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878:) – was recorded by Shunsaku Tsutsumi with the Shunyukai Symphony Orchestra. In 2008 Takanobu Kawasaki was able to assemble the original concepts (1875–1877) of the symphony from manuscripts Mus.Hs.19.477 and Mus.Hs.3162 at the Austrian National Library; these were recorded by Akira Naito with the Tokyo New City Orchestra. In the opinion of John F. Berky, Naito's recording "is the best available CD to present some of Bruckner's early thoughts for this massive symphony." In this version the symphony is scored without a
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character applies especially to the first movement introduction ... is a large-scale foundation... destined to bear the weight of all four movements." As evidence, he detailed the way the introduction's thematic materials function in later movements, and said the interpreter "must direct everything towards the Finale and its ending... and continually keep something in reserve for the conclusion."
930:. It is unknown how much of its difference from Bruckner's 1878 version reflects Bruckner and how much Schalk, but 15 to 20 minutes of music is cut, and most of the changes were unapproved by the composer. Schalk made Bruckner's music sound Wagnerian by means of re-orchestration. Obvious differences occur in the coda of the Finale, where Schalk adds
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fugue, "it is not enough to bring out themes as such subsidiary parts would be too loud." To get the desired contrapuntal clarity, he detailed dynamic subtleties required. Jochum ascribed elements of
Bruckner's orchestration, as well as his precise indications of articulation, to his familiarity with the organ.
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here: the quavers on flutes and first violins before Letter A must be very light, dainty, and short. On the other hand, in the cello and double bass descent directly after Letter A, the arrow-heads signify a rounded line, and the notes marked with such must sound with audible vibrato and not be too
702:
must be very short, like a tapping. There must be something eerie about the whole. At the second tempo marking ("significantly slower"), a really high-spirited Upper
Austrian peasant dance strikes up: here the crotchets marked with an arrow-head should be rather short and playfully marked, each note
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Jochum also discussed the choice of tempo, and its relationships and modifications, as an element in achieving overall direction and unity throughout the symphony, regarding the quarter notes in the first-movement introduction as "the fundamental tempo". Also, he wrote that in the Finale's double
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270, both fugal subjects are intoned concurrently. The simultaneous presentation of the fugal subject also occurs at the beginning of the recapitulation (bar 374). When the recapitulation's third group begins, the first theme from the first movement is also presented; the first-movement material
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wrote in detail about the symphony's interpretive challenges, noting that, in contrast to the
Seventh Symphony, "the climax... is not merely in the last movement but at the very end, in the chorale. ... The first, second and third movements seem almost a... vast preparation. ... The preparatory
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in his essay on Jochum quotes
Herbert Glass: "the Fifth drove to distraction and he would regard his every performance of it as an interpretation-in-progress. In rehearsal, such doubts could sorely test an orchestra's patience – this despite his courtly, respectful treatment of his players."
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The
Scherzo of this symphony is unique in all of Bruckner's scherzi; the scherzo is in a three-theme sonata form instead of the usual binary form. The movement opens at a high tempo before slowing down for the second theme (note the bassline is the same as the one that opens the Adagio):
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and Franz
Zottmann on 20 April 1887 in the Bösendorfersaal in Vienna. The first orchestral performance – in the inauthentic "Schalk version", with a changed orchestration in Wagnerian fashion and omitting 122 bars of the finale – was conducted by
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All but the third movement begin with pizzicato strings, hence the above-mentioned nickname. The pizzicato figures are symmetrical in the sense that the outer movements share one figure while the middle movements share another.
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WAB 105, was written in 1875–1876, with minor changes over the next two years. It came at a time of trouble and disillusion for the composer: a lawsuit, from which he was exonerated, and a reduction in salary. Dedicated to
463:. After a climax in A major, the texture is thinned until only a violin tremolo remains. This tremolo, starts on A, then moves to D, suggesting that D will become a tonal focal point. Instead, the opening theme is in B
491:
Like much of
Bruckner's music, this movement's exposition contains three main key regions instead of the usual two. The second theme group is in F minor, and comprises a small ternary form, with sections in F minor,
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as one of the 100 best discs of the century and credits it with changing critics' attitude towards that record label: "It actually sounds as if
Tintner had been waiting all of his life to give this performance."
