MANUSCRIPT AND REVISED SCORE A BRUCKNER PROBLEM OF RECENT DATE
WITH the increasing popularity of Bruckner's music the "Problem Bruckner," deeply rooted in both works and personality, seemed to approach a solution. The great interpreters had created a style of rendition which set up a firmss Bruckner tradition. Friends and followers were relieved and looked forward to undisputed triumph. Yet, more than thirty years after the master's death, with the initial publication of the original scores, which differ greatly from the editions previously used, a new problem of unexpected weight arose. We were confronted with the question of keeping to the successfully tested versions or of following the new trend, which claimed exclusive rights to Bruckner's true wishes as to the different readings. The question stirred up musicians, conductors, and music lovers to so high a pitch that the success of the Bruckner movement was almost menaced.
It had always been common knowledge that the printed scores contained many alterations, most of which originated in experiences gained through performances of the works. The two Schalk brothers and Ferdinand Loewe had, in fact, extended their concern for Bruckner's works to an unusual degree. They had made excisions as well as changes in orchestration wherever they considered them necessary for easier understanding and better reception on the part of the audience. Generally speaking, they did a wonderful job and deserve the greatest gratitude from all who look at their work with an unprejudiced eye. It certainly required high resolve on their part, since, being faithful and conscientious disciples