By any reckoning, Bruckner's 9th symphony is a great work. There are great recordings of it by Furtwängler, Horenstein and Klemperer, with Furtwängler's 1944 recording with the Berlin Philharmonic being particularly incandescent and one that keeps you riveted to every note until the final long-held chord of the great concluding adagio. Yesterday I listened to Günter Wand conducting the Berlin Philharmonic (1996) in excellent sound and with a superb orchestra (all the best Bruckner seems to come from either the Vienna or Berlin Philharmonic orchestras). Under Wand, the adagio comes off marvellously. The scherzo is less “evil” than with Horenstein. The first movement seems longer than with the other three great conductors. In other words: I have three great recordings (Furtwängler, Klemperer and Horenstein) plus one truly excellent one (Wand).
Simon Rattle has just recorded Bruckner's 9th with a “completed” finale, making it a four-movement work. The reason for doing this escapes me. All symphonies in the nineteenth century had to have four movements, so adding a finale was often a necessary formality rather than something demanded by the musical logic. Bruckner – like many others – rarely wrote finales that were inevitably and intrinsically a culmination of his symphony. I think the long-held chord at the end of the Adagio of the ninth symphony is a superb ending to a superb work; like a fantastic, high-level dinner, we just do not need an extra course!
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