Bruckner "Symphony No 8" Michael Gielen

Symphony No 8 in C minor by Anton Bruckner
(1887 Version, Ed.L. Nowak)
1. Allegro moderato
2. Scherzo: Allegro moderato-Trio: Allegro
moderato
3. Adagio: Feierlich langsam, doch nicht schleppend
4. Finale: Feierlich, nicht schnell
SWR Symphony Orchestra
Michael Gielen, Conductor
02.06.2007

[@MrGer2295]

ONE OF THE GREATEST INTERPRETATIONS EVER ! BRAVISSIMO MICHAEL GIELEN 💟☺🎵💚

[@thomask1424]

A novelty to hear the 1887 version, very nicely done by Mr. Gielen and the SW German Radio Orchestra. A bit leisurely, perhaps. The restatement of the 1st movement's theme in the finale is properly terrifying, however, something too many performances miss.

[@shenjohn9364]

在一片漫長無邊之中找到解釋，經典，必推！我很喜歡！

[@georgefranco814]

1. Allegro moderato
2. Scherzo. Allegro moderato - Trio (18:47)
3. Adagio. Feierlich langsam, doch nicht schleppend (38:46)
4. Finale. Feierlich, nich schnell (1:08:44)

[@ershenlin1774]

Much has been said about this great symphony, and here I venture to give my own impression of the program associated with the music below:
I. Life and death of a hero - the composer himself, of course. Among the three themes, the last one is the most important one as it represents the hero. The original ending (the 1887 version) represents a resurrection of the hero. That's also why Levi refused to conduct the original version: resurrection of Bruckner amounts to blasphemy.
II. Bruckner travel through time. The theme and its counterpoints evolve into two themes that mirror each other, representing hope and despair. Quieter variations are flanked by the more forceful ones, and the whole unit reappear after the trio, forming a structure of A-A'-A-B-A-A'-A. The A' and B sections are recollection from the youth, merged with the soul's struggle (A) to exit the body. Eventually, the soul breaks free.
III. Bruckner travel through space. The soul rises to the cosmic space and moves along a comet's orbit to the edge of the solar system at aphelion, only to come back to perihelion and meets the solar deity Ra, represented by the six cymbal clashes (the 1887 version). Each clash represents a different dimension of Ra. We talk about 3 dimension of space in geometry; the ancient considered the space to have six dimensions (without the negative numbers). It also represents the six planets: Mercury, Venus, Earth, Mars, Jupiter, Saturn. The abyss opens up in a tunnel form, and the soul of the hero fell into it. Bruckner called it “a maiden's eyes “. At the end, the soul received blessing in the blissful Nirvana and is laid to rest.
IV. Bruckner is honored by the Supreme Deity. Ra announces a symposium, calling on each deity to present his plan for the solar system. In this context the motif of Dmitri Shostakovitch appears for the first time in music history based on my limited knowledge. It repeats itself in eight successions. During the brief repetitions it goes through permutation and becomes weaker and weaker until it is dissolved into the horn call. I consider it as the super ego of the composer, and each repetition corresponds to each of his eight symphonies. Apparently, his plans is no good, but he was among the honored guests nevertheless. So strong is his self-confidence. The other deities follow him to present their plans in turn. Ra finally speaks out forcefully, sending all of them to the field to implement his wish (the march motif). The motif representing Ra reappears several times near the end. Finally, Ra's world is displayed from a distance (at aphelion again) but in its full glory. The composer is believed to have said that this movement is about the Austrian Emperor Franz Joseph I meeting the Czars. I don't take this comment seriously. By all probability it was said to please His Majesty since the symphony was dedicated to him. Ultimately, every composer writes music for himself, and this piece is nothing but Bruckner's own requiem.
To sum it up, I agree with Hugo Wolf: “this symphony is the work of a giant and surpasses the other symphonies of the master in intellectual scope, awesomeness, and greatness.” I believe that Bruckner should be ranked with Bach and Beethoven as one of the three-B's, while the fornicating lady-killer Brahms should not. Brahms stood on the ground and looked up to the cloud for God, while Bruckner traveled to the edge and the center of the universe. Who is greater? It is not hard to answer. Again, the above are merely my impressions, not results of scientific or historical interpretations. I welcome all kinds of sincere discourses.