248:, the symphony has at times been nicknamed the "Tragic", the "Church of Faith" or the "Pizzicato"; Bruckner himself referred to it as the "Fantastic" without applying this or any other name formally.
1005:, who recorded the symphony commercially three times. In 1971 he recorded the Haas edition with the Concertgebouworkest for Philips. In 1988 he returned to the Haas edition, this time with the
578:
and launching different developments. The Adagio primarily relies upon the alternation of two thematic sections, the first of which contains a metrical superimposition of six against four:
672:
Before the third theme appears, the tempo is raised with an accelerando. After this, the scherzo goes through its development and recapitulation, setting the stage for the trio:
902:(1951). The Nowak has been amended twice, in 1989 (the "Second Revised Edition") and 2005 (the "Third Revised Edition"). All of these are under the auspices of the MWV, the
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used a version which combined elements of the Nowak and Schalk versions. All other recordings are of 1878 version in either the Haas or one of the Nowak editions.
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The long Finale opens in the same way as the first movement but veers off soon to gradually introduce new material which becomes the source of the themes of the
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in 2018. Regardless of edition, the 1878 version is sometimes redundantly called the "Original
Version", perhaps to distinguish it from the inauthentic Schalk.
2817:
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882:, and more prominence is given to the string instruments. The tempo of the Adagio introductions to Movements 1 and 4, and that of Movement 2, are scored
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1991:
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on 8 April 1894. Bruckner, who died two years later, was sick and unable to attend. He in fact never heard this symphony performed by an orchestra.
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1352:, trans. Mary Whittall, "The Interpretation of Bruckner's Symphonies", notes to Anton Bruckner: 9 Symphonien, Deutsche Grammophon CD 429 079
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This remains unpublished. In 1997 a first attempt at reconstruction – by including in the Finale music from the "1876 First
Concept" (ed.
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459:. It eventually leans heavily toward D major without actually tonicizing it. The introduction progresses into a main movement in
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sections of elaborate counterpoint. The hybridization of sonata form and fugal elements is a hallmark of this movement.
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As above-mentioned, Dol Dauber's recording was of the Scherzo alone. A few recordings of this complete edition are by
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This is followed by a non-fugal second group based on the second theme of the Scherzo which functions as an episode:
305:
The symphony is not outwardly a work of storm and stress, but it is a piece of "working out", one of Bruckner's most
954:; it included only the Scherzo, in an arrangement of the Schalk edition. The first of the complete work was made by
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Jochum, in addition to broadcasts issued on CD, made four commercial recordings: the Haas edition in 1938 with the
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1618:, Musikwissenschaftlicher Verlag der internationalen Bruckner-Gesellschaft, Robert Haas (Editor), Vienna, 1935
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This thematic material is subsequently exploited in the development as the basis for a second fugue subject:
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This is the only one of Bruckner's symphonies to begin with a slow introduction, but all the others, except
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The first theme group is treated as a fugue exposition with the main theme of the movement as its subject:
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The main material of the Adagio and Scherzo movements is similar, although heard of course at different
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1616:
Anton Bruckner, Sämtliche Werke, Kritische Gesamtausgabe – Band 5: V. Symphonie B-Dur (Originalfassung)
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2009:
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1472:, "Record Reviews: Bruckner Symphony No. 5. Concertgebouw Orchestra/Haitink" (September 1972).
