Originally posted by scottycelt
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Leaves us with only the problem of the Coda, beginning with that Parsifal like melody in the trumpet.
For that sketches exist, as well as -quite recently discovered/re-interpreted- sketches for the quadruple fugue ending the movement. Only the final bars -still some 60 - 90 seconds of music (see e.g. the difference between the ending of the two versions of the first mvt of 8)- have to be composed. And it is here, and really only here, that the main differences between the versions have developed.
Whatever, a Finale 9 consists of some 85% Bruckner as he has orchestrated it himself, a further 10 % of what he sketched, and not more than 5% of invented/newly composed material. The latter concluding the movement and the symphony.
This IMO means that completions of Finale 9 so far are more judged on their interpretation, than on their own intrinsic virtues.
And whatever: this torso comes much nearer to the composer's original intensions than Mozart's Requiem. It is comparable with Puccini's Turandot, Bartok's 3rd piano concerto or his Viola concerto, or Berg's Lulu.
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