An analysis of Anton Bruckner's symphony number seven in E major

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.

AN ANALYSIS OF ANTON BRUCKNER'S SYMPHONY NUMBER SEVEN IN E MAJOR by Ann Johnson Donovan A thesis submitted to the faculty of the University of Utah in partial fulfillment of the requirements for the degree of Master of Music Department of Music University of Utah June 1972 This Thesis for the Master of Music Degree by Ann Johnson Donovan has been approved May 1972 Chairman, Supervisory Committee Dean, College of Fine Arts .uNJVEr:;lTY OF U!hH Li3RAIt:.:;i. ACKNOWLEDGMENTS The author by gratefully acknowledges the valuable assistance given the thesis committee members of the Watts during Chairman, Doctor Helen the the the preparation of this thesis. analysis of the help given by her husband, final drawings Folland, and the other committee, Doctor David A. Shand and Professor Ardean sincere thanks to Doctor James H. concerning B. She Doctor Francis M. of the charts and for his years of Master's The author also expresses Wilcox for his composition. helpful suggestions especially appreciates Donovan, Jr., in the encouragement during the two study that represents the achievement desired. iii W. of a goal long TABLE OF CONTENTS Page ACKNOWLEDGMENTS iii . TABLE OF CONTENTS iv ABSTRACT. vi Chapter 1. INTRODUCTION. 2. ANTON BRUCKNER: 3. BRUCKNER'S SYMPHONIC STYLE. 10 4. A SUMMARY OF THE SEVENTH SYMPHONY 17 5. STYLISTIC CONSIDERATIONS OF THE SEVENTH SYMPHONY. 21 6. THE FIRST MOVEMENT. 26 LIFE AND PERSONALITY. EXPOSITION. 26 DEVELOPMENT 30 . RECAPITULATION. 32 CODA. 34 7. THE ADAGIO. 8. THE SCHERZO 36 42 . TRIO. 9. 3 47 THE FINALE. 49 EXPOSITION. DEVELOPMENT 49 52 . iv RECAPITULATION CODA 10. 54 ..... THE DIAGRAMS 56 .. THE FIRST MOVEMENT. 57 THE ADAGIO. 58 . THE SCHERZO 59 THE FINALE. 60 BIBLIOGRAPHY VITA 53 .. 61 . 64 . v ABSTRACT The purpose of this thesis Symphony is to present detailed a Anton Bruckner's Seventh concerning of the analysis and to composition make it of value to anyone interested in the work of Bruckner. intensive written analysis relationships shown The development ferent is are shapes given personality their effect upon the is illustrated development particularly as In his Seventh symphonic design the Classical the Seventh to Symphony, modified, however. development are exposition. and third themes in the area thorough expansion lation returns all other in­ also discussed, of a form close expanded counterpoint or and the­ used. in the a as form is sometimes techniques presented includes are l Symphony. The form of the first movement is themes we l as Bruckner followed the traditional The overall The Classical analysis discussed in are of four movements with each movement in pattern. of dif­ means harmonic a of Anton Bruckner composer's musical style, relating by symphony. of the material. Specific stylistic characteristics fluences. matic movement of the of lines charted for each bar, and included to show the harmonic structure and tonal and the formal by diagrams of each of thematic material The life and to is An The sonata-allegro with three key is of B major/minor. E major with the second The development section of the thematic material three themes in order. vi and the recapitu­ The second movement is a solemn ful Adagio melody elements. Beginning harmonic material. minor. sharp swift Scherzo with three main thematic a in A minor, Although the movement contains there is presenting to harmonic contrast in the a lovely melody that recall's Bruckner's Upper ticularly effective following the wealth of a lack of distinct theme group a sections, the form of the Scherzo corresponds The Trio, point of the symphony-­ A main feature is the beauti­ coda. a of the first theme in C The third movement is the focal perhaps in rondo form with pulsating a type of key of F sonata form. major and Austrian homeland, Scherzo a is par­ rhythms. The Finale is similar to the first movement in form and thematic material. The outstanding characteristic of its first theme in E is the dotted motif from the first bar, The second theme is movement. theme is ends actually majestically In as overall plan tuating tonal setting new with relating basic concept of considered a a the style of the and (3) (4) the the theme. Symphony The third The to four main structural (1) use of alternating of the rising particularly important part Bruckner's plan and falling of Bruckner's The unity of each movement is achieved these factors on the basic of vast and monumental a whole. With vi i waves of through the superimposing symphonic form, Bruckner achieves proportions. the in the consideration a coordination of these basic elements into (2) stable and fluc climaxes, which plays style. symphony elements may be the basic formal plan the major. of the Seventh factors: tonality areas principal in tonic E symphonic form, governing of coda developed extensively within chorale in A flat major. a major a structure Chapter 1 INTRODUCTION This analysis detailed written serve The charts tive material plot by the of different a background for the his on shaped analysis of to fa­ examples writing attempts his musical and offers style style to the Seventh relating In view of music of Bruckner, kind will be in making interest in an combining written are symphony, the composer explanation The orchestration an is explain one comparison of Bruckner with Stylistic considerations also discussed. a with a overall An analysis diagram the life and detailed treatise of this work of Bruckner it. The the influences misunderstanding concerning pursuing elements, brings into focus the work. a affinity. an Symphony of the to the author believes that helpful anyone with a some of the aspects of his life and personality. of other composers with whom he has as analysis harmony is also included along with the thematic is discussed in the various that in the understanding. As chapter An of lines. shapes The written sections also contain