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and Hun-Joung Lim. In his recording with the Czech Philharmonic Orchestra (Supraphon, 1973),
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section, the accents must be brief, light, and effervescent. The arrow-heads indicate actual
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293:. The tuba was added in 1878 (the same year Bruckner added one to his Fourth Symphony). See
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This first published edition, heard at the work's 1894 premiere, was prepared by conductor
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The third theme features prominent descending octaves, a gesture seen in the first theme:
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1503:"review of Bruckner – Symphony No 5, Bavarian Radio Symphony Orchestra / Bernard Haitink"
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Kurt Eichhorn, Bavarian Radio Symphony Orch., live at St Florian 1990 – Capriccio 10 609
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Günter Wand, Deutsches Symphonie-Orchester Berlin, live 1991 – Profil Hänssler PH 09042
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Bernard Haitink, Bavarian Radio Symphony Orchestra, live 2010 – BR Klassik SACD 900109
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Eugen Jochum, Bavarian Radio Symphony Orch., 1958 – Deutsche Grammophon SLPM 138 004
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Giuseppe Sinopoli, Dresden Staatskapelle, live 1999 – Deutsche Grammophon 469 527–2
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Stanislaw Skrowaczewski, Saarbrücken Radio Symphony Orchestra, 1996 – Oehms OC 214
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Herbert von Karajan, Vienna Philharmonic, live in Salzburg 1969 – Andante AND 2060
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This is the version normally performed. It exists in almost identical editions by
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Takeo Noguchi, Furtwängler Institute Philharmonic Tokyo, live 1996 – Wing WCD 115
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Daniel Barenboim, Chicago Symphony Orchestra, 1977 – Deutsche Grammophon 2707 113
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Eugen Jochum, Concertgebouw Orchestra, live at Ottobeuren 1964 – Philips 6700 028
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Nikolaus Harnoncourt, Royal Concertgebouw Orchestra, 2013 – RCO Live Video 14103
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The work begins with a majestic slow introduction which, although beginning in B
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Herbert Blomstedt, Gewandhausorchester Leipzig, live 2010 – Querstand VKJK 1230
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1702:
1574:"Anton Bruckner Symphony Versions Discography: Symphony No. 5 in B flat major"
1039:, Japan's most-recorded musician, recorded the Bruckner Fifth numerous times.
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Herbert von Karajan, Berlin Philharmonic, 1976 – Deutsche Grammophon 2707 101
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Herbert von Karajan, Vienna Symphony Orchestra, live 1954 – Orfeo C 231 901 A
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The score calls for two flutes, two oboes, two clarinets, two bassoons, four
1862:
1624:, Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft,
1255:
Christian Thielemann, Dresden Staatskapelle, 2013 – C Major Video CME 717808
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Sergiu Celibidache, RSO Stuttgart, live 1981 – Deutsche Grammophon 459 666–2
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38:
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Claudio Abbado, Lucerne Festival Orchestra, 2011 – Accentus Video ACC 20243
1315:
Harrandt, Andrea (2004), "Bruckner in Vienna", in Williamson, John (ed.),
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Anton Bruckner Critical Complete Edition – Symphony No. 5 in B flat major
1325:, translated by John Williamson, Cambridge University Press, p. 33,
1198:
Sergiu Celibidache, Munich Philharmonic, live 1993 – EMI 7243 5 56691 2–4
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in 1937 using the new Haas edition. (Böhm never returned to this music.)
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Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft
1983:
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Georg Tintner, Royal Scottish National Orchestra, 1996 – Naxos 8.553452
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357:
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314:
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1141:, Kölner Rundfunk-Sinfonie-Orchester, live 1974 – DHM 1C 153 19 9670-3
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Hans Knappertsbusch, Munich Philharmonic, live 1959 – Frequenz 051-038
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are among other noted contributors to the Bruckner Fifth discography.
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Gerd Schaller, Philharmonie Festiva, 2013 – Profil Hänssler PH 14020
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closes the symphony, contributing greatly to its cyclic properties.
