Anton Bruckner's
5th Symphony in b flat major
The spiritual symphony of a "Himmelsstürmer"
Bruckner's 5th Symphony is undoubtedly his magnum opus and, in my opinion, one of the greatest musical compositions ever written.
The 5th Symphony stands apart from Bruckner's other works in that it displays less influence from Wagner and can be considered less "romantic" in nature. It serves as a remarkable synthesis of Renaissance, Baroque, and Classical/Beethovenian elements, showcasing impeccable craftsmanship in counterpoint, fugue, and form. At the same time, it pushes the boundaries of experimentation. The Finale, in particular, can be compared to Beethoven's "Große Fuge" - an imposing summit that demands to be conquered, with the coda of the Finale representing its peak.
Bruckner's mastery in this symphony is absolute. He achieves a harmonious blend of the personal and the impersonal, which may seem paradoxical. By embodying ca. 500 years of musical history, Bruckner creates a truly original, unique, and deeply personal work that only he could have conceived - a "monster symphony" like no other.
The 5th Symphony radiates with luminosity and joyfulness. The fugue is a marvel of dancing architecture, while the coda of the Finale stands as a monumental climax, combining all the accumulated forces from the four movements. Additionally, Bruckner skillfully resolves the formal challenge posed by his new type of large sonata form: here, the recapitulation process is integrated into the development, culminating in the climax of the fugue.
In the 1894/1896 Schalk edition of the "truncated" 5th Symphony, we are provided with the indication "Langsamer" at the beginning of the "Gesangsperiode" in the first movement. While the original publications of Bruckner's symphonies are subject to debate regarding the re-orchestrations carried out by his students, the tempo markings and changes offer valuable insights into how Bruckner intended his music to be performed during his lifetime. It is worth noting that the Schalk brothers prepared and performed a two-piano reduction of the 5th Symphony in front of Bruckner himself, adding further significance to their interpretation.
FIRST MOVEMENT - Adagio-Allegro I believe that there are three distinct tempos in this first movement, but the music is far more complex than simply being performed in a straightforward and static manner. Allow me to provide some insights:
Firstly, let's consider the likely speed of the introductory Adagio. In my opinion, it should be performed at approximately 40-42 beats per minute (Alla breve) in two beats, not four (not a quarter note beat). The relationship between the Adagio and the Allegro is clear (doppio movimento). Therefore, the tempo for the heroic theme (Group A) in the Allegro section could be around 76-80 beats per minute. However, it is essential to play it with flexibility, always responding to the mood of the music. For example, at measures 71-74, there should be a sudden slower and plaintive tempo (around 63 beats per minute), followed by a nervous and vigorous accelerando from measures 75-78, returning to tempo at measure 79, and then becoming broader at measure 83. It should become even broader from measures 84-89, and then return to tempo at measure 90. The B group should naturally be slower and calm, resembling a choral-like quality. Perhaps a tempo of around 58-60 beats per minute could be suitable (the same tempo for the second group, "Gesangsperiode," in the Finale).
In the Fifth Symphony, there are organic connections between thematic groups. For instance, the syncopated motive in the strings at measures 153-158 is later used in Group C at measures 161, 162, and so on. Therefore, it would be nonsensical to suddenly play faster at "Tempo I - allegro" when the beginning of the C theme originates from B. Instead, the music gradually moves back towards an allegro tempo. At measure 169, the tempo can be slightly more nervous, and from measure 185, there is room for an impressive accelerando poco a poco until measure 199 (around 72-76 beats per minute).
After that, there is also an opportunity for a rallentando poco a poco from measure 213 to 224. Then, the music should become contemplative, suspended, and timeless, gradually slowing down (around 52-56 beats per minute) for the dialogue between the solo flute and solo horn. It is worth noting that the same tempo relationship between groups B and C can be found in the Finale (the strings' motive), followed by another substantial accelerando.
Regarding the appropriate tempo for the heroic theme "A" in the first movement, I believe it should be performed at around 76-80 beats per minute. Bruckner's indication of "Allegro" clearly means it should be fast and nervous. Conductors often choose a tempo of around 63-69 beats per minute, which is quite comfortable but likely too slow. At such a pace, the theme lacks sharpness, vigor, and fails to establish the necessary doppio movimento relationship with the introductory Adagio alla breve in two beats. The head of the theme should be noble and lyrical, while the second half (with dotted rhythms) should be bold and sharp, a mood that only an appropriate tempo allegro can achieve.
