English Commentary by Sergio Cánovas 

Bruckner’s Symphony No.6 was composed between September 24 of 1879 and September 3 of 1881, not followed by any further revision. The adagio and scherzo were performed on February 11 of 1883, performed by the Vienna Philharmonic Orchestra conducted by Wilhelm Jahn. It was then performed by Gustav Mahler conducting the Vienna Philharmonic on February 26 of 1899, but with a number of substantial cuts and other amendments made to the score. The first full performance of the original score took place in Stuttgart on March 13 of 1901, conducted by Karl Pohlig. Bruckner apparently never heard the piece in its entirety.

Bruckner’s Sixth is the least performed and recorded symphony in the cycle of the composer, despite sharing many common elements with the surrounding symphonies. The piece had a mixed reception, it was seen with bewilderment from critics and supporters alike, who did not understand it. Bruckner himself called it his «boldest» symphony, probably due to its extreme degree of motivic, rhythmic and harmonic originality. Considering the vast scale of its predecessor, the sixth is a work of comparatively modest proportions; yet it is distinguished by richly varied orchestration and hugely contrasted thematic ideas. Schumann’ is said to have called Beethoven’s Symphony No.4 «a slender Greek maiden between two Norse giants», a description that can be broadly applied to Bruckner’s symphony.

The first movement is structured in a large-scale, modified sonata form. It begins with a mysterious ostinato on low strings, supported by the Bruckner rhythm on violins. This ostinato is transformed into a passionate and dramatic main theme on full orchestra, which also references the main theme of the first movement of Bruckner’s Symphony No.4. It is contrasted by a broad, chromatic second theme on strings sustained by bassline triplets, rising in an expressive climax. A third theme in form of an impetuous march then appears, supported by fast triplets and segueing into the development. The material is transformed (most notably an inversion of the main theme), constantly modulating and with the triplet rhythm in the bottom. The music reaches a powerful climax on the main theme, which opens the recapitulation of the material at the same time. In the coda, the three base rhythms of each theme come together as Bruckner passes through the entire spectrum of tonality. A triumphal appearance of the main theme leads us to a brilliant end with a plagal cadence.

The second movement is written in sonata form. It opens with a deeply expressive and melancholic main theme shared between strings and oboe, remarkable for its tonal ambiguity. After a painful climax is reached, a widely lyrical second theme is introduced by strings, which grows into another expressive climax. Then a third theme in form of a funereal march is exposed, almost Mahlerian in tone. The ensuing development of this material consists of a series of modulations and inversions, capped with an unresolved anticlimax. Follows a recapitulation of the material through different orchestrations, and even more intense and yearning. The music then gradually dies down, with a consolatory coda ending the movement with a touch of peace and hope.

The third movement is a scherzo in ternary form. It opens with a rhythmic and agitated main theme, built on a rhythm of triplets. The music again is harmonically ambiguous, as it avoids the tonal centre of A. After a triumphal climax, the trio opens with a gentle second theme in form Ländler (an Austrian folk dance). A dialogue between pizzicato strings, horn and woodwinds is central to the texture of the whole section. The trio also references the main theme of the first movement of Bruckner’s fifth. The scherzo is then repeated in its entirety. A brilliant coda ends the movement.

The fourth movement is also structured in a large-scale, modified sonata form. It opens with a flowing, dramatic main theme with interjections from the brass. After much struggle, the home key of A major is finally asserted, leading to an elegant second theme in form of a slow dance, almost reminiscent from the classical period. A radiant climax leads us to a rhythmic and impetuous third theme, being a subtle variation of the melancholic main theme of the second movement on the oboe. The ensuing development is full of energy and rhythm, with the music wandering through several keys until arriving to A major in a climax that also begins the recapitulation of the material. As in the first movement, the coda contrapuntally combines the rhythmic roots of the themes, adding also the main theme from the beginning of the work. A glorious and triumphal blaze ends the symphony.

Picture: «The Victory of Light Over Darkness» (1883-4) by the Austrian painter Hans Makart.

Musical analysis partially written by myself. Sources: https://tinyurl.com/24lw76q4 and https://tinyurl.com/2bn9ys8k To check the score: https://tinyurl.com/235rjegg