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Stanisław Skrowaczewski, London Philharmonic, live 2015 – LPO 0090
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The first recording of the scherzo of the symphony, by Dol Dauber
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Daniel Barenboim, Berlin Philharmonic, 1991 – Teldec 9031 73271-2
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Bernard Haitink, Concertgebouw Orchestra, 1971 – Philips 6725 021
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1228:, Munich Philharmonic, live 2004 – Deutsche Grammophon 477 537–7
1195:, Vienna Philharmonic, live 1993 – Deutsche Grammophon 445 879–2
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Hans Knappertsbusch, Vienna Philharmonic, 1956 – Decca SMB 25039
1102:, Berlin Philharmonic, live 1942 – Deutsche Grammophon 427 774–2
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Bruckner introduces the third theme in an unprepared tonality (D
266:
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Günter Wand, Berlin Philharmonic, live 1996 – RCA 09026-68503-2
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Eugen Jochum, Hamburg Philharmonic, 1938 – Telefunken E 2672/80
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Karl Böhm, Dresden Staatskapelle, 1937 – Electrola DB 4486–4494
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Closing the exposition is a chorale gesture, which recalls the
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Bernard Haitink, Vienna Philharmonic, 1988 – Philips 422 342–2
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1622:
Anton Bruckner: Sämtliche Werke: Band V. Symphonie B-Dur 1878
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Eugen Jochum, Dresden Staatskapelle, 1980 – EMI CZS 7 62935-2
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In the recapitulation, the themes' tonality progresses from B
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Simone Young, Hamburg Philharmonic, live 2015 – Oehms OC 689
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Günter Wand, NDR Sinfonieorchester, live 1989 – RCA RD 60361
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Eugen Jochum, Concertgebouw Orchestra, live 1986 – Tahra 247
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The first recording of any part of the symphony was made by
321:
of the last movement, posing a huge interpretive challenge:
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Eugen Jochum – musician's musician, maestro's maestro, Icon
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given a slight accent. In the Trio, too, especially in the
1219:
Leon Botstein, London Philharmonic, 1998 – Telarc CD 80509
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for BR Klassik; this recording has won particular esteem.
1558:, "Masterpieces: 100 Milestones of the Recorded Century"
1240:, Bruckner-Orchester Linz, 2006 – Arte Nova 88697 74977-2
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minor, but eventually shifts to the parallel major mode.
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The Fifth was first performed in public on two pianos by
1129:, New Philharmonia Orchestra, 1967 – Columbia SAX 5288/9
1426:– Central Website, Recorded Legacy All known Recordings
1180:, Royal Concertgebouw Orchestra, 1991 – Decca 433 819–2
1009:. Then, in 2010 he recorded the Nowak edition with the
1204:– Osaka Philharmonic, live 1998 – Tokyo FM – TFMC-0005
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1639:. Windsor, Connecticut: Bruckner Society of America.
1442:", 17 November 2012, blogpost at View from the Podium
455:, easing into the main material, like the opening of
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727:, another sonata form which contains in its course
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1156:, Chicago Symphony Orchestra, 1980 – Decca D221D-2
1234:, Vienna Philharmonic, live 2004 – RCA BVCC 34119
1186:, Bavarian State Orchestra, 1991 – Orfeo C241911A
989:, and in 1980 with the Dresden Staatskapelle for
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1310:
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2888:Versions and editions of Bruckner's symphonies
1457:"Anton Bruckner Symphony Versions Discography"
1345:
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1302:. Oxford Music Online, (accessed 4 June 2011).
906:in Vienna. Another edition has been issued by
600:The second features a chorale on the strings:
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8:
912:
1703:Bruckner symphony versions by David Griegel
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1906:
1744:
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313:; the climax comes unusually late, in the
281:, three trumpets, three trombones and one
37:
20:
16:Self styled "fantastic", premiered in 1894
1693:Page on the Symphony from a Bruckner site
1679:International Music Score Library Project
1661:Bruckner's Symphony No. 5 timing analysis
973:; and the Nowak edition in 1958 with the
1562:. New York: Anchor Books (2007): 266–267
1491:Radio 4 (NL), Diskotabel 16 January 2011
1375:
2951:
1281:
921:
698:arrowhead marking in the Scherzo: "the
650:The second theme is in a slower tempo:
114:
1560:The Life and Death of Classical Music
950:with his salon orchestra in 1928 for
7:
2118:Dir, Herr, dir will ich mich ergeben
886:, i.e. notably faster than in 1878.
