Anton Bruckner's Symphony No. 3 in D minor WAB 103 was played by the WDR Symphony Orchestra conducted by its then principal conductor Jukka-Pekka Saraste on November 29, 20123 in the Cologne Philharmonic Hall.
Historical recording from the WDR Klassik-Archiv.
00:00:00 I. More slow, Misterioso
00:19:18 II. Adagio, moving, quasi Andante
00:33:57 III. quite fast
00:41:24 IV. Allegro
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○ Introduction to the work
Bruckner polarizes: throughout his life, the composer was regarded as divinely gifted or as a quirky Giantomaniac. Enemies and failures accompanied his life, but there were also glorious triumphs. No work was more painfully touched by this than the 3rd Symphony. Begun in 1872 and completed in 1873, the work did not experience its successful premiere until 1890. Prior to this, Bruckner had revised the symphony several times due to the Vienna Philharmonic's rejection three times.
In the Third, Bruckner realized a new symphonic concept in which the processing of musical motifs is replaced by a block-like sequence of motivic variants; this was disturbing from the very beginning. The religious aura of Bruckner's sonorous symphonies, which were soon considered "masses without text", together with their excessive length, also made a positive reception difficult. It was also not very helpful that Bruckner's 3rd Symphony paid homage to Richard Wagner of all people.
For today's reception, the different versions of the symphonies represent a certain problem. The original version usually represents the "untamed" large form, while the later revisions are more concentrated thematically and stylistically adapted. Bruckner himself always referred to his revisions as "improvements". He produced the 2nd version of his 3rd info-nie between 1876-1877, but could not score with it in Vienna. It was only with the 3rd version of the work that the desired success was achieved.
The 3rd Symphony begins very mysteriously, the fanfare-like trumpet theme is of decisive importance. In the Adagio, the original version of the symphony unabashedly quotes the longing motif from "Tristan and Isolde". An absolute contrast is formed by the wild exuberance of the Scher-zo with an Upper Austrian peasant dance. The finale unites a dance melody with a wind chorale. Bruckner says: "The polka means humor and cheerfulness in the world - the chorale means the sad, painful in it". In the end, the trumpet theme from the beginning sets the powerful conclusion of the symphony.
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