thematic analysis. cilitate of thematic material rela­ and follow the various themes and their deriva­ use the basic form and the development of by diagrams which structure and tonal the formal illustrating in addition to the tionships Symphony consists of each movement followed analyses the purpose of work. of Anton Bruckner's Seventh more such of formal accessible to as this, in and thematic view of the basic structure of shown and the thematic material may be 2 traced throughout movement. a The relationships between apparent, both thematically and harmonically. the use It is tion of the score along hoped, then, that or Seventh conducting Symphony. will with the analyses the student of Of course, sections are the value of cannot be overestimated. theory, musical form, orchestra­ benefit from this insight into Bruckner's Chapter 2 LIFE AND PERSONALITY ANTON BRUCKNER: village of Joseph Anton Bruckner of Ansfelden near Linz village schoolmasters, he from his father. he and composition with his cousin, to compose around began September 4, 1824 in the play to sent to Augustinian abbey, the Chorherrenstift of St. At St. for Thus he Florian. of the great The impressive significant impres­ a Florian the foundation was laid with the Church. his lifelong and deep-rooted relationship By age twenty, his compositions Masses and a Florian After number of smaller choral a schoolmaster Steyr. that ing an was to two and taught there and at the monastery of by Schffler were later to have assistant Kattinger in 1850 as an teacher at St. and Gruber. he became assistant later at Kronstorf, in Windhaag and two years became half a He had already proven his Linz in 1840, in theory and organ at he During this time dances as by Kattinger, the organist course amounted works. He in the art of improvisation. talent St. study organ to Hrsching. and the great organ there made sion upon the young Bruckner. instruction the sacred music school he structure and grandson At age thirteen and after his father's death, Baroque sent was Weiss, in B. J. son the organ for services. training, he the age of twelve. was The his first musical began supplement his musical In order to on in Upper Austria. received age ten, By born was Enns and and acquainted with the folk songs influence upon his music. Florian for three years, organist of the Institute. He became After serv­ he succeeded organist of 4 the Cathedral at Linz in 1856. In the under the well-known master of The Rameau's principle discovery chord and ularly in of the fundamental on his harmonic progressions of fifths of later language to far-removed study During of Vienna's leading requested and received musical scholars. organist-composer music teaching position under Otto Kitzler, a the Wagner enthusiast and exerted a a a duced to Wagner scores and on Bruckner. performances began theatre. of varied well to as by five overwhelmingly should have felt capable studies Kitzler, experience, Under Kitzler, as ever- he was intro­ forms. symphonic Bruckner's introduction to Wagner in 1863, coming after his intensive studies in traditional man and his work and this time he composed lErwin (London: proved to his first theory, had be the an qualifications. examination were of the local practical musician strong influence his to an Instead he academy. Kapellmeister to have compositions, partic­ The results of at was This need also led to attesting in Bruckner's favor and the a fourths of or satisfy Bruckner's to was of various certificates this time he also governed keys.l present need to feel confident in his abilities. acquisition from bass, the basic root note of each The entire system of modulation is Another purpose of this the began Bruckner's complete mastery of this theory important effect his studies theory·of harmony is derived by the systematic progression by intervals these roots. year, he Simon Sechter. theory, of Sechter's its inversions. same a profound effect turning point large independent on in his life. works: an the At F minor Doernberg, The Life and Symphonies of Anton Bruckner Barrie and Rockliff, 1960). p. 40. 5 Symphony in three movements, an Overture in G minor and a in 0 Mass minor. From 1865 to 1866 Bruckner wrote the decisive work of his reer, a set his symphony and lack of discovery of of his 1asses in In a lectureship made several in He of the heightening It Conservatory. in in its ram­ biographical signifi­ composer's genius and followed by the composition was minor and F minor. theory He became in 1875 at the Professor in a theory and 1871 and undertook University of Vienna. Bruckner visits to Bayreuth and other towns in Germany to hear on journeyed the occasions of the to France in series of organ recitals. a from later works It possesses suitable medium. works of Wagner and works. This symphonic work Symphony. 1868 he moved to Vienna to become teacher of organ at the for solemnity. in that it heralds the cance a the First style in many ways but differed pant energy his in C minor, ca­ performances 1869, first In 1871 he London, where his organ concerts were to Nancy appeared very well of his own and then to Paris at the Exhibition received and caused much favorable attention. The Second Symphony was begun in London and finished An earlier work written two years before and was later of the Second were to leading Wagner be a designated by him was "Symphony Symphony, difficulties began constant music critic, source No. not held 0." highly by Bruckner vJith the composition with the Viennese press which of trouble to Bruckner from then Eduard Hanslick, was on. The also the leader of the anti­ forces and his reviews of Bruckner's works away from any in 1872. acceptance they might have received. helped sway Vienna 6 Bruckner traveled to and Third Symphonies. agreed Wagner in the to him only have full as highest tion which in unable to reality The premier , of Bruckner's most came but it established in the realm of the deserved and which a symphony-- only brought him