2489:Wie bist du, FrĂĽhling, gut und treu
1318:The Cambridge Companion to Bruckner
914:Anton Bruckner Urtext Gesamtausgabe
2913:Anton-Bruckner-Gymnasium Straubing
1698:Complete discography by John Berky
1688:Indiana University School of Music
1637:Anton Bruckner – Eleven Symphonies
1599:"The Bruckner Versions, Once More"
694:Jochum on the significance of the
14:
2898:Anton Bruckner Private University
1269:Yomiuri Nippon Symphony Orchestra
1011:Bavarian Radio Symphony Orchestra
975:Bavarian Radio Symphony Orchestra
2954:
2930:
2929:
2618:Des Dankes Wort sei mir vergönnt
2554:Das Lied vom deutschen Vaterland
1537:from the original on 26 May 2022
922:Schalk's published edition, 1896
309:intricate works. There are four
2412:Heil Vater! Dir zum hohen Feste
447:, begin with sections that are
421:major, traverses several keys:
2873:International Bruckner Society
1:
2610:Laßt Jubeltöne laut erklingen
1323:Cambridge Companions to Music
294:
2982:Compositions in B-flat major
2977:Symphonies by Anton Bruckner
1942:Messe fĂĽr den GrĂĽndonnerstag
1407:"Anton Bruckner – web store"
938:and an offstage brass band.
841:
819:
793:
771:
747:
679:
657:
635:
607:
585:
533:
505:
476:
428:
244:, education minister in the
2159:In jener letzten der Nächte
1271:, Live 2017 - Altus ALT-411
560:major. The coda begins in B
3003:
2513:Mein Herz und deine Stimme
43:Portrait of Anton Bruckner
2926:
1759:
1684:Full score (Haas edition)
1675:Symphony No. 5 (Bruckner)
1072:and recent recordings by
398:Noted Bruckner conductor
36:
28:
1267:Gennadi Rozhdestvensky,
1064:(twice), Takeo Noguchi,
393:
2903:Bruckner Orchestra Linz
2288:Salvum fac populum tuum
1890:Symphonisches Präludium
1088:Selection of recordings
1025:Stanisław Skrowaczewski
846:download the audio file
824:download the audio file
798:download the audio file
776:download the audio file
752:download the audio file
684:download the audio file
662:download the audio file
640:download the audio file
612:download the audio file
590:download the audio file
538:download the audio file
510:download the audio file
481:download the audio file
433:download the audio file
246:Austro-Hungarian Empire
2878:Bruckner Gesamtausgabe
2698:Vaterländisch Weinlied
2642:Du bist wie eine Blume
1871:Four Orchestral Pieces
1820:; 1874/1878–1880/1888)
1628:(editor), 1951, Vienna
1074:Gennadi Rozhdestvensky
913:
195:8 April 1894
2918:Anton Bruckner Museum
2856:Intermezzo in D minor
2296:Veni Creator Spiritus
2232:Iam lucis orto sidere
2126:O Du liebes Jesu-Kind
1973:Mass No. 3 in F minor
1967:Mass No. 2 in E minor
1961:Mass No. 1 in D minor
1883:March in E-flat major
1238:Dennis Russell Davies
960:Dresden Staatskapelle
908:Benjamin-Gunnar Cohrs
898:(published 1935) and
554:minor to G minor to E
2738:Zur Vermählungsfeier
2621:(at the latest 1855)
2304:Ecce sacerdos magnus
1762:List of compositions
1482:(1555): pp. 874–875.
