Anyone who seriously and intensively studies Anton Bruckner’s Symphonies, i.e.: the scores of these works, can, in good conscience, not only consider him/herself a detail-obsessed musical researcher, but clearly a kind of musicological secret agent, as well. For, as recently as the early eighties of the last century, just these versions were regarded as Bruckner’s best protected ‘intelligence material’ (Vetter). It would, above all, be due to the ground-breaking work of Manfred Wagner, Wolfram Steinbeck and Thomas Röder that an unnecessarily long period of darkness came to an end. For far too long, the public in the ‘hard-core’ Bruckner nations, Germany, Austria and the Netherlands, had stood in total confusion before this version-conundrum because the requisite clarification on the part of musicologists – a clarification that stood at the intersection of musical theory and practice – had hardly commenced. Today, professionals in the field of music are very careful in their use of terms which were once bandied about without hesitation – terms like ‘original version,’ ‘Urtext,’ final version’ or ‘ideal version. The problems concerning the different versions of Bruckner’s symphonies are now finally receiving the attention they deserve.