Bruckner’s symphonies almost always seem to pose a conundrum because of the multiple versions that exist of every single symphony. Whatever the reasons for Bruckner’s insecurity, he was prone to rewriting his symphonies after receiving criticism, particularly following the first playthroughs by the Vienna Philharmonic Orchestra, and as a result we have the added complexity of multiple versions of each symphony existing.
This is in and of itself a veritable minefield and a significant area of study in its own right, though it is technically beyond the remit of a performance guide. It is well worth reading David Griegel’s brief summary of the versions of Symphony No. 4 to gain an insight into the many revisions and versions of this symphony. If you’re passionate about Bruckner’s music, I’d strongly recommend obtaining a recording. The 1881 (aka 1878/80) version edited by Robert Haas in 1936 is the most widely known and recorded and is the version discussed here.
Instruments and dynamics
No discussion of Bruckner’s music can or should be complete without a consideration of dynamics, as they are central to the topic of performance. The very subject of dynamics goes back to the trombones of Bruckner’s day, which were very different from today’s instruments. I propose to commence my discussion of Symphony No. 4 with the subject of instruments and dynamics, as they are germane to the discussion of all of Bruckner’s music.
The Vienna Philharmonic Orchestra, for which he was writing, adopted valve trombones c. 1835 and these were used until 1883. Naturally, this means valve trombones would have been used in the 1881 première of Symphony No. 4, and also four years earlier in the première of Brahms Symphony No. 2. Indeed, when in 1862 the pitch was lowered, a new set of valve trombones was acquired by the orchestra to replace the old set. The new set consisted of B♭ tenor and F bass valve trombones only.
This paints a very different picture of what Bruckner’s music would have sounded like. In fact Bruckner’s compositional style of writing for trombones changed materially after the adoption of slide trombones in Vienna in 1883, whereupon his trombone parts immediately took on a more pedestrian appearance, limited in the main to chordal support and with very little in the way of thematic involvement, which he was happy to convey in the valve trombone parts of the earlier symphonies. Comparing and contrasting the music of symphonies 7-9 with their predecessors is quite enlightening.
Bruckner’s dynamics therefore need to be considered in conjunction with his use of valve trombones. This makes the dynamics far more important than might otherwise be the case, since the valve trombone possesses far less weight of tone and does not dominate the orchestra in the same way as the slide trombone. It is in the same vein as the music of Dvorák and Smetana that we must approach this music because, like the Czech composers, the valve trombones for which Bruckner was writing had a more restricted dynamic range, particularly towards the upper end of that range. Recalibrating Bruckner’s dynamics for the modern performance setting takes a little getting used to, but broadly speaking we need to see the relationship as follows:
Bruckner’s dynamics |
Modern dynamics |
| ì | Ä |
| Ä | più f |
| f | f |
| p | p |
| ¹ | più p |
| ¸ | ¹ |
What this does, of course, mean is that we cannot take the printed dynamics literally. There must be a subtler gradation of dynamics to make the music make sense and to avoid the sheer welter of brass tone, which can all too often afflict the orchestral writing. In much the same way as we would temper the dynamic range for Dvorák and Smetana, we must do the same with Bruckner.
Years ago, when rehearsing the overture to Tannhäuser, I recall the conductor saying the trombones, which carry the Pilgrim’s Chorus theme, must always keep a soft, golden ball in their minds’ eye. The slightest edge in the sound can make that golden ball disappear.
That same golden ball concept can easily be applied here, too, for the music of Bruckner also requires a delicacy of approach, even with the higher dynamics. Thus only when Bruckner writes triple forte do we ever really come close to a modern fortissimo. Bruckner’s fortissimo is treated more like a subtle gradation of più forte that lies midway between forte and fortissimo; this is all the more important because Bruckner reserves fortississimo for only one or two places in an entire movement, whereas fortissimo is used more liberally.
Similar rules apply for the quieter dynamics, with the same sort of relationship between piano, pianissimo, and pianississimo.
Remember, too, that Bruckner’s dynamics and articulations are to compensate for the softer sounding German valve trombone. Much like its slide counterpart, the valve trombone possesses a rather dull, warm timbre that is bereft of brightness or edge unless seriously overblown. Bruckner’s strongest accents and articulations therefore need to be very carefully judged in order not to sound crass or crude. They are intended to brighten the attack of an otherwise dull sounding instrument. Do not be tempted to approach them literally on a modern trombone. If you imagine the attack as consisting of a “tah” sound, the secret is to put lots of air into the “ah”, so that you get “t-Haaa”.
