Completions
楽譜
演奏
楽譜とパート譜
Holograph manuscript, n.d.[1847].
写譜者
Heading text
出版社
Holograph manuscript, n.d.[1847].
(Composer's manuscript with autograph and additional markings)
(Composer's manuscript with autograph and additional markings)
その他の注記
ca.300dpi color images. Source: Stift St. Florian (CRSA), Bruckner-Archiv, A-SF20-26. See here: Bruckner-online. The Bass trombone part manuscript has been originally missing forever.
Rob Peters.
編曲者
Rob Peters (b. 1969)
出版社
Rob Peters
その他の注記
This score adds a new composed bass trombone part to the two existing parts. Of course this is only one of the many possible "reconstructions", since the two existing voices allow a lot of different harmonic and contrapuntal solutions.
One wonders what bass part Bruckner himself had added to that strange progression in bar 3-4, where one expects the tenor d-flat to resolve into c, not g. My completion gives the bass an equally peculiar upwards diminished octave jump, which somehow sounds "right" and Brucknerian.
I have not consulted the Hans Bauernfeind completion, so any possible similarities between my version and his are purely coincidental. - R.P.
EDIT 2-3-2019: I finally had a look at the Bauernfeind version, and I was surprised to see how much it differs from mine. Bauernfeind chose to make the piece playable with the absolute minimum of editorial interference, keeping the bass voice very simple and providing just a basic harmonic fundament. Which is of course a perfectly legit choice. My completion has a more melodic and free-flowing bass voice, which adds more color to the bare harmonies. So while I'm aware that my additions are more speculative and intrusive, I'm convinced they will make the piece more interesting for the players and listeners. (I'm particularly unimpressed with Bauernfiend's solution for the enigmatic progression in bar 3-4 - see above - where he chooses rather ugly-sounding parallel 7th's between tenor and bass...) - R.P.
One wonders what bass part Bruckner himself had added to that strange progression in bar 3-4, where one expects the tenor d-flat to resolve into c, not g. My completion gives the bass an equally peculiar upwards diminished octave jump, which somehow sounds "right" and Brucknerian.
I have not consulted the Hans Bauernfeind completion, so any possible similarities between my version and his are purely coincidental. - R.P.
EDIT 2-3-2019: I finally had a look at the Bauernfeind version, and I was surprised to see how much it differs from mine. Bauernfeind chose to make the piece playable with the absolute minimum of editorial interference, keeping the bass voice very simple and providing just a basic harmonic fundament. Which is of course a perfectly legit choice. My completion has a more melodic and free-flowing bass voice, which adds more color to the bare harmonies. So while I'm aware that my additions are more speculative and intrusive, I'm convinced they will make the piece more interesting for the players and listeners. (I'm particularly unimpressed with Bauernfiend's solution for the enigmatic progression in bar 3-4 - see above - where he chooses rather ugly-sounding parallel 7th's between tenor and bass...) - R.P.
Mateusz Łuczak, 2024.
出版社
Mateusz Łuczak, 2024.
その他の注記
Full score + piano arrangement & parts; work derived from the Bruckner for Guitar project
このページの内容
Holograph manuscript, n.d.[1847].
写譜者
Heading text
出版社
Holograph manuscript, n.d.[1847].
(Composer's manuscript with autograph and additional markings)
(Composer's manuscript with autograph and additional markings)
その他の注記
ca.300dpi color images. Source: Stift St. Florian (CRSA), Bruckner-Archiv, A-SF20-26. See here: Bruckner-online. The Bass trombone part manuscript has been originally missing forever.
Completions
Completions
Completions
Completions
Rob Peters.
編曲者
Rob Peters (b. 1969)
出版社
Rob Peters
その他の注記
This score adds a new composed bass trombone part to the two existing parts. Of course this is only one of the many possible "reconstructions", since the two existing voices allow a lot of different harmonic and contrapuntal solutions.
One wonders what bass part Bruckner himself had added to that strange progression in bar 3-4, where one expects the tenor d-flat to resolve into c, not g. My completion gives the bass an equally peculiar upwards diminished octave jump, which somehow sounds "right" and Brucknerian.
I have not consulted the Hans Bauernfeind completion, so any possible similarities between my version and his are purely coincidental. - R.P.
EDIT 2-3-2019: I finally had a look at the Bauernfeind version, and I was surprised to see how much it differs from mine. Bauernfeind chose to make the piece playable with the absolute minimum of editorial interference, keeping the bass voice very simple and providing just a basic harmonic fundament. Which is of course a perfectly legit choice. My completion has a more melodic and free-flowing bass voice, which adds more color to the bare harmonies. So while I'm aware that my additions are more speculative and intrusive, I'm convinced they will make the piece more interesting for the players and listeners. (I'm particularly unimpressed with Bauernfiend's solution for the enigmatic progression in bar 3-4 - see above - where he chooses rather ugly-sounding parallel 7th's between tenor and bass...) - R.P.
One wonders what bass part Bruckner himself had added to that strange progression in bar 3-4, where one expects the tenor d-flat to resolve into c, not g. My completion gives the bass an equally peculiar upwards diminished octave jump, which somehow sounds "right" and Brucknerian.
I have not consulted the Hans Bauernfeind completion, so any possible similarities between my version and his are purely coincidental. - R.P.
EDIT 2-3-2019: I finally had a look at the Bauernfeind version, and I was surprised to see how much it differs from mine. Bauernfeind chose to make the piece playable with the absolute minimum of editorial interference, keeping the bass voice very simple and providing just a basic harmonic fundament. Which is of course a perfectly legit choice. My completion has a more melodic and free-flowing bass voice, which adds more color to the bare harmonies. So while I'm aware that my additions are more speculative and intrusive, I'm convinced they will make the piece more interesting for the players and listeners. (I'm particularly unimpressed with Bauernfiend's solution for the enigmatic progression in bar 3-4 - see above - where he chooses rather ugly-sounding parallel 7th's between tenor and bass...) - R.P.
Completions
Completions
Mateusz Łuczak, 2024.
出版社
Mateusz Łuczak, 2024.
その他の注記
Full score + piano arrangement & parts; work derived from the Bruckner for Guitar project