1232:Nikolaus Harnoncourt
1226:Christian Thielemann
967:Hamburg Philharmonic
498:major, and F minor:
2786:Der deutsche Gesang
2539:Weltliche Chorwerke
2320:Ave Regina caelorum
2280:Christus factus est
2248:Christus factus est
1877:Overture in G minor
1796:Symphony in D minor
1784:Symphony in F minor
1533:. 11 January 2002.
1363:"Bruckner's Hymnal"
1184:Wolfgang Sawallisch
1100:Wilhelm Furtwängler
1062:Hans Knappertsbusch
1021:Herbert von Karajan
1007:Vienna Philharmonic
1001:Also noteworthy is
983:Concertgebouworkest
981:, in 1964 with the
979:Deutsche Grammophon
2883:Kitzler Study Book
2778:Träumen und Wachen
1949:Requiem in D minor
1299:Grove Music Online
1290:Timothy L. Jackson
1288:Paul Hawkshaw and
1017:Sergiu Celibidache
252:First performances
2987:1876 compositions
2942:
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2804:
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2430:Sankt Jodok sproĂź
2364:
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2024:Preiset den Herrn
2022:Festive Cantata:
1934:Kronstorfer Messe
1853:
1824:No. 5 in Bâ™ major
1814:No. 4 in Eâ™ major
1646:978-1-938911-59-0
1633:Carragan, William
1595:Carragan, William
1524:"Takashi Asahina"
1475:The Musical Times
1115:Eduard van Beinum
1082:Lovro von Matačić
1029:Herbert Blomstedt
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242:Karl von Stremayr
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99:Karl von Stremayr
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2866:Related articles
2836:Rondo in C minor
2602:Vor Arneths Grab
2410:Arneth Cantata:
2378:
1975:(1868/1883/1893)
1926:Windhaager Messe
1907:
1851:
1848:No. 9 in D minor
1842:No. 8 in C minor
1836:No. 7 in E major
1830:No. 6 in A major
1810:(1873/1877/1889)
1808:No. 3 in D minor
1802:No. 2 in C minor
1790:No. 1 in C minor
1746:
1739:
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1723:
1717:Seattle Symphony
1677:: Scores at the
1665:William Carragan
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1043:has singled out
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2682:Der Abendhimmel
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2570:Der Lehrerstand
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2421:Auf BrĂĽder! auf
2419:Mayer Cantata:
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2208:Afferentur regi
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1713:Listening Guide
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1572:John F. Berky.
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581:
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579:
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569:
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511:
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482:
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258:Joseph Schalk
251:
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153:Leopold Nowak
141:
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126:
124:(ed. Schalk)
115:
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2928:
2908:Brucknerhaus
2842:
2793:
2785:
2777:
2769:
2761:
2753:
2745:
2737:
2729:
2721:
2713:
2705:
2697:
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2674:Trauungschor
2673:
2665:
2657:
2649:
