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Robert Simpson (1921-1997) was an English composer of 15 String Quartets, 11 Symphonies and many other works, whom some would argue is a composer of comparable stature to the composers he wrote so illuminatingly about: Beethoven, Sibelius, Nielsen and Bruckner.
Simpson as a writer on music is most famous for his Carl Nielsen Symphonist (1952 rev ed 1979), but he also wrote this work about Bruckner, first published in 1967. After a first chapter discussing general issues and a few of Bruckner?s non-symphonic works (the Masses, the Te Deum and the String Quintet), Simpson then devotes a chapter each to the Symphonies 1-9 (Symphony No.0, written partly before, partly after, Symphony No.1, is discussed in the introductory chapter). In these chapters Simpson gives a blow by blow account of the tonal and thematic progression of each Symphony and shows how Bruckner, with increasing confidence throughout his career, forged new symphonic forms of vastly greater dimensions than those of prior works in the symphonic tradition. Simpson?s analysis of Bruckner has the same emphasis as that of his analysis of Nielsen?s symphonic music and demonstrates how, at its best, Bruckner?s symphonic processes create almost organic forms in which the music flows, logically and emotionally, from beginning to end, aided by tonality, rhythm and melodic invention.
He also during these analyses discusses the various versions of the Symphonies, in almost all cases preferred the earlier versions and rejecting Bruckner (and others?) later revisions.
Simpson?s view of the Symphonies is that No.1 is highly original work in the existing tradition (though at all points it expands this tradition and points onwards to Buckner?s later music). The Symphonies 2-4 in Simpsons? view are transitional works, 3 and 4 being problematic in structure; Symphonies 5-8 are Bruckner?s masterworks, all highly successful works. No.9 Simpson regards as basically unfinished (even the first three movements) although it contains some of Bruckner?s most extraordinary music.
In 1992 a revised edition of this work was published. I have not seen this, but I gather that it revises the discussion of differing versions of the symphonies as more evidence had come to light about the revision process. In 1967 Simpson discussed the 1877 and 1878 versions of the 3rd and 4th Symphonies, respectively, as these were the earliest versions then available. By 1992 the 1873 and 1874 versions of these Symphonies had been discovered and were being played and recorded. I assume that the 1992 version doesn?t discuss the various reconstructions of the finale of the 9th (these mainly emerged in the late 1990s); but in any case the discussion of the 9th in 1967 edition precludes a positive view of these.