more Bruckner come. ceased to suffer never of the Third performance posi­ a Symphony was a fiasco. The Fourth one hardly one. creative powers, ignore Hanslick's reports and because of them. total he decisive was from Hanslick and his followers for years to hostility was own always held work in which he Symphony outstanding symphonic confidence in his Wagnerian representative a Bruckner it to him. The Third esteem. it his first was Wagner his Second liked the Third in 0 minor and Wagner especially to Bruckner's dedication of Not in 1873 to show Bayreuth popular He and the Te Deum. and the two represent finished in 1874, a works destined to become was along with his later Seventh Sym- began the Fifth Symphony shortly afterwards contrast. sharp The Fourth abundant in melodic invention while the Fifth is (the Romantic) is large contrapuntal a structure. Bruckner's only chamber music work the String Quintet never recognition Adagio Symphony to written Symphony is the least being the was this time, during successfully spectacular of the only work which the revised. From 1881 After the The Fourth and holds the distinction of symphonies the The Sixth in 1881. performed composer in F major. was the to 1883 Bruckner wrote the work which now aging composer: the Seventh was Symphony to bring in E new major. writing of the Scherzo and the first movement, Bruckner began in sad anticipation of Wagner's death. At the news of its 7 occurrence, he wrote the solemn coda of the movement He finished the with in the fall symphony second and final a The Te Deum is last a all This symphony brought eloquent Adagio Bruckner homage ble acclaims were gained In 1886, the Seventh Cross of the Order of Francis but his first Bruckner experienced of the work, a triumph even and the work that Bruckner was to of despair, a nota­ in Cologne, Bruckner received the The Emperor in 1886, Eighth Svmphony its in 1891 but accomplish but The work on a mood of triumph was often few sketches of 11, 1896 at the age of 72 and a was was it and never was was praised by finished. The Ninth by serenity dominates He died Novem­ begins with at the life, Bruckner, accompanies the declining Finale. success. finished In the last two years of his by the ill health which finished only dampen completion of the Adagio. end of the third movement. beset especially, Hanslick wrote of the "unrelieved although begun profound expression in Vienna. he could not was ber of 1894, with the St. even Symphony The Ninth All re­ in Vienna in 1892 under Hans Richter and this time most of the music critics gloom" Symphony. very well played was from the Joseph position in Vienna remained unchanged. performed was Two and admiration from In Germany Graz, Hamburg, Amsterdam, Chicago and New York. Knight to God. primarily by conductors Arthur for his works Nikisch and Hermann Levi. March of 1884. praise Symphony occupied was of the Seventh success sides, with the exception of Vienna. until in its The first performance of the Seventh ceived. of 1883 and version of the Te Deum concise work and a themes from the Te Deum appear in the a as the "Master of Bayreuth." to in Vienna years, on October buried in the crypt of the Church at Florian underneath the great organ. 8 Bruckner's personality presents in which he lived. shallowness. His era marked was but at the same place in his time, misunderstood God of pure love and mercy, on by materialism the he and seen as a through experiencing within was a compositions rich in capacity creative power and could achieve what he did. humility and his lack of self-confidence. in his speech, dress, and society. this lack of conformity to society manners But from 2Alfred rev., New York: a an often different acute a of man however, contributed may have contributed Haunted throughout his life by a but one His peasant were in However, in view personal peculiarities characteristics of his creative ions of others and no naivete, he aroused. antagonism barrassment in well-bred the individual His joy, despair and invention.2 contributions, it is evident that sible in part for the any stan- to express what he felt musical genius simple, rustic great thinker by a himself both doubt and These very traits of out­ great and sensitive human being who, endowed with the was an great religious sentiment of man of his musical evidenced popular A believer in the misinterpreted. Einstein infers that this mystical. dards but should be to a time, it helped make him out of Austrian peasant could not be considered exultation, and Bruckner's deep humility and 'integrity gave him standing character bordering contradiction to the times a a were respon- background cause for as em- point of view, to the rise of work.3 sensitivity lack of self-confidence in his musical to the opin- abilities, Einstein, A Short History of Music (4th American ed., Inc., 1954), pp. 190-191. Random House, 3paul Bekker, The Orchestra (New York: W. W. Norton and Co., Inc., 1936), p. 202. 9 he was never satisfied with his constant revisions and editing sulted in both from his correcting by some scores various own critical simple and somewhat awkward demanded of him. never deterred from case evaluations and from re­ disastrous editions of his best works. ences of the them victim to "well-meaning" friends which The story of Bruckner's life is a and rendered man seemingly account of the trials of ill-cast for the Whatever disappointments befell continuing of Bruckner will unpretentious and simple an man resourcefulness that resulted his creative output. experi­ him, he The basic was enigma always remain the question of how this could write music with the assurance in such power and and sublimity of sound. Chapter 3· BRUCKNER'S SYMPHONIC STYLE Bruckner's symphonic style the Church, his Austrian was shaped by four major factors: his background, symphonic heritage Beethoven and Schubert, and the influence from a line of composers long gradually departing contributing to from the Classical Bruckner, Mahler, Reger