Bill Carragan was my uncle. He married my Dad’s older sister. He was an amazing man and as a boy, our family would vacation to Maine in the summer. I remember being fascinated by him sitting at a piano playing a note, then writing that not only the music sheets-for hours at a time. He was by far the smartest man I have ever met. A true renaissance man. RIP Uncle Bill!
I flew from San Francisco to New York to attend the debut of Carragan's first version. If I was skeptical, the performance removed any doubt. No longer can one claim the three movements are a complete work. Carragan's final version as well as those of Messrs Nicola Samale, et al. reveal the majesty of Bruckner's conception. There is no excuse anymore for performing just the torso of this masterpiece.
Carrigan's work sounds entirely and reasonably Brucknarian to me, and quite satisfying. It preserves authentic Brucknarian periods, elementalism, and repitions. I can accept it, even for the sake of filling a lack that the composer felt keenly. Bruckner was always willing to listen to suggestions, and if asked today, "Maestro, shall we try to complete from your sketches, out of love for your work and achievement?", I'm quite sure he would have answered "Yes."
Authenticity debates aside, I love Carragan's work here. The integration of themes in the coda very nice. Beautiful chords and so many modulations - almost feels like the Symphony 6 coda that Bruckner wrote.
Happy 200th birthday for Bruckner and RIP William Carragan. I was honoured when William contacted me to praise my song 'Anton', about Bruckner's life and unrequited loves. I hope the channel doesn't mind me sharing the music video: th-cam.com/video/Y8qWL61Mg6I/w-d-xo.html
Bastante sublime! Ouça os outros também, bom até para perceber as diferenças de interpretações feitas sobre esse finale, tendo em vista que foram baseadas em pedaços originalmente compostos por Bruckner.
Some of the dissonance seemed uncharacteristic at first, but after reading Carragan's explanation on his website, I'm convinced. None of the other completions come close to expressing a coherent intention behind the finale as this version does. All other versions are going to have to contend with the fact that Bruckner's own sketches employ a shocking dissonance and either reject it as a mistake or not create a unified vision. Regardless, the counterpoint of the coda is Bruckner-level genius (if maybe a bit muddled when orchestrated) and should stand alone on its merits with any fan of Bruckner's style.
Please, is this video from the following recording: "William Carragan; 2010 revision of his 2006, itself a reversion of his 1983 original version. Philarmonia Festiva, conducted by Gerd Schaller (live recording). Issued by Hänssler Profil, PH 11028"? Thank you.
This is a very beautiful Mahlerian essay, but can in no way be seen as a viable completion. I still find it more credible than the SPCM attempt which failed in its wish to pander to a larger, non-Brucknerian audience. However, I will maintain that Letocart's completion remains the most convincing to me.
There's a very convincing completion by Nors S Josephson that's worth hearing. No completion will ever come close to being definitive because there are no coherent sketches for the Coda despite the misleading nonsense written by some of the editors of the various completions. I own the complete facsimile edition as well as transcriptions of all the knows drafts and sketches.
You are absolutely right: Carragan added 6 measures of his own which are ugly, and totally unnecessary since Bruckner's sketches for this passage exist. In fact Carragan adds his own music in several places where he could have used Bruckner's own very viable sketches (except for the Coda.)
@@remomazzetti8757 Yes, Carragan's additions is the problem of this completion. For this reasion I do much prefere Cohrs and company work, although Carragan is really inspired in the coda. No definitive solution will be ever totally satisfying because the crucial element that should give coherence to the work is missing.
Bill Carragan was my uncle. He married my Dad’s older sister. He was an amazing man and as a boy, our family would vacation to Maine in the summer. I remember being fascinated by him sitting at a piano playing a note, then writing that not only the music sheets-for hours at a time. He was by far the smartest man I have ever met. A true renaissance man. RIP Uncle Bill!
RIP William Carragan. Thank you for your scholarship and your humanity.
Bruckner,s works are the God,s dreams.
As a Japanese Brucknerian ,
I will never forget this work .
Because it is carved deep into my soul .
