced by strings. Quickly follows an urgent and heroic third theme exposed by the brass after a long crescendo, including a reference to the overture of Wagner’s «Tannhäuser». A lyrical transition leads us to the agitated development section, with fragmented versions of the material which doesn’t achieve a substantial climax. Instead, a diminuendo leads us to a varied recapitulation of the themes, almost like a new development. A powerfully dramatic coda, derived from the main theme, ends the movement with great force.

The second movement is written in ternary form. It opens with a dark and sinister main theme introduced by horns and doublebasses, expressively unfolding as it is taken by full strings. A broad and lyrical second theme is presented by flutes and oboes, offering contrast. It is then passionately taken by violins again, reaching a grand climax. A series of dialogues between strings and woodwinds then begins, being a kind of development. Tension then begins to accumulate with string figurations but fail to resolve, instead leading us to the recapitulation of the main themes. A solemn and expansive climax is reached with the second one, already anticipating the music of mature Bruckner. A slow, almost Wagnerian coda, calmly ends the movement.

The third movement is a scherzo in an expanded ternary form. It begins with an agitated and vigorous main theme of almost relentless momentum, rising in several climaxes as it is developed and transformed. The trio section features a bucolic and deeply peaceful second theme, shared between strings and woodwinds, which is also briefly developed. The scherzo is then repeated in its entirety, ending the movement with an assertive, almost triumphal coda.

The fourth movement is structured in an expanded sonata form, as in the first one. It opens with a bold and forceful main theme on full orchestra, which is contrasted by a gentle, almost classical second theme on strings. It then leads to a wilful and heroic third theme, heavily contrapuntal in its writing. A lyrical passage opens the development, with the main theme being transformed and culminating in a dramatic climax. A vigorous and urgent fugato then takes place with the third theme as subject. After a brief diminuendo, the recapitulation of the material begins. After a long struggle, tonality swifts and the tone goes from dramatic to victorious, ending the work with a triumphal coda.

Picture: Charlotte Wolter as «Messalina» (c1875) by the Austrian painter Hans Makart.

Musical analysis partially written by myself. Sources: https://tinyurl.com/2bsgxdo8 and https://tinyurl.com/2yxvdsut To check the score: https://tinyurl.com/254nt7t3