This new version of Bruckner’s so-called “Wagner” symphony by conductor Peter Jan Marthé is quite a production – extending the previously around 55 minute length of the work to nearly 88 minutes by combining all four of the different versions of the symphony plus the later Adagio of 1876, along with what he calls some “elementary retouchings.” All of Bruckner’s symphonies (except the Seventh) had different versions, as the composer attempted to dutifully correct criticisms of their premiere performances. The disastrous premiere of the Third was probably the most devastating to him. The trend recently has been to return as much as possible to the composer’s first thoughts, but Marthé has assembled all of his thoughts by linking all available versions. He also switched the order of the second and third movements. He feels the result will more successfully move today’s listeners.
The fiery background pictured all over the slipcover is deliberate. Marthé feels that the Third awakens emotions which we surpress in our daily lives, and that they include the demonic as well as the angelic. If I understand the rather crude English translations correctly, Marthé deduces that Bruckner reigned in violent emotions which his childlike Catholic religious faith didn’t allow. Marthé makes reference to the “breathtaking demonism” of the Third Symphony. Concerning the composer’s probable mental state, he even says that it is no coincidence that both Bruckner and Freud lives very close to one another in Vienna – though of course at different times.
Today’s audiences are taking Bruckner’s symphonies to heart in ways not seen in the past. Partly from riding on Mahler’s popularity, but also from a realization that the works are not Wagnerian monstrosities but a natural extension of what Schubert was doing in his massive Ninth Symphony. Bruckner wanted to break out of the symphonic dimensions of his time, and Marthé is just helping him along at this late date. The magnificent counterpoint, memorable melodies and orchestrations in a grand style are all the more strongly etched in blazing “reloaded” version. Marthé does emphasize the demonic aspects, as he does the grandeur of the work. He calls the work “a tonal ritual” – good phrase. The dynamic contrasts and extension of pauses are more pronounced than on the two other versions I had at hand – Günther Wand and Bernard Haitink.
– John Sunier