English Commentary by Sergio Cánovas 

Bruckner’s Symphony No.3 was composed between February 23 and December 31 of 1873. In September, before the work was finished, he showed the second and third symphonies to Richard Wagner, who selected the third for dedication instead of the second. For this reason, as well as for quoting several of Wagner’s operas («Rienzi», «Tannhäuser», «Tristan und Isolde» and «Die Walküre»), it is known as the «Wagner Symphony». It was rehearsed by the Vienna Philharmonic Orchestra in June or July 1874, but it was not accepted for performance. Bruckner then revised the score that year. It was rehearsed by the same orchestra in the autumn of 1875, but again it was rejected.

A second series of revisions came between 1876-7, being severely cut. The Wagner quotes were removed, the finale was shortened and a new coda for the scherzo was written, as well as added rhythmic and contrapuntal complexity. Despite being rejected for the third time, the piece was finally programmed for premiere on December 16 of 1877, with the Vienna Philharmonic Orchestra conducted by Johann von Herbeck. However, his death a month before forced Bruckner to step in as a conductor. The premiere was a complete disaster; musicians and audiences were hostile to the composer and the music, and the hall gradually emptied until at the end, only a couple of dozen supporters were left, among them a teenager Gustav Mahler.

Despite the fiasco, Bruckner only slightly revised the scherzo. The score was published in 1880. The symphony was revised for the final time between 1889-90, with additional cuts to the first and last movements as well as the removal of the scherzo coda. The orchestration and texture were also extensively modified. It 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. In the end, Bruckner himself selected the 1877 version as the definitive. Regardless of which version we are talking, the third symphony represents the first Bruckner masterpiece that reflects a matured and distinctive style.

The first movement is written in a large-scale, modified sonata form. It begins with an ostinato on strings before the trumpet introduces the dramatic main theme, passing to full orchestra with great agitation. A more melodic idea appears, leading to a broad and expressive climax before the main theme returns in a dramatic fashion. A richly lyrical second theme is then exposed between strings and horn. It then gives way to a mysterious passage characterized by its forte-piano contrasts, the use of octave falls and the Bruckner rhythm. The third theme then fully appears as a radiant chorale. After this extensive exposition, the ensuing development is dominated by the main theme, rising to a tremendous central climax. The second theme is briefly transformed before leading us to the recapitulation of the material, rising in several peaks. A forceful and dramatic coda, based on the main theme, ends the movement.

The second movement is written in an expanded ternary form. It opens with a broad and lyrical main theme on strings, growing imperious before being cut-off two times. Then a deeply lyrical second theme is introduced by cellos over pulsating violins, turning more ethereal towards the end. It was written in memory of Bruckner’s mother, which had recently died. The main theme is then recapitulated in a more rhythmic and dramatic way, before giving way to the second theme with a striking series of forte-piano contrasts. A triumphal reappearance of the main theme leads us to a dramatic climax, followed by a mysterious transition. A peaceful coda, also derived from the main theme, ends the movement.

The third movement is a scherzo in ternary form. It begins with a rhythmic and forceful main theme, introduced by strings in pianissimo before going fortissimo in full orchestra. It quickly gives way to a lyrical, dance-like trio with dialogues between violins and violas, offering great contrast. The music is reminiscent of a bucolic Austrian peasant dance, with occasional hints of birdsongs. The scherzo then continues with a relentless force, and when the trio seems to be recapitulated, the movement ends with a ferocious coda.

The fourth movement is also written in a large-scale, modified sonata form. It opens with a rushing ostinato preceding the entrance of an epic and imperious main theme, sharing the same rhythm as the main theme of the first movement. It is contrasted by a delicate, dance-like second theme, similar as the trio of the scherzo. Follows an agitated and rhythmic third theme, deeply dramatic in nature. A peaceful transition leads us to the development, which combines and transforms the material in daring ways. A powerful climax leads us to a varied recapitulation of the themes, concluding with a grand and dramatic climax. In the final bars, a blazing fanfare announces the triumphal statement of the main theme from the first movement in trumpets, now transformed into heroic D major. The movement ends with a brilliant coda.