The third movement is also structured in a large-scale, modified sonata form. It begins with a deeply tragic and expressive main theme on strings, harmonically ambiguous and containing all 12 tones of the chromatic scale. It also quotes the Dresden amen, as it appeared in other works of the composer. The music rises in a rarefied, massive climax of dramatic tone. The brass then introduces a funereal chorale as the second theme. It is worth noting that Bruckner described it as his "Farewell to Life", perhaps sensing that God would not give him enough strength to finish the symphony. A flowing third theme in form of a lament then appears as the third theme, offering some contrasting lyrism. Follows an intensely expressive development of the material with the prominence of the main theme. The music rises in two massive but ambiguous climaxes, neither tragic nor triumphant. As seen previously, the recapitulation is merged with the end of the development, being very difficult to separate the two. The themes are contrapuntally combined, along with references to Bruckner's Miserere from the Mass in D minor. A call by the oboe (a quote of the Kyrie of Mass No. 3) introduces the repeat of the first theme, which is underlined by dramatic trombone appeals. Shortly after, Bruckner also quotes, as a kind of supplication, the "Miserere nobis" from the Gloria of his Mass in D minor. The following final climax concludes with a screaming, extremely dissonant chord. After a pause the music alludes to the coda of the Adagio of Symphony No.8, and also hints at Symphony No.7. The movement ends with a serene, almost consolatory ending.
I've listened to this symphony hundred times already but one more time is something I won't reject to. Being a part of Brucknerian cult I have to say that you are choosing rather unusual recordings. Will you upload some completions of the ninth?
I'm not a cultist, but have enjoyed the unique music of Bruckner for a great many years. I find "completions" of the 9th to be interesting, sometimes enjoyable exercises. In reality, however, we never will know how he would have put together and fleshed out the pieces of it he left behind, or what revisions he almost certainly would have made.
There are 6 completions worthy of consideration although none is completely convincing for 2 reasons. First of all, Bruckner's own draft of the movement is of variable quality. Some material is excellent, but some is weak. But most importantly, Bruckner did NOT leave any definitive sketches for the Coda despite the nonsense promoted about this by some of the editors. There are a few unnumbered pencil sketches with whole notes in bass and/or treble, but not a single indication of the motivic material that Bruckner had in mind to sum up his last Symphony. That is why the Coda's to the various completions have very little in common except they all end loudly, in D major with lots of trumpet fanfares. (more below)