Movement I
The first entry in this symphony already poses some challenges. The two descending phrases at rehearsal letter A require careful preparation. The first is in unison with the tuba, which Bruckner added to this symphony (and to Symphony No. 5) when he revised it for the first time, while the second is in unison with the tenor trombones. In adding the tuba to the score of the symphony, Bruckner was forced to rethink the third trombone part. Typically, Bruckner’s third trombone parts up to this point had relied on a low register down to C below the bass staff with little in the way of upper register writing.
From Symphony No. 4, we see a marked departure from the earlier style of scoring, as there is much greater reliance on unison with the tenor trombones and a generally higher lying part with extended forays into the upper register. This first passage introduces us very quickly to the change in approach, as the bass trombone is used in unison octaves with the tenor trombones (bars 51-52), doubling the tuba in unison (bars 51-52) or at the upper octave (bars 53-54, 59, 61), doubling the tenor trombones in unison (bars 53-54), performing a harmonic filler function (bars 60, 62), and playing leading melodic material (bars 63-70).
The latter passage (bars 63-70) are rather helpfully marked marcato, though in reality you may be asked to stick out a little from the texture with the leading bass line, doubled by the tuba an octave lower. Remember that you are once again a tutti instrument from bar 71, so recede at that point.
In the second excerpt from the first movement, we are allowed to open up finally with the first fortississimo of the symphony. The difference in dynamic should be tangible at rehearsal letter I, as the full force of the orchestral tutti in fortississimo is felt for the first time. Do not drag the repeated notes in the crescendo to rehearsal letter I, as you ramp up towards the tutti. The bass trombone is fortunate in having the entire line starting on low E♭ each time and continuing to top E♭, while the other trombones and tuba have to drop octaves to avoid going too high. Remember to back off a little once the trombones are in unison.
The fortississimo segment is rounded off by the passage ending at rehearsal letter K, the lead in to which is all down to the bass trombone and tuba. The next challenge already presents itself, though, as the viola line leads into a glorious brass chorale (bars 305-333) through which the strings must still be heard. Clearly, this will not work with a literal fortissimo and the conductor will usually indicate what dynamic he wants the brass to play at here. Just be aware that the passage peaks at bar 325, not at the high D, which dovetails with the second trombone.
While it is interesting and fun to consider the loud passages, Bruckner’s music is replete with quiet sections that are even more cruelly exposed for the trombones. One such passage precedes the second orchestral fortississimo at rehearsal letter R. At this point, Bruckner has made a statement in the solo horn, then the solo trumpet, which is answered by the three trombones in harmony playing an open C minor chord in bar 509. Make sure the pianissimo is a più piano or the chord will descend into a meaningless smear of C minor mush with no definition. The demisemiquaver is particularly important and should be brought out even at this quiet dynamic. Of course, the fortississimo four bars later should come as a complete shock, as though someone just turned on a floodlight.
Movement II
The second movement offers the trombones a chance for a much-needed rest at the beginning. It does also afford us the opportunity of playing a handful of short chordal progressions without the tuba. These enrich the string texture and are fully exposed with no doubling in the wind or brass. They very much give the lie to the assumption that Bruckner was an orchestral composer. This is organ scoring in its purest form translated into orchestral writing, with one orchestral colour overlaid upon another in the same fashion as organ registration.
A few more chordal interjections separate the opening of the movement from the first fortissimo in bar 113, though once again it is vitally important not to overdo the dynamics and play this as più forte as the trombones are scored here with the clarinets and flutes, which must be heard carrying the ascending soprano line.
The greatest challenge is reserved for the end of the movement with repeated forays into the upper register. There is a beautiful two-bar pianissimo chorale from the trombones and tuba leading into rehearsal letter M, after which the fun really gets going as the trombones are provided with some very prominent melodic lines. This starts at rehearsal letter N in the tenor trombones, while the bass trombone plays a supporting harmonic role. Do not be tempted to match the volume of the tenor trombones here; they carry the melody and must be heard through the entire orchestra.
In bar 217 the trombones really have their chance to shine. The melodic line starts on the high G, descending constantly to rehearsal letter P, where it continues with very prominent writing for the trombones to the end of the tutti. Once the tenor trombones drop off the melodic line in bar 219, the bass trombone and tuba can really push through the texture with the last two bars of the descending line leading into the big tutti fortississimo at rehearsal letter P. Here the three trombones have the melody, answered by the three trumpets. The sound must be big, broad, and majestic, ever mindful of the need to recede once the bass trombone drops off the melodic line in bar 224. From this point until rehearsal letter Q, you play a supporting harmonic role to the tenor trombones once again, as at rehearsal letter N previously.
