Personally, I regret this very much denial ... in any case to that extent ... and which, by evolution, has led to the present version !!! Originally (1983-1987), the final peroration, in a great crescendo (PPP - FFF), was based entirely on the harmony of 5te idle in D (which already posed a first semantic riddle at the end of the first movement ) ... These vacuum 5ths inscribed in a tighter round the white and the black, the ostinato transposed the Te Deum in D (D - La - La - Re) used in the manner of a chorale ... As it is, they finally solved the original Neapolitan 6TE (Eb), registered in the harmonic field of the main theme ("Hauptthema") of the 1st movement and filling the soundstage of his terrible dissonance in the extraordinary Coda before being literally "absorbed" by the 5te empty (D - La). Thus, had avoided a "statement" somehow "land" in D Major (for which Carragan had allowed outbursts "Hollywood - tétralogiques" - dixit Harry Halbreich -), the Final of the remaining so "open" on Eternity ... that fully symbolizes the harmony of 5te empty (used by Mozart in his Requiem - end of the Kyrie fugue -) ...
In this completion in 2012, four composers, censoring the "interim" versions (1992-96-2005-2008), endanger the light of the last quote of the choral of the third thematic group and eliminate altogether the enlargement ostinato of the Te Deum at the entrance of "gantry" opening to the final culmination in D Major ... By the same token, after the return of the convoluted "Hauptthema" (*) and an impressive "Steigerung" on an agreement extremely dissonant (the same species as that of the Adagio), they deprive themselves of splitting the peroration of the Coda into two sections equally spaced and allow a gantry "misterioso" is in D minor, by analogy with the corresponding section of the movement ( that practice, with a sure instinct, Sébastien Letocard in his own view), or on the 5te vacuum ostinato of the Te Deum (realized once again that the 1991-96 version recorded by Naxos Wildner and Eichhorn in Camerata) . It therefore leads MUCH "too fast" on this "D Major" ... on which I have nothing to "deplore" as his eloquence is in any high class !!!
(*) Presents the different versions twice, Bruckner having made a great use when it peaks inverted - that is to say upward - and Maggiore in the climax crowning his fugue. Only in 2012 the first presentation is incredibly awkward (though she was so successful in récusées versions) ... The second, succeeding an upward swing, from the hand of Bruckner, using the material of the Introduction increasingly tightened, opens with a final peroration and too short presentation of Choral. We really feel that by seeking to improve, the four composers to censor themselves their best finds !!!
Although, until recently, was again found sketches (which led to versions of 2005 and 2008 - I do not know - the quartet Samale-Cohrs-Mazzuca-Phillips), we probably never will know " how "Bruckner would have finished his 9th Symphony ... It is believed he would actually concluded in D Major by the use of the famous theme of" Hallelujah "that he mentioned to his doctor and Sébastien Letocard estimated from Trio of the Scherzo ... But I have the weakness to believe that it probably would not have denied the basic ostinato of the Te Deum, quoted once at the end of the Exhibition, which opens the first section of Durchführung and the tailstock so wonderfully light restatement of the chorale (the third cluster) Version of serenity ecstatic "Farewell to life" of the Adagio ... Because it is an essential part of another work, it also "dedicated to God" !!!
That said, welcome appropriately the OBVIOUS improving the quality of several bridges in the "gaps" between the sketches, the preservation of dissonances and a realization of the double fugue that brooks no criticism (despite a serious "gap" that deprives us of a stretto of the species of the 5th Symphony) !!!
As for the interpretation of Simon Rattle ... it does not equal his AMAZING (I mean it!) Concert in Lucerne in September 2011 (the first three movements), broadcast on Arte (which I inadvertently lost HELAS ) and burn EMERGENCY EXTREME !!! I still notably in the ear of a Coda 1st movement hallucinated, burning aurally the room !!! Here, everything seems "retained", "measured", "careful" ... Is it due to the "live"? The sound seems cold, sanitized, the harmonic spectrum "opens" not (Coda 1 movement ... altered chord of C sharp minor over a long pedal oboe dual trumpet early Scherzo ... end of the Adagio, where the sweetness of this "E major" does not offer the ecstatic Choral would expect ... that should dazzle light, also in E Major Final) ... Even the Re final major does not seem deliver all the desirable light (mostly preceded by 20 minutes of incredible daring dissonances for music written between 1894 and 1896 ...). This does not prevent me to keep this witness of the first complete recording of the 9th Symphony BRUCKNER ... for the FIRST TIME by a chef and an orchestra of this size ... Hopefully other, in the generation rising, will not have the "a priori" and negative prejudices of their elders influenced by HUNDRED years FALSE myth about a Ninth supposedly so "complete" by the Adagio !!!
