Frankfurt Symphony Orchestra conducted by Eliahu Inbal.

I Allegro Langsamer Tempo Imo Langsamer Tempo Imo Langsamer Tempo Imo: 0:00
II Andante: 15:07
III Scherzo. Presto Trio. Langsamer und ruhiger [Tempo I] Coda: 27:55
IV Finale. Moderato Allegro vivace Andante Allegro vivace Langsamer Schnell: 34:12

Bruckner's Symphony in D minor (sometimes numbered as No. 0) was composed between January 24 and September 12 of 1869, after moving to Vienna to teach harmony and counterpoint. Bruckner showed the score to Otto Dessoff, conductor of the Vienna Philharmonic Orchestra, hoping for a performance. In its first rehearsal, Dessoff apparently asked Bruckner "where is the principal theme?" for the first movement. This remark made the composer reconsider the piece, withdrawing it completely in 1873 after finishing Symphony No.3. When revising his catalogue of works in 1895, Bruckner crossed out the discarded symphony, which latter would give it the nickname of "Nullified".

He evidently had mixed feelings towards the piece, not being worthy of performance nor publication, but had some value that prevented from being destroyed, a similar case as with the Study Symphony. It was finally published in 1924, almost three decades after the composer's death. It was premiered on October 12 of that year in Klosterneuburg, performed by the Klosterneuberg Philharmonic Orchestra conducted by Franz Moißl. For a long time and because of the designation, many biographers believed the piece was written before Symphony No.1 in a supposedly lost version written sometime between 18634, and that the date of 1869 was merely a posterior revision. However, the autograph score bears the dates mentioned in the beginning, and no earlier sketch or single folio of this work has been retrieved.

While the piece has some elements that anticipate the mature style of Bruckner, it is also hard to deny the awkwardness and questionable decisions surrounding the piece, specially in the first movement. Some people point to Bruckner's insecurities and malleable judgement as the reason for the shelving of the work, but it is more plausible he simply recognized its shortcomings as, again, did with the Study Symphony. In the long term, the piece can be seen as a preparatory study for the third symphony, the first real symphonic masterpiece of Bruckner, and with which the nullified symphony shares common elements. Nonetheless, the work has been performed more and more in recent years, and many consider it a fine addition to Bruckner's cycle.

The first movement is structured in a large sonata form. It begins with a series of ostinati being introduced by strings, which coalesce into a rhythmic and imperious main theme in form of a march. These ostinati, specially the one in basses, run through most of the movement. A lyrical and calm second theme is then introduced with syncopated exchanges between divided first and second violins and then cellos. After a brief return of the main theme, a third one appears as a broad and radiant hymn. In the ensuing development section, first dominated by the majestic third theme, the materials are transformed, with the main theme leading us to a powerful central climax. A varied recapitulation of the themes then begins, which is followed by a tense passage that builds towards a grand and epic coda.

The second movement is written in sonata form. It opens with a peaceful and contemplative main theme introduced by strings, almost like a divine chorale, which is delicately taken by woodwinds in a series of dialogues between ensembles. A lyrical second theme is also introduced by strings, characterized by its syncopated rhythm. This movement as a whole showcases Bruckner's lyrical gifts, as well as the influence of Wagner's "Tannhäuser". Follows a richly contrapuntal development that combines the material, but which doesn't resolve in a climax. An abbreviated and varied recapitulation of the themes builds towards a passionate climax, a brief radiance of Bruckner's mature adagios. The music then serenely dissolves in the silence without a formal coda.

The third movement is a scherzo in ternary form, closely modelled after the scherzo from Symphony No.1. It begins with a ferocious and agitated main theme, with a constant forward momentum as it rises in violent peaks. The trio opens with a lyrical if troubled contrasting theme, with a chromatic melancholy reminiscent of Wagner. It is actually derived from the main theme. The scherzo is then repeated in its entirety, ending the movement with a final triumphal gesture.

[Musical analysis continued in the comments section]

Picture: "Landscape in Scotland" (c.1878) by the French painter Gustave Doré.

Musical analysis partially written by myself. Sources: https://tinyurl.com/26cw76ne and https://tinyurl.com/23l982ts

To check the score: https://tinyurl.com/25oav5qv