English Commentary by Sergio Cánovas 

Bruckner’s Symphony No.9 was begun in September 1887, but it was quickly put aside in order to revise Symphonies No.8, 3, 4 and his Mass in F minor, as well as preparing Symphony No.2 for publication. He continued work on the ninth in 1891, but again was put aside to compose the Psalm 150 and the cantata «Helgoland». The first three movements of the symphony were written between 1893-4. The finale was worked on between 1895-6, but left unfinished when Bruckner died on October 11 of 1896, leaving copious amount of sketches.

The finished movements were premiered in Vienna on February 11 of 1903, performed by the Vienna Concert Orchestra conducted by Bruckner pupil Ferdinand Löwe, whose revisions of the score contain a large amount of changes never authorized by the composer. In 1931, Robert Haas pointed out the differences between Löwe’s edition and Bruckner’s original manuscripts. The following year, conductor Siegmund von Hausegger performed both the Löwe-edited and the original Bruckner score, so that the actual premiere of the first three movements of Bruckner’s Ninth Symphony took place on April 2 of 1932 in Munich.

Before listening to the piece, one must understand that the ninth was a work in progress. If Bruckner had time to finish the finale, he would probably revise the other movements as well, refining and improving them as he did with other symphonies. Several attempts have been made to finish the finale, none of them without much success. Otherwise, the finished movements follows in the steps of the two previous symphonies; increased dissonance and harmonic ambiguity (to the point of pushing tonality to its limits), loosening of traditional forms, contrapuntal mastery and the recurrence of material in between movements to achieve a more coherent whole. Bruckner, an intensely devoted person, planned to dedicate the work to God.

The first movement is structured in a large-scale, modified sonata form. It begins with embryonic series of motives and ideas from which the following allegro is built. A dramatic and imposing main theme is first introduced, enhanced by the brass. It is quickly followed by a pale, lyrical second theme on strings before the main theme ominously returns in full force. The second theme is then fully exposed with a flowing rhythm, rising in a solemn and expressive climax. A more rhythmic and expansive third theme is then presented with the prominence of the horns, also being clearly derived from the second theme. The music grows into another massive climax, which is followed by the development of the material.

Each theme gets transformed in succession before the music builds in several passionate climaxes, the central one being extremely dissonant and apocalyptic. The recapitulation is merged with the end of the development in another climax, being almost an extension of the former. A triumphal interpretation of the third theme becomes so dissonant to the point of being expressionistic. It is followed by a quote from the first movement of his Symphony No.7. The coda begins with fragments of the main theme material, which are contrapuntally combined in increasingly dissonant harmonies. The main theme fully appears in a ferocious coda that ends the movement with a broad sense of struggle.

The second movement is a scherzo in rondo form (A-B-A’-C-A»-B’-A»’). It opens with a mysterious main theme introduced by string pizzicati over woodwind chords, which then unleashes in violent, nightmarish climax. It is answered by an ascending melody that is quickly swept by the ferocity of the main theme. The oboe then introduces a gentle, dance-like second them that offers great contrast before the main theme returns in full force. An apocalyptic climax leads us to the trio, which introduces a fast, cheerful second theme that rises in expressive peaks. After a pause, the scherzo is repeated in its entirety, ending the movement with the relentless ferocity of the main theme.

The third movement is also structured in a large-scale, modified sonata form. It begins with a deeply tragic and expressive main theme on strings, harmonically ambiguous and containing all 12 tones of the chromatic scale. It also quotes the Dresden amen, as it appeared in other works of the composer. The music rises in a rarefied, massive climax of dramatic tone. The brass then introduces a funereal chorale as the second theme. It is worth noting that Bruckner described it as his «Farewell to Life», perhaps sensing that God would not give him enough strength to finish the symphony. A flowing third theme in form of a lament then appears as the third theme, offering some contrasting lyrism. Follows an intensely expressive development of the material with the prominence of the main theme.

The music rises in two massive but ambiguous climaxes, neither tragic nor triumphant. As seen previously, the recapitulation is merged with the end of the development, being very difficult to separate the two. The themes are contrapuntally combined, along with references to Bruckner’s Miserere from the Mass in D minor. A call by the oboe (a quote of the Kyrie of Mass No. 3) introduces the repeat of the first theme, which is underlined by dramatic trombone appeals. Shortly after, Bruckner also quotes, as a kind of supplication, the «Miserere nobis» from the Gloria of his Mass in D minor. The following final climax concludes with a screaming, extremely dissonant chord. After a pause the music alludes to the coda of the Adagio of Symphony No.8, and also hints at Symphony No.7. The movement ends with a serene, almost consolatory ending.

Picture: «Madonna» Litograph Version (1895) by the Norwegian painter Edvard Munch.

Musical analysis partially described by myself. Sources: https://tinyurl.com/28qgt3zw To check the score: https://tinyurl.com/279kvnfr