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2633:
2625:
2617:
2608:
2601:
2593:
2585:
2577:
2569:
2561:
2553:
2546:An dem Feste
2545:
2532:Choral works
2520:
2512:
2504:
2497:Herbstkummer
2496:
2488:
2480:
2472:
2445:
2436:
2429:
2428:Festgesang:
2420:
2411:
2402:
2394:
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2327:
2319:
2311:
2303:
2295:
2287:
2279:
2271:
2263:
2255:
2247:
2239:
2231:
2224:Inveni David
2223:
2216:Pange lingua
2215:
2206:
2199:
2191:
2183:
2175:
2167:
2157:
2150:
2142:
2132:
2124:
2116:
2109:
2101:
2093:
2084:
2076:
2069:Pange lingua
2068:
2023:
1940:
1932:
1924:
1902:Sacred works
1889:
1852:(unfinished)
1823:
1817:
1636:
1621:
1615:
1589:
1577:. Retrieved
1567:
1559:
1551:
1541:16 September
1539:. Retrieved
1528:
1517:
1506:
1496:
1487:
1479:
1473:
1465:
1431:
1424:Eugen Jochum
1419:
1410:
1401:
1392:
1383:
1371:
1357:
1350:Eugen Jochum
1317:
1297:
1284:
1078:Warren Cohen
1059:
1015:
1000:
993:. Conductor
964:
945:
928:Franz Schalk
925:
911:
903:
893:
890:1878 version
883:
873:
870:1876 version
855:
833:
810:Dresden Amen
807:
785:
763:
737:
721:
719:
708:
704:
699:
695:
693:
671:
649:
626:
599:
573:
547:
519:
490:
452:
448:
442:
414:
405:
400:Eugen Jochum
397:
388:
318:
304:
276:
263:Franz Schalk
255:
237:B-flat major
232:
227:
221:Franz Schalk
53:B-flat major
18:
2843:Abendklänge
2826:(1862–1879)
2820:(1850–1868)
2818:Piano works
2730:Abendzauber
2725:(1876–1879)
2706:Mitternacht
2541:(1843–1893)
2468:(1850–1882)
2438:Germanenzug
2390:(1845–1893)
2348:(1835–1890)
2346:Organ works
2339:Other works
2312:Virga Jesse
2235:(1868/1886)
2184:Tantum ergo
2168:Totenlieder
2154:(1846/1888)
2151:Tantum ergo
2146:(1846/1888)
2143:Tantum ergo
2137:(1845–1846)
2129:(1845–1846)
2113:(1845–1846)
2110:Tantum ergo
2102:Tantum ergo
2097:(1844–1845)
2094:Asperges me
2088:(1843–1844)
2085:Asperges me
2039:(1881–1884)
1994:(1852–1892)
1969:(1866/1882)
1945:(1844–1845)
1921:(1842–1868)
1879:(1862–1863)
1844:(1887/1890)
1804:(1872/1877)
1792:(1866/1891)
1780:(1863–1896)
1501:Rob Cowan.
1154:Georg Solti
1139:GĂĽnter Wand
942:Discography
896:Robert Haas
461:sonata form
285:along with
137:Robert Haas
2971:Categories
2746:Sängerbund
2658:Herbstlied
2594:Die Geburt
2240:Locus iste
2004:Magnificat
1863:orchestral
1778:Symphonies
1770:Symphonies
1508:Gramophone
1276:References
971:Telefunken
948:Dol Dauber
884:alla breve
199:1894-04-08
95:Dedication
2794:Tafellied
2754:Volkslied
2589:(c. 1851)
2581:(c. 1848)
2573:(c. 1847)
2565:(c. 1846)
2562:Ständchen
2557:(c. 1845)
2521:Volkslied
2508:(c. 1865)
2476:(c. 1850)
2446:Helgoland
2406:(c. 1851)
2323:(c. 1886)
2299:(c. 1884)
2272:Ave Maria
2200:Ave Maria
2192:Ave Maria
2187:(c. 1854)
2176:Libera me
2162:(c. 1848)
2121:(c. 1845)
2080:(c. 1843)
2077:Libera me
2043:Psalm 150
2031:Psalm 112
2018:(c. 1856)
2016:Psalm 146
2012:(c. 1852)
1998:Psalm 114
1686:from the
1579:8 October
958:with the
956:Karl Böhm
880:bass tuba
364:(D minor)
311:movements
301:Structure
283:bass tuba
217:Conductor
179:Movements
105:Published
87:1877–1878
59:Catalogue
2935:Category
2634:Am Grabe
2505:Im April
2403:Entsagen
2388:Cantatas
2381:Cantatas
2264:Os justi
2010:Psalm 22
1984:Cantatas
1818:Romantic
1635:(2020).
1535:Archived
932:triangle
910:for the
865:Versions
725:moderato
712:short."
