Program Notes, cont.

after the composer handed the score over to the publisher. Robert Haas and Leopold Nowak, who prepared the editions of the symphony most often performed and recorded since the second world war, each treated the interpolations differently. Seeking to eliminate what he regarded as corrupt foreign influence (i.e. that of Franz Schalk), Haas incorrectly omitted changes the composer authorized – the oft-discussed percussion entrance at the climax of the Adagio, for example. Leopold Nowak printed many of the later additions to the autograph in brackets as editorial interpolations.

The score performed this evening transmits, to the best of the editor’s knowledge, the final reading of the work that can be directly attributed to Bruckner. Audience members familiar with the Haas and Nowak editions will notice obvious differences. Bruckner added specific tempo instructions in the first movement to the effect that the second and third thematic groups in both the exposition and recapitulation should be at the same tempo and slower than the first. The development should begin in this slower tempo and, in the middle, return to the faster tempo of opening. The finale follows the same pattern, though here the three thematic groups are recapitulated in reverse order and there are many more localized tempo changes. All the editorial changes in tonight’s score will be explained in the critical report when it is published early next year in The New Anton Bruckner Collected Works in Vienna.

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