contemporary twelve-tone composers. conception of beginnings of tonalities, and the progressions with non-harmonic procedures. produce is of an particular importance previous chapter, Bruckner's life and his ter a Webern and in Bruckner's alterations, blurring All constant of harmonic these elements join to distinctively personal style individual by Wagner through contribution to this line wealth of opulent melody and architectural dimensions. In the the Church in his His music is marked of evolution. monumental Bruckner's ambigious tonality. of This tonality. Schoenberg, Berg, These one systems of harmony and new works may be found in the many chromatic chordal key changes and shifting He is Wagner. line travels from the "Tristan chord" and harmonies of and Strauss to from was a background. the technical Bruckner compositions. of his style that brought together resources compositions fall have of the that the Church affected seen His organ factor in his music. major specific aspects we were playing We shall influenced see associated with in this chap­ by his organist the sacredness of the Mass with symphony into a personal style. into two major divisions: Masses and His symphonies. The 11 two have common qualities. In the symphonies we note not can tation of themes from the Masses and the Te Deum, but also seriousness of tone and mood ranging from foreboding to only quo- prevailing a The serene. chorale-like themes often used in the Finales of the symphonies stem from the Church influence. His personality and works governed by were a pro­ foundly religious spirit. Bruckner's primary influence from other composers Beethoven, Schubert and Wagner. His work is the direct descendant of the Beethoven of the Ninth Symphony works. movement of Beethoven's Ninth The expanded first tive Scherzo, all had an the formal the spacious effect procedures of thematic contrast Seventh Symphony seen symphonies. model a Adagio intensity previous and rhythmical drive. exerted upon the music of Bruckner. toward the a The thematic recurrence Both of the Ninth Symphony to Both share the of themes from a a background of Schubert --the great C Major its dotted rhythms were Both carried their its fullest extent in many works. its of leisurely attitude Evident in both of their works its distinctive writing for the brasses, color effects, in steeped melodic invention and breadth of form. development theme in the perhaps exceeded all others love of melody and unfolding musical ideas. same type to stem from the Ninth. seem The influence of Franz Schubert they shared of the close relation of the Scherzo movement movements also would Austrian music, -­ some is evidenced in the of the Seventh with the Scherzo of Beethoven's Ninth. same symphonic its distinc­ That Bruckner used in the restatement of the as -- important culminative Finale of the Ninth for well as and Schubert in his later the Adagio, Bruckner's on from came The Symphony length -- original orchestral and the drive of the Finale all with tone had 12 a probable influence upon Bruckner's beautiful contrasts between made their major and minor also certainly inheritance in his works. his "Master's" influences were and certain harmonic devices. and proportions. means must have impression. Bruckner's respect for tradition Classical Schubert's modulations and music. Though he greatly admired Wagner, was instrumentation in aspects of his chiefly He the effect of the encouraged impressed with Wagner's Specifically, the Wagnerian influence and his music is noticeable in the general monumental on harmonic idiom that Bruckner they shared, the large size of the orchestras they required, and the great length of their works. instrumentation, Bruckner made In Wagnerian tubas in the slow movements He differs from symphonies. use of the and Finales of the last three Wagner in that his works are basically non-programmatic. There such as can be found no influence from other Romanticists actual Berlioz, Schumann, and Liszt in Bruckner's works, primarily because of his devotion to absolute music Even with programmatic tendencies. opposed as Wagner, Bruckner to these composers was interested I only in his music and took little note of the drama behind it. This devotion to absolute music symphonist Having been maneuvered the anti-Brahms polite shared by another great heretofore unmentioned in relation to Bruckner, but who':also lived and worked in Vienna feeling was during Bruckner's into the unfortunate (pro-Wagner) for Brahms and Brahms to Bruckner. compositions. There lifetime a Johannes Brahms. position of figurehead in faction, Bruckner actually fostered in turn was in every instance However, the two did not was -- mutual respect but seem no no ill­ extremely to like each other's real affinity between 13 them. Bruckner and Brahms shared adhered to the traditional forms closely allied Classical techniques Bruckner added after its few a some program notes to his Fourth descriptive as distinguishes Berlioz and Liszt. ly developed in Brahms, Bruckner's background of the voices are also was as Contrapuntal craftsmanship, an important factor in relation to one another. seemingly continuity and the "richness with the economy" that Brahms symphonies are Symphony basically on, to the in the alike in form and Bruckner Adagio symphony. logical displays. specific stylistic characteristics from the Third Particularly signif­ endless flow of sound is in contrast to the Bruckner's of Bruckner, all One in these very elements expression that Bruckner made valuable contributions regard individuality avoidance of the was high­ so to Bruckner. thematic organist encouraged an independently and to same Brahms and Bruckner from the Roman­ icant difference between the two lies in Brahms' In Symphony in the non-programmatic and Scherzo movements of Beethoven's, while it of Although Their respect for tradition and their devotion are. to form and structure ticists such They both used the pattrn. counterpoint