709:staccati
700:staccati
696:staccato
563:♭
557:♭
551:♭
526:major):
523:♭
495:♭
466:♭
453:in tempo
418:♭
381:♭
376:moderato
367:Finale:
360:: Molto
339:♭
295:versions
207:Location
187:Premiere
164:Recorded
70:Composed
2810:Chamber
2714:Nachruf
2370:Secular
2354:Aequali
2037:Te Deum
1850:(1896)
1610:Sources
987:Philips
936:cymbals
733:chorale
723:Allegro
469:minor:
373:Allegro
358:Scherzo
352:D minor
332:Allegro
317:at the
315:chorale
297:below.
291:strings
287:timpani
197: (
169: (
145: (
129: (
118: (
78: (
2947:Portal
2858:(1879)
2852:(1879)
2846:(1866)
2838:(1862)
2832:(1862)
2797:(1893)
2789:(1892)
2781:(1890)
2773:(1886)
2765:(1886)
2757:(1882)
2749:(1882)
2741:(1878)
2733:(1878)
2717:(1877)
2709:(1869)
2701:(1866)
2693:(1866)
2685:(1866)
2677:(1865)
2669:(1864)
2661:(1864)
2653:(1862)
2645:(1861)
2637:(1861)
2629:(1857)
2613:(1854)
2605:(1854)
2597:(1852)
2549:(1843)
2524:(1882)
2516:(1868)
2500:(1864)
2492:(1856)
2484:(1851)
2466:Lieder
2458:Lieder
2449:(1893)
2441:(1865)
2433:(1855)
2424:(1855)
2415:(1852)
2398:(1845)
2357:(1847)
2331:(1892)
2315:(1885)
2307:(1885)
2291:(1884)
2283:(1884)
2275:(1882)
2267:(1879)
2259:(1878)
2251:(1873)
2243:(1869)
2227:(1868)
2219:(1868)
2211:(1861)
2203:(1861)
2195:(1856)
2179:(1854)
2171:(1852)
2105:(1845)
2062:Motets
2054:Motets
2045:(1892)
2033:(1863)
2027:(1862)
2006:(1852)
2000:(1852)
1963:(1864)
1957:(1854)
1951:(1849)
1937:(1843)
1929:(1842)
1919:Masses
1911:Masses
1893:(1876)
1885:(1865)
1873:(1862)
1861:Other
1838:(1883)
1832:(1881)
1826:(1876)
1798:(1869)
1786:(1863)
1643:
1329:
576:tempos
384:major)
369:Adagio
362:vivace
348:Adagio
328:Adagio
2373:vocal
2141:Four
729:fugal
705:piano
342:major
279:horns
151:(ed.
135:(ed.
84:–1876
2352:Two
2166:Two
2092:Two
1641:ISBN
1581:2023
1543:2017
1327:ISBN
1031:and
985:for
977:for
969:for
934:and
731:and
449:like
289:and
267:Graz
211:Graz
192:Date
171:1937
167:1937
147:1951
143:1951
131:1935
127:1935
120:1896
116:1896
111:1896
80:1875
76:1875
1480:113
1438:, "
1296:",
1292:. "
991:EMI
952:HMV
858:bar
856:By
319:end
265:in
235:in
231:'s
65:105
63:WAB
49:Key
29:by
2973::
1715:,
1663:,
1597:.
1527:.
1505:.
1478:,
1447:^
1409:.
1391:.
1340:^
1321:,
1307:^
1076:,
1068:,
1027:,
1023:,
1019:,
812::
378:(B
371:–
330:–
139:)
2949::
1816:(
1745:e
1738:t
1731:v
1649:.
1601:.
1583:.
1545:.
1511:.
1459:.
1413:.
1395:.
1365:.
848:.
826:.
800:.
778:.
754:.
686:.
664:.
642:.
614:.
592:.
540:.
512:.
492:D
483:.
435:.
354:)
344:)
336:B
334:(
201:)
182:4
173:)
155:)
149:)
133:)
122:)
82:)
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