<< -- 2 -- Bill Newman TOWARDS AND BEYOND THE MIGHTY EIGHTH
Robert Haas became editor of the complete edition from 1932-1949, restoring
the symphonies closer to the form that Bruckner envisaged. His successor
was Leopold Novak, who stated in the preface to his edition of the Eighth
Symphony: 'To follow the paths of Robert Haas, who in the first edition
of 1939 traced some passages back to the first version, has proved irrelevant,
as this would have caused disturbing consequences. Different sources, according
to principles for the working out of critical complete editions, may never
be intermingled. A score not consenting to these rules would have no true
relation to either of the two versions and could therefore not be said faithfully
to represent Bruckner's own directives.'
Kempe chose the Haas edition which contains extra music over and above
Novak, who follows Bruckner's abbreviations for the third and fourth movements.
For score readers, these take place in the ten bars before Q in the Adagio,
and during the Finale (the bars between O and P, four bars between Q and
R, the stretch before Oo, the ten bars after Oo, and four bars between Tt
Bruckner composed his unfinished Ninth Symphony during the period 1887-1896
when Debussy was introducing impressionism into music. Mahler had completed
his first three symphonies, and Mascagni and Leoncavallo were creating new
orchestral colours in their verismo operas.
Copyright © 28 October 2001
Bill Newman, Edgware, UK
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