and thematic development. completion, his symphonies way that Brahms' They both of four movements, each in symphonic design to the Classical of traits, however. symphonies technique. certain musical uses devices which have become associated with his style and which have become recognized The as essentially Brucknerian. symphonies usually begin with a first theme emerges. open fifth or all vague have the conventional four movements and string tremolo background The first themes the triad, and usually Bruckner called his second themes are out of which often based set the tonality "song themes," on the either the for the movement. and in some movements 14 a counterpoint is closely interwoven with the theme. with the themes in invertible counterpoint often theme group. pletely His closing themes "third themes" often or the sonata form clarify ration of the theme groups, but a He once of means of com­ a means much ridicule of a sharp effective aspect of his an "I must take breath when I am Bruckner makes use, developments, repeating themes in sequences. He often as inversion and imitation, and as his style. about to say of thematic as Schubert did, of contrapuntal devices uses are usually The development. shorter than his similar to Beethoven's. the codas is a crescendo use of pedal points is a It may be in a the last three great building is hymn-like Adagio type of sonata form symphonies are ments with their energy and fre­ His and his codas especially up of tension over a are used in pedal or a one of Bruckner's noted features. rondo form with especially impressive. driving force recall a coda. The Scherzo Those of move­ the Scherzo of Beethov­ en's Ninth, but their melodies and rhythms of the Trios reflect the spirit of Austrian popular reca­ in the brilliant sound of brass fanfares. point frequently culminating The solemn, expositions A favorite Brucknerian device -- such occasionally augmentation and diminution quent and often is combined with shifting of tonalities above. pitulations sepa­ potential a importance."4 In his means by so discovered later to have were expression and became remarked to Nikisch, something provide idea in the exposition. new used at first to as the second lengthens Bruckner's famous "pauses" which brought him were Experimentation songs and rustic dances. 400ernberg, ., p. 61. 15 The Finales often have They sometimes have themes clical This is recurrence. often used with triad or resemblance a on wide suggest cy­ Chorales Symphony. usually long and often based either are A leaps. between major and minor is melody may are to the home one influence in the tonic, modulate key. The Schubertian contrasts in Bruckner's melodies. seen and consists of the division of style This gives phrases. one a of the "fingerprints" bar into alternate two and triplets and duplets in contrast of a on begin The well-known "Bruckner rhythm" is certainly three-note to as in the Finales for the second themes. to distant areas and return of his close so in the Seventh seen Bruckner's melodies a with the first movements. strong affinity a a given melody. In addition to the gard seen. There is trasting registers A manuals of brought are an organ. was the model changing organ manuals-­ in and combined like One may hear the to another of blocks of sounds often suggests The organ re­ con­ change from "manual" of brass produce massive organ-like effects. His tremendous octave passages piling-up tion. groups to the sound of woodwinds string color sound. or the effect of frequently that is, the instrumental pure already mentioned in orchestration, the influence of the organ is also to Bruckner's clearly influence Wagnerian an for his orchestra, organist's improvisa­ enlarged to a great wealth of voices. One rising essence and falling of Bruckner's waves style of climaxes tive crescendoes and diminuendoes but of particular importance is the accomplished not only by the by orchestration and other effec­ 16 considerations. This of climaxes use is a feature of significant Bruckner's music and should be considered for its function and importance with the along harmonic, thematic and other traditional aspects of analy- sis. Bruckner exerted influence an artists of his time who later Hugo Wolf, Franz Schalk, Dr. Nikisch. a There was also on championed period, much they have young Jewish many affinities and both wrote nine rather similarity main aspects, in their works however, where the works of Mahler. and an from Bohemia were adopted by 5Bruno Walter, p. 103. and Arthur Gustav Mahler. -- Austrian, of the lengthy symphonies is often thought.5 was same --there is not There are as three Brucknerian influence may be traced in certain harmonic devices such were Lowe were Although their association both -- Ferdinand Many of Mahler's themes have Mahler; and both used the idea of the 1941), a as boy Among these cause. Austrian coloration in their melodies, and Secondly, planes his Carl Muck, Dr. Bruckner became his teacher and friend. close and many of his students and young as lastly, expanded symphony Gustav Mahler (New the use singing quality a a broad thematic of shifting and most in evidence, of layout. of tonal they great length. York: The Greystone Press, Chapter 4 A SUMMARY OF THE SEVENTH SYMPHONY Bruckner's 23, 1881 and was Number Seven in E Major Symphony finished September 5, 1883. begun September was The Scherzo written was first, then the first, second, and fourth movements in that order. first performed was on December 30, 1884 in Leipzig under the It baton of Arthur Nikisch. The form of the first movement is themes presented in the exposition. and third themes in the uses of of B area Bruckner's themes in the symphony turning into an The the thematic material. freely, sometimes ending to the made up of two sections. are a is The put major with the second is E The treatment use of development section its as different key sources and also modu­ and sometimes area re­ of major and minor combining to