Movement III
Bruckner’s scherzo movement is a somewhat demonic rat-a-tat display of two-against-three (his favourite juxtaposition) that characterises the movement, indeed the entire symphony. Be sure to bring out the semiquavers, particularly in the quiet dynamics. Bar 27 sees the horns, trombones, and tuba imitate a sound familiar to Bruckner as he grew up in the the Upper Austrian countryside: the Fürst Pleß hunting horn. This passage, repeated later in the movement, should sound brusque, even raw, though the bulk of that rawness should fall to the horns rather than the trombones and tuba, which merely supply weight.
This movement is really all about rhythm and getting note lengths right with pinpoint accuracy. Just beware of the occasional trap set by Bruckner when dovetailing the trombone parts, placing the bass trombone in the middle of chord, above the second trombone.
There is one exception to this, which occurs when the trombones accompany the cello melody from bar 123. Ensure that you are well below the dynamic of the cello section to let the melody through.
Movement IV
The technical challenges in the Finale come thick and fast. Bruckner wastes no time in setting the trombones their first challenge, butting one rhythm against the next, horns against trumpets against trombones, building into the first tutti at rehearsal letter A. Again, do not be tempted to overdo the dynamics. The bass trombone is in unison with the tenor trombones until bar 50, when they split into octaves in a magnificent triple octave (the tuba joins the bass trombone an octave lower) driving triplet into the held pedal point D, which is where we have to ease off again, since the weight of tone will simply obscure the busy sextuplet figures in the rest of the orchestra.
Once the first fortississimo has been reached at bar 71, there is a short break before launching into another triple octave triplet figure that sees the horns join the trombones in a joyous, fanfare-like E? major sequence, which tails off into a much quieter section at rehearsal letter B. This movement is one of extremes of dynamic and this is but the first encounter with Bruckner’s almost obsessive juxtaposition of two-against-three and loud-against-soft.
The next big tutti starts at rehearsal letter E. This features the first and second trombones in unison, but as a taste of what might have been, consider the following pages from Bruckner’s autograph score, in which the bass trombone and tuba were originally added for extra weight, then scribbled out.
Now let us consider what actually made it into the 1880 score.
In bar 163, the bass trombone joins the tenor trombones in a supporting harmonic role, before leading into another exposed section for the trombones (bars 167-182), with some very meaty lower octave doubling to spice things up (it happens very rarely in this symphony). Do not be tempted to overdo the fortissimo. Accuracy of note placement in the triplets is vitally important, which is impaired by overplaying the dynamics.
After a gorgeous quiet woodwind and horn chorale, underpinned by some very busy string writing, the brass enter suddenly with a fortissimo with their own majestic chorale. This passage does not pose any particular difficulty, but is worthy of mention because there is a misprint in bar 239 (the triplet consists of the last three notes in the bar, not the first three) and the fact that the bass trombone plays a counter-melodic line to the horns, which adds interest.
Now comes the single greatest challenge in the entire symphony. Don’t say I didn’t warn you! When Bruckner made significant revisions to the last movement of the symphony, he rescored it very differently. Where one passage might once have consisted of the just the brass playing in harmony with the bass trombone carrying the bass line in a lower lying part, the same passage was rescored for the entire brass section playing in unison octaves with the woodwind, offset by ferocious sequences of sextuplets in the strings.
The net result of this is that where once the bass trombone was playing a relatively safe bass line in its comfort zone, now it is taken above the bass staff for an extended period in unison with the tenor trombones, rarely, if ever, dropping to the lower octave (bars 318-319) and usually supplying either extra weight to the tenor trombones in unison or harmonic filler. This passage is without a shadow of doubt the most physically demanding in the entire symphony. Do not underestimate the amount of energy just this page will sap from you. Pace yourself throughout, constantly reminding yourself of the need to be able to tackle this passage.
As if to add insult to injury, get out of the way rapidly with a very quick diminuendo at the end of the passage in bars 337-338.
There is a very brief respite before the onslaught begins again. At rehearsal letter P we are once again placed in the upper register with the tenor trombones, though mercifully it doesn’t last long before Bruckner very sensibly drops the bass trombone an octave to play in unison with the tuba. From the marcato sempre in bar 392, the tempo typically picks up gradually. Be aware of this as you enjoy another prominent triple octave passage dominating the orchestral texture, leading to the G.P. at rehearsal letter Q.
The symphony concludes much as it began, with tremolo strings and a hushed reverence, though this time it is answered by the trombones in a long, slow chorale led by the horns. From rehearsal letter X, the dynamics begin to increase gradually in a beautiful question-and-answer passage between the trombones and the horns, trumpets, and woodwind. Finally, the entire orchestra comes together for the glorious E flat major peroration replete with pealing horns. Be sure to accentuate the semiquavers and stay below the horns, so their triplet fanfare figure can be easily heard. It’s a fantastic ride and should feel well worth the effort when you get to the final bar.
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