I have already provided the main insights for the exposition of the first movement. However, I would like to emphasize and clarify the transition to the development section (measures 217-236). It requires a decelerando and a slower tempo at measure 275, indicated as "I," at around 52-56 beats per minute, or what I call tempo B. This slower tempo allows for necessary moments of rest after the athletic exposition and prepares us for the immense development section we are about to experience. Maintaining the rigor of the allegro tempo would sound rushed and prevent the contemplation and sudden timeless atmosphere that the music demands (especially during the horn solo and flute solo passages). It is even more expressive (with a ppp dynamic) when we completely lose the sense of pulse at measure 231, followed by a long ritenuto (resembling Brünnhilde falling asleep?) until the beginning of the development at an adagio tempo of around 40-42 beats per minute.
In the development section, from measure 237 onward, the alternating tempos of "adagio" (around 40-42 beats per minute) and "allegro" (around 76-80 beats per minute) are clear. An interesting gesture can be found at measures 264-265 with a short ritenuto, followed by a "subito tempo allegro" at measure 266 (you may want to listen to Van Beinum's recording with the Concertgebouw Orchestra on PHILIPS for reference).
At letter "L," measure 283, and even at letter "M," measure 303, it seems logical and necessary to slow down due to the density of the counterpoint. In other words, the appearance of the arpeggio interjection motive from the adagio in diminution, combined with the developed heroic theme "A" presented here in canon and mirror reverse reflection, calls for clarity and acoustic balance. We must be aware that this slow-down at letters "L" and "M" would no longer sound "bombastic" when the original allegro tempo is around 76-80 beats per minute. Letter "L" could be performed at around 72-69 beats per minute, and letter "M" at around 66 beats per minute, especially because the main theme in diminution (played by clarinets at measures 303 and 305, and oboes at measures 304, 306-307, etc.) becomes inaudible and unintelligible if played too fast! Therefore, conceiving the entire development section with a single "tempo allegro" does not consider the contrapuntal complexity and texture that characterize this essential moment of the first movement. Furthermore, I believe that an interesting accelerando is welcome four measures before letter "N," even though it may be extremely challenging for the string players to reach a half note value of 76 at letter "N" (allegro tempo A). Subsequently, from measures 325-328, the tempo is obviously tempo B, transitioning to tempo allegro A from measures 309-330, returning to tempo B at measure 331, and finally to an adagio tempo at measure 338.
For the recapitulation, the idea of an accelerando at measures 347-363 (as suggested in the Schalk publication) is indeed powerful, and it would be recommended to start at around 52 beats per minute (tempo B). The rest of the recapitulation should follow the same structure as the exposition. The B theme should not be slower in the recapitulation compared to the exposition, as it would be architecturally illogical.
When the recapitulation concludes with the allegro tempo at letter "T," and even with a brief stringendo at measure 447, the coda clearly begins at the same pace at letter "U," measure 453, with the suffocating syncopations. I believe that allegro simply means allegro whenever it is explicitly indicated in the music.
To build up tension, I find it interesting to use a slower tempo at letter "W" (something like "Etwas ruhiger"), followed by letter "X" with a broader tempo, and measure 481 with an even broader tempo, as we approach an impressive climax. Then, a gradual accelerando poco a poco should be employed from letter "Y" to letter "Z," leading back to the tempo allegro.
SECOND MOVEMENT : Adagio « Sehr Langsam »
According to commonly heard performances, there is a recurring issue with the tempo of this movement, similar to the introduction adagio of the first movement. It is often performed excessively slow, despite the time signature being the same: 2/2 "alla breve." I propose advocating for a tempo of half note = 34 for the A part and half note = 30 for the B part. This distinction arises from the fact that the "hymn theme" in the B part requires more flexibility and space, while the A part maintains a clock-like regularity due to the triplets.
It is evident that at measure 39, the tempo must remain the same, as abruptly increasing the speed would disrupt the relationship and continuity with the exposition of the hymn.
At measure 71, letter D, the initial tempo is reinstated, with the material of A being developed and tension building up until measures 97-99, where a nervous accelerando poco a poco is likely required (cf. Clauddio Abbado's recording with the Vienna Philharmonic), although it is rarely heard. This gradual acceleration contributes to the increasing intensity and should be carefully executed.
The transition starting at measure 101 ("A tempo") does not necessitate a faster tempo if the main tempo is already appropriate (half note ca. 34). Maintaining consistency in tempo avoids unnecessary disruptions.
Regarding the dominant transition from measures 139 to 162, starting with a tempo of half note ca. 30, there is no need to play faster, particularly since this transition serves as an introverted relief. Rushing through this extended passage would undermine its musical coherence. A nuanced ritenuto at measure 161 would be welcome.
The fifth part has a time signature of four beats and is marked "jedoch langsamer," indicating an explicitly slower pace compared to the previous alla breve sections. The tempo should be set at quarter note = ca. 46-50, providing the desired contrast and adhering to the musical intentions.