effective use. recapitulation primary pedal points is frequent. exceptionally long The Romantic original key. ambiguous tonality in key major/minor. inversion, imitation and sequential expanding late The sonata-allegro with three The returns all development is three themes in order, with the first in tonic E major and the second in the E major/minor region, thus somewhat conforming tionships. sonata-allegro The third theme returns in G major. leads into the its to the significant coda which brings form of A transitional the movement to a key rela­ section close in original key. The second movement is long, beautiful melody used as a solemn Adagio with its first theme. its main feature the Also important ;s the 18 striking use of four Wagnerian needed for the theme. somber mood beginning and fall a -- to calm transitional moves from the sharp major. ABABA a plus coda. change a These two themes seen A:C# minor; as: (Enharmonic dominant, G#); in bars 133 to as oped contrapuntally themselves, harmonic sequences are also or Movement three is The up harmonic material. brings slight pause and only Coda:C# major. are (bar 161). by new a sometimes devel­ they may travel through series of a from the themes Motives (bars eighty-five 105). and rhythmical drive has already a makes a the first timpani C two movements. (bars the beginning as to lead of it hasbeen The motion of the Scherzo but there is a wealth of 53--dominant of C--to 69-­ treatment and involves expositional pedal to strong impression about four minutes, receives special (up The provide all in the first twelve bars The key of C minor 90) C minor tonic--to climax that The themes in sections presented key of A minor taking 156. A:C# minor; B:F# major; theme is often varied Scherzo whose a sparsely used in the preceding is swift, alternated in Rondo form used in sections A, B, and C the basic material Trio). 3/4 to recalling the Scherzo of the Beethoven's Ninth. as three thematic elements the or modulations developed extensively been mentioned are rhythm and key of A:C# minor; The restatement of the original countersubject, The second theme The harmonic relationship between each section of the movement may be B:Ab major pathos with the rise into the next theme group. time and F lament of the profound tense a the sets immediately The theme may be divided into five parts with melody. the customary contrast with provides minor sharp and then to serenity section of C key mood which a of the The tubas for the appropriate tone color section to a a huge close with a into the second section. 19 The first section has not one at time, but together from the a the three themes, effectively presented start of the movement. Even without distinct first and second theme groups, the form of the Scherzo might be considered a appropriately be called developmental a major which is followed by themes, episode with contrary motion. of A modulations, inversions, the 0 flat on major. It in A flat begins G flat, with inversions of the and new character contrapuntal major, then E major as as a dominant The Trio presents a The is of (bar 315) area recapitulation. There is an leading to The tonic A lovely melody fresh harmonic contrast with its a and The form is returning to F singing nature. key binary with The contrast is fur- major leading rhythms to 0 major major by way of A minor and other key sharing in the production, but with interest F of F areas. variety, with both harmonic and thematic movement of immense a are firmly established. energetic drive. It is stretto they go through combinations. thered by its character following the swift pulsating Scherzo and a The thematic ideas of the movement A minor and the C section of original minor is section. major, C sharp minor and E minor, and treated in various ways and receive emphasis Therefore the B section could repetition in a in the keys form.6 terse sonata a unity over all. The Finale is similar to the first movement in form and thematic The material. outstanding characteristic dotted motif from the first bar, ment. The second theme is actually Go 11 anez a new a developed extensively chorale in A flat major. setting of the principal theme and is 6Robert Simpson, The Essence Ltd., 1967), p. 152. , of the first theme is the of Bruckner within the move- The third theme is very similar in (London: Victor 20 character. The working-out through the use of the contrapuntal tion to the first movement. other movements. of the thematic material The E Significant is are E accomplished devices mentioned earlier in rela­ pedal point dominates the coda the return of the the first movement nine bars from the end. Finale is principal The important major, A flat major and C major, all related major mediants. There is considerable major achieves the final triumph as emphasis on A flat a in the series of major, but E the true tonic in the climatic close. The symphony is scored for pairs of woodwinds, four horns, three trumpets, three trombones, contrabass tuba, timpani, optional cymbals and triangle, and strings, with four Wagnerian tubas added in the second and fourth movements. in theme of keys as as Chapter 5. STYLISTIC CONSIDERATIONS OF THE SEVENTH SYMPHONY The basic tonality is E major. symphony of the first and fourth movements of the In the first movement, this by the first theme group (theme A). theme (theme B) in the we find on B minor but ends an of unstable area begins further E areas. In the major; theme B instability thus enters original area in E minor, but returns again with a a distinct contrast B tonality which would have of B, and then returns to establish the completing of theme B, provides recapitulation, theme A enters The next section, the restatement of theme C, emphasized the dominant theme itself, (theme C) The third theme tonality. in G major rather than the the tonic E major, With the entrance of the second of B but with major and minor tendencies, in B major. in the stable tonic, unstable tonal area key is established cycle. quality In each case the tonal of the melodic line of the by which tonal balance of the movement is achieved. In addition to this the climaxes--in important part has said, 7 rising and falling waves of tension-- which in the consideration of Bruckner's "This is the heart of his style and his arise from it. "7 ic consideration, there is the progression of development These cl imaxes do not but may be viewed 7Robert Simpson, (1946), 35. as the occur moving "Bruckner and the only style. plays Robert an Simpson peculiar symmetries as a resul t of themat- force in his Symphony, II compositions. Music Review, Vol. 22 may combine with other features of They ter and a is not (in new perspective necessarily restricted the elements. They tions of the movement. ment, one to lead use to of give charac­ new series of climaxes a the sectionalization of the basic form to the sonata form) mayor may not coincide with the basic At the end of the normally would expect a in the form of preparation sec­ of the first development of the at bar 281 to Instead recapitulation. pianissimo a tabl ishment of the tonal ity of of climaxes and the very different effect. a E move­ dominant a -- a definite However, the es­ major is then achieved through several growing emphasis From the transitional E. on section at bar 391 to the coda, to the end of the movement, there is strong E pedal point. three, Bruckner's use builds up tension over harmonies an pedal point is we movement of the underlying pedal point but see the four main structural symphony: stable unstable key (3) climaxes.8 This basic scheme is often used movements. More or versus less emphasis give the individual 8James often with H. may be chapter as he shifting governing the first areas, by placed and emergence of dual (4) the plan (1960),98. of Bruckner in his sonata form on each element and will movement a different character. Wilcox, "Bruckner and Discord, Vol. 2, No.9 elements (1) sonata-allegro form; (2) tonalities; therefore especially ingenious a all. over Thus Relative to this and mentioned earlier in of the the as series of climaxes subsides a statement of the first theme recapitulation, but certainly other or into the strong statement of the first theme in the tonic, beginning peaks The of the first and fourth movements, case structural development to the themes. Symphonic Form," Chord and 23 Bruckner also achieves unusual and original effects in his orches­ tration. One effect very apparent in the fanfares combined with sections are climaxes. often used to achieve the up of tension at the building of the use pedal point pedal point, this over adic dotted tremolos in the in the string running eighth note section play then sustained chords. figures begins climax of the huge tremolos continue while the woodwinds in the seen theme is restated original strings, the brass figure which culminates effect is achieved It may also be fifty-two bars. of coda of the last movement, where after the The These In the coda of the first movlent, the section just mentioned the tonic the horns of brass use tremolo and sustained woodwinds. string in relation to Bruckner1s over is his symphony first The a by tri­ a ending. series of is pedal point again present throughout this section. An effective bars of the use of orchestral Adagio with the very color is found in the appropriate sound tubas heard with the solemn strains of the following very effective contrast this by the strings is developed in another effect of a in the violins scendo at bar 177 is a huge nishes in the transitional tension evolves into a mass The strings. of sound in C statement of the the horns heard The contrast of instrumental as the a strings over - Adagio 184) where with an accom­ an the tension ovr height of the a cre­ major that gradually dimi­ section that follows. final Wagnerian tubas and then strings. section of the gradually increasing thick texture of lower brass and lower There is The motif heard at this spot rising climax is accomplished (bars 157 paniment figure opening Wagnerian Adagio melody. opening statement, increased volume and intensity. enter with of four The relaxation of this opening melody by the sustained chords in the tone color in this section gives 24 a lovely effect. very mournful The sound of the strings gives of the sustained chords underneath the use melody, the effect of and also the pianissimo pizzacato in the away and dying the movement to brings quiet a close. Unison passages and 191 ninety-three in unison played where well they also used effectively are in the Finale. enter. This of use dotted motif which is the can be seen at bars The dotted motif of the theme is by all the woodwinds and in the brasses strings and rhythmic patterns the contrast of sections of as as differing can be of harmonic outstanding characteristic importance, The rhythms. of both the first and third themes of the Finale dominates the thematic material of the entire movement. in the The contrast of harmonic rhythms third movement, where sections with The The diagrams also chor'ds and rapidly changing use of contrapuntal has been mentioned in tion. stretches of tonic long chapter overlapping of devices to four. seen in the of Bruckner's material Bruckner's themes, like analysis. followed frequent A by use the thematic material are inversion and imita­ use governing in the of harmonic sequences factor in the is structuring is often his system of harmonic formulas. Wagner's, units of sound and his forms are and balance of these harmonies. upon this harmonic are seen areas. develop Most in be contrapuntal lines will be observed of the movements, and the readily key can harmony as development, are shaped from the underlying harmonic usually structured upon the development Although he may build his his themes still symphonies appear with identity. The unity of each movement of Bruckner's symphonies is achieved through the combination and overlapping of these many elements, and their 25 superimposition upon the basic form. Bruckner coordinates them into whole and creates structures of vast and monumental wealth of beautiful sound. proportions and a a Chapter 6 . THE FIRST MOVEMENT The first movement of the traditional the sonata-allegro length. same 115 bars, the There three are development form and has three sections of The exposition recapitulation principal section symphony, Allegro moderato, is in 131 themes is divided comprises 164 bars, the bars, and there is presented in the with theme. a change The to C key is E development 30 bar coda. exposition. into two main sections and the ulation brings back each of the themes in order. ¢' a approximately (common time) at the The meter beginning The recapit- marking is of the second major. EXPOSITION The sharp symphony begins quietly with of the E major chord. first theme, theme A, a violin tremolo on E and G The first horn and cellos enter with the in bar three, a long theme of twenty-one bars. 27 It is the complete expression of ment, climax and coda. the E major triad. a half and The first element The next element through eleven. thirteen, (b) standing characteristic throughout in character and ends in the with its develop­ own of the theme is based on is contained in bars six and (c), a motif in bars twelve the movement and has the out­ of the interval heard in bars fifteen and seventeen. melody (a) The third element often recurs a of a diminished fifth, also The theme is dominant, but after a strongly modulatory few connecting bars the repetition is again in the tonic. This second statement of theme A begins bars at bar There is thirty-eight through forty-one, that leads first twenty-five. by into the next section the oboe and It begins then the material on a and a and woodwinds an extension short transitional (bar fifty-one) with theme B in section played the clarinet. the dominant, goes quickly shifting sequentially through mobile theme than the first, and contains bar by violins climax and then fifty-nine the cellos other to B keys. fluctuating strings. It is a more harmonies. and basses state the theme in C with countermelodies heard in the other minor, and At sharp minor, Theme B is heard 28 again at bar joined ing at bar to a as at bars in B major in the clarinet and first violins, seventy-three by second violins and again by clarinet seven felt sixty-nine and horn. A steady crescendo began at bar at seventy­ sixty-nine lead­ diminuendo at bar seventy-seven, where the C major harmony is the flat supertonic of B. eighty-one and eighty-five; treated sequentially, alternating strings at bar eighty-one five. The quarter-note There is that is, a series of double sequences two different figures between the first violins and lower and the first and second violins at bar figure are is based on eighty­ intervals of major seventh-- major sixth, minor seventh--minor sixth. The B theme is stated joined by the trumpets with again an at bar overlapping eighty-nine by the horns, effect. At bar 103, receives its first inversion in the first and second violins and as a transition mounts with the to the C section. use of a dotted (See example 4, figure next This is heard against a triadic serves Tension in the woodwinds and first vio­ lins, derived from bars twelve and thirteen of theme A, form. page.) theme B but in inverted figure (bar 110) derived from 29 the first three bars of theme A, (tremolo) and then There is continues to 122, in the key a in bar 114. pedal point on suddenly dominant area. It along with a spite character as the rising climax breaks forth -- grows for twenty bars until a at folk-like tune in the minor a steady rhythm; yet there is still and of the pulsating rhythm. It is a at bar welcome change of building-up rhythmic of B pace. as The 131, the cellos and basses continue playa lyrical countermelody overlapping bassoon ad first a change of The sudden release of tension after the strings play the melody and by the clarinet, dominant into the next section which is a lively dominating tonality. while the violins sharp which begins in bar 103 and F £x 6 (bar m) 7hm C calm about it in occurs as The of B minor. theme C moves by trumpets leading bar 123, heard first in the horns and viola horn, with 0 with entries major/minor tonalities. 30 Sequences through some several occur key at bar 135 areas. The on descending scale pattern, going a original rhythm instrument up to within two bars of the development section. melodic interest appears at bar 141, with lowed by a leading by which of theme C continues transitional means begins section a new massive brass fanfare, fol­ using material of horn triads to the A in from bars 131-134 and development section at bar 165, in B major. DEVELOPMENT Theme A is first heard in inversion from the clarinets, echoed by the first oboe. There is a then theme A response of theme C in the flute, inversion with a stretto effect A without inversion. bar 185, B is one The theme C bar later rhythm by the appears oboe again again, in playing theme in the flute. At theme theme B is heard in inversion in the cello, and at bar 189 in both original form in the second violins and second oboe, and in- verted in the first violins. Theme B is again inverted in first clarinet 31 and cello at bar 193. figure resembling Again At bar 197 the cellos have a broad at bar 203 inversion in the cello, theme B is inverted in the bassoon and without one bar apart. four and five of theme B is heard by At 210-218, motif from bars a the first violins with Theme C appears in E minor at bar 219 in its of polarization position this theme with the was high and low extremities. combined with several a original the cellos and basses, while in inversion in the flutes. one sequential the first extension of theme A. flute echo. form in The effect is While in the ex- interesting countermelodies 32 yet another new idea is introduced at bar 221, melody by the violins (example 11). o major, 0 minor, C major, triple piano brings