E major until finally returning to the tonic A major (bar 245), regarded as the start of the recapitulation. The Coda once again encompasses a broad range of keys and juxtaposes the primary theme with the main theme from the first movement. A final massive statement of A major asserts itself (bar 397) seemingly out of nowhere, embodying Bruckner's amazing ability to establish the tonic without a doubt and without the kind of preparation one would normally expect. This movement does not, nor was it intended to have the vast impact of the Finale of the Fifth Symphony, but it is infinitely more refined than the Finale of his Fourth Symphony. According to Watson, the victorious conclusion of Bruckner's quest for a new and ideal finale form will be celebrated in his Eighth Symphony, but the Sixth Symphony's development is an eminent and profoundly satisfying landmark on that triumphant march. Revisions and editions This is the only Bruckner symphony exempt from any revisions by the composer. (The Fifth, Sixth and Seventh represent Bruckner's period of confidence as a composer and, along with the unfinished Ninth, are as a group the symphonies he did not extensively revise.) The Sixth was first published in 1899, a task overseen by former Bruckner pupil Cyrill Hynais. This edition did encompass a few minute changes from Bruckner's original, including the repetition of the second half of the Trio in the third movement. The next edition appeared only in 1935, from Robert Haas under Internationale Bruckner-Gesellschaft auspices. In 1952 Leopold Nowak, who took over Haas's job, published an edition that was a replicate of Bruckner's 1881 original score. In 1986 the IBG issued an “audit” of the efforts of Hynais, Haas and Nowak, and in 1997 it republished the Nowak. Another edition has been issued by par Benjamin-Gunnar Cohrs for the in 2015. The version of the Sixth performed under the direction of Mahler for the 1899 premiere was never published; Mahler had made substantial changes to the whole score before that performance, of course unsanctioned by the deceased Bruckner. There exists also an inauthentic edition by Franz Schalk. Critical and cultural reception Criticism of Bruckner's Symphony No. 6 is similar to the critical response that his preceding symphonies had received. Whereas Bruckner considered his Sixth Symphony to be his "boldest symphony," it was not generally held in high regard. In terms of interpretation, the Sixth