| Description |
The purpose of this thesis concerning Anton Bruckner's Seventh Symphony is to present a detailed analysis of the composition and to make it of value to anyone interested in the work of Bruckner. An intensive written analysis is given and the formal structure and tonal relationships are shown by diagrams of each movement of the symphony. The development of thematic material is illustrated by means of different shapes of lines charted for each bar, and a harmonic analysis is included to show the harmonic development of the material. The life and personality of Anton Bruckner are discussed in their effect upon the composer's musical style, as we l l as other influences. Specific stylistic characteristics are also discussed, particularly as relating to the Seventh Symphony. In his Seventh Symphony, Bruckner followed the traditional symphonic design of four movements with each movement in a form close to the Classical pattern. The overall form is sometimes expanded or modified, however. The Classical techniques of counterpoint and thematic development are used. The form of the first movement is sonata-allegro with three themes presented in the exposition. The key is E major with the second and third themes in the area of B major/minor. The development section includes a thorough expansion of the thematic material and the recapitulation returns all three themes in order. The second movement is perhaps the focal point of the symphony-a solemn Adagio in rondo form with a coda. A main feature is the beautiful melody of the first theme in C sharp minor. The third movement is a swift Scherzo with three main thematic elements. Beginning in A minor, the movement contains a wealth of harmonic material. Although there is a lack of distinct theme group sections, the form of the Scherzo corresponds to a type of sonata form. The Trio, presenting a harmonic contrast in the key of F major and a lovely melody that recall's Bruckner's Upper Austrian homeland, is particularly effective following the pulsating Scherzo rhythms. The Finale is similar to the first movement in form and thematic material. The outstanding characteristic of its first theme in E major is the dotted motif from the first bar, developed extensively within the movement. The second theme is a chorale in A flat major. The third theme is actually a new setting of the principal theme. The symphony ends majestically with a coda in tonic E major. In relating the style of the Seventh Symphony to Bruckner's basic concept of symphonic form, four main structural elements may be considered as governing factors: (1) the basic formal plan (2) the overall plan of tonality (3) the use of alternating stable and fluc tuating tonal areas and (4) the plan of the rising and falling waves of climaxes, which plays a particularly important part in the consideration of Bruckner's style. The unity of each movement is achieved through the coordination of these basic elements into a whole. With superimposing these factors on the basic symphonic form, Bruckner achieves a structure of vast and monumental proportions. |
