Peter Gülke: „Neu instrumentirt u zusammengezogen“ – wo und welche ist Bruckners Vierte Symphonie?

Based on a perusal of detailed perspectives on the various versions of Bruckner’s Fourth Symphony, this essay repudiates the practice of focusing the discussion on categories such as “original version,” “Urfassung,” “composer’s final version,” etc. and rejects the assumption that it is therefore possible to establish their hierarchy according to how closely they position themselves to a presumptive definitive version. Furthermore, it becomes clear that the invariably well-intended revisions by Bruckner’s friends should not only be judged according to the extent of their adulteration but also with respect to listeners’ expectations at that time.

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