I flew from San Francisco to New York to attend the debut of Carragan's first version. If I was skeptical, the performance removed any doubt. No longer can one claim the three movements are a complete work. Carragan's final version as well as those of Messrs Nicola Samale, et al. reveal the majesty of Bruckner's conception. There is no excuse anymore for performing just the torso of this masterpiece.
And don't forget the Completion of Sébastien Letocart, wich is impressively marvelous...
17:28 ... God Carragan is a genius...
Carrigan's work sounds entirely and reasonably Brucknarian to me, and quite satisfying. It preserves authentic Brucknarian periods, elementalism, and repitions. I can accept it, even for the sake of filling a lack that the composer felt keenly. Bruckner was always willing to listen to suggestions, and if asked today, "Maestro, shall we try to complete from your sketches, out of love for your work and achievement?", I'm quite sure he would have answered "Yes."
Authenticity debates aside, I love Carragan's work here. The integration of themes in the coda very nice. Beautiful chords and so many modulations - almost feels like the Symphony 6 coda that Bruckner wrote.
Happy 200th birthday for Bruckner and RIP William Carragan. I was honoured when William contacted me to praise my song 'Anton', about Bruckner's life and unrequited loves. I hope the channel doesn't mind me sharing the music video: th-cam.com/video/Y8qWL61Mg6I/w-d-xo.html
Gostei muito deste final de Carragan!
Bastante sublime! Ouça os outros também, bom até para perceber as diferenças de interpretações feitas sobre esse finale, tendo em vista que foram baseadas em pedaços originalmente compostos por Bruckner.
Some of the dissonance seemed uncharacteristic at first, but after reading Carragan's explanation on his website, I'm convinced. None of the other completions come close to expressing a coherent intention behind the finale as this version does. All other versions are going to have to contend with the fact that Bruckner's own sketches employ a shocking dissonance and either reject it as a mistake or not create a unified vision.
Regardless, the counterpoint of the coda is Bruckner-level genius (if maybe a bit muddled when orchestrated) and should stand alone on its merits with any fan of Bruckner's style.
Please, is this video from the following recording: "William Carragan; 2010 revision of his 2006, itself a reversion of his 1983 original version. Philarmonia Festiva, conducted by Gerd Schaller (live recording). Issued by Hänssler Profil, PH 11028"? Thank you.
Helmut Moritz
I am deeply grateful.
authentic
This is a very beautiful Mahlerian essay, but can in no way be seen as a viable completion. I still find it more credible than the SPCM attempt which failed in its wish to pander to a larger, non-Brucknerian audience. However, I will maintain that Letocart's completion remains the most convincing to me.
Pander to a large non-Brucknerian audience? WTF? The only people who care about completions of Bruckner's 9th are Bruckner fans.
Letocart’s completion is for me the most convincing, yes.
There's a very convincing completion by Nors S Josephson that's worth hearing. No completion will ever come close to being definitive because there are no coherent sketches for the Coda despite the misleading nonsense written by some of the editors of the various completions. I own the complete facsimile edition as well as transcriptions of all the knows drafts and sketches.
2:39 This has nothing to do with Bruckner!
You are absolutely right: Carragan added 6 measures of his own which are ugly, and totally unnecessary since Bruckner's sketches for this passage exist. In fact Carragan adds his own music in several places where he could have used Bruckner's own very viable sketches (except for the Coda.)
@@remomazzetti8757 Yes, Carragan's additions is the problem of this completion. For this reasion I do much prefere Cohrs and company work, although Carragan is really inspired in the coda. No definitive solution will be ever totally satisfying because the crucial element that should give coherence to the work is missing.
It is difficult to judge the quality of this coda because the sound quality here is so poor.
learn to listen architectonically.
let your imagination fill.in the missing resonances.
Смесь вагнеровской и малеровской музыки. Эффектно, не но красиво. А уж конец совсем как Гибель богов.
The ending and the string theme in the end is not good! Get back to the table and rewrite this peace please!
This is a ridiculous comment. Really great work by Carragan, and especially so the coda, which is genuinely Brucknerian.