These considerations ensure a nuanced interpretation of the movement, allowing for appropriate flexibility and expressive possibilities while maintaining the structural elements and musical integrity envisioned by Bruckner.
THIRD MOVEMENT - Scherzo: Molto vivace
The tempo indication "Molto vivace" in Bruckner's Fifth Symphony brings to mind Beethoven's Ninth Symphony, where a similar marking is used for the Scherzo. However, in both works, the true humor and "jokes" can be found in the lighthearted trio section, while the Scherzo itself is characterized by its sulfurous, dense, eruptive, violent, highly contrapuntal nature, often featuring rhythmic acrobatics.
The connection with Beethoven's Ninth Symphony goes beyond just the similarity in the structure of the recapitulation and hesitation of different themes at the beginning of the Finale. The two scherzos are unmistakably like brothers: they share the same key, time signature, tempo indication, length, and a similar character.
However, is the tempo indication "Molto vivace" in Bruckner the same as Beethoven's? Beethoven's metronome marking is dotted half note 116. Is it possible to perform Bruckner's Fifth Symphony Scherzo at the same speed? Honestly, it would be unplayable. A tempo of around 104 could be more appropriate and still not too far from Beethoven's 116.
The main challenge lies in achieving coherence and consistency in performances regarding the tempo marking "Molto vivace." I have edited a full performance of the Fifth Symphony on YouTube with "appropriate" tempos (...). It serves as a reflection tool rather than a satisfying musical result. By listening to it, one can get a sense of how the music sounds when the tempo truly returns to "Molto vivace" at measure 57 and measure 301.
FINALE : Adagio – Allegro moderato
I must assert that the Finale is not as simple as it may initially seem. The adagio tempo at the beginning serves as an introductory reminder of the preceding movements.
Subsequently, the exposition of the three groups reveals a similar tempo differentiation as in the finale of the Eighth Symphony: Allegro moderato around 66, and theme B ("Gesangsperiode") around 60.
There is also a clear similarity with the first movement, as group B connects with group C through the eighth-note motive, implying that the tempo at letter "F" (measure 137) should be the same as theme B. An accelerando is then clearly required from measure 143 to reach an allegro tempo (half note = 76-80) at measure 159 (letter "G"). Architecturally, this is a crucial moment in the Finale because this accelerando and the reappearance of the allegro tempo from the first movement, along with its corresponding theme, occur at the end of the symphony. Thus, this moment should be understood as a "structural preparation" for the end of the finale and its colossal coda.
However, the complexity of the movement increases due to the introduction of a fourth thematic element: the Choral. What would be the appropriate tempo for it? Clearly, the tempo of B (half note ca. 60) feels a bit rushed, so I believe a pace of half note = 50-54 would be suitable. At this point, we need to keep in mind that the tempo chosen here for the Choral will be the same as the exposition of the central fugue.
I particularly appreciate Abbado's recording with the Vienna Philharmonic because the conductor executes an inspired and balanced accelerando, gradually building up during the development of the fugue, leading to the return of the "Allegro moderato" tempo (half note = 66) at bar 270 (letter "L"). This allows for even more accelerando from measure 297 to measure 306, creating increased tension, exaltation, and excitement in the organic development process of the fugue, almost reaching the allegro tempo of the first movement that we will hear again at the end. Flexibility is ABSOLUTELY required in this complex development/fugue; otherwise, the music remains static. Abbado's recording is truly remarkable as the conductor masterfully manages the tempi, calming down with a broader tempo at measure 350 to allow for the last significant progression before the first important climax at measure 374 of the Finale, leading to the relief at measures 390-397.
At the end of the recapitulation of the B group, another accelerando (measures 456-459) is necessary to reach the point at measure 460 with the bold and heroic return of the "Haupthema" of the first movement (half note = 72-80). Starting at half note 72 and then accelerating at measure 480, followed by an immediate deceleration (from measure 488), appears particularly interesting. At measure 496, the tempo of the B theme (half note ca. 60) seems appropriate, followed by another accelerando from measure 500 to reach the allegro tempo once again at measure 506, as if the music has become so impatient and filled with energy that excitement overflows. From measure 514, it becomes evident that there is room to modulate the allegro tempo within the range of half note 72-80, depending on the mood and significance of the intertwining complexity of the counterpoint.
At letter "Z" (measure 564), it becomes clear that the tempo of the B theme (half note = 60) returns and remains the definitive tempo until the end of the work. The ending undoubtedly requires space and grandeur to provide a complete sense of fulfillment.
Please also read this article in which I participated: