Bruckner, Symphony No. 9 (2nd mov.)
Anton Bruckner (1824-1896) might be considered one of the last great symphonists of the Romantic era. His symphonies are long and monumental. His style owed much to the influence of Wagner, although the symphonies are in many ways conservative and rooted in classicism.
In the “War of the Romantics” with the progressive faction represented by Liszt and Wagner and the conservative faction by Brahms, Bruckner sided with the progressives. His symphonies were therefore criticized by Brahms and, more importantly, by the critic Eduard Hanslick who had enormous influence over the musical scene in Vienna. As a further drag on Bruckner’s reputation, he had a tendency to constantly rework his music, leaving multiple versions and some uncertainty as to which was definitive. Mahler, however, greatly admired Bruckner.
I have been reluctant to feature Bruckner in this series primarily because of the length of his symphonies. Virtually all are close to an hour in length, and many of them are significantly longer. That doesn’t fit well in this series where I try to favor much shorter works. But I have found a good opportunity to feature a single movement, the scherzo of Bruckner’s Symphony No. 9.
This performance is somewhat unusual in proceeding without a conductor. That seems to be a guiding principle of this ensemble, Les Dissonance. Conductors are unnecessary in many styles and genres, but late 19th-century symphonies is generally not one of them. And I confess that there are times in this performance where I think a conductor could have been helpful. On the other hand, the absence of a conductor lends energy, concentration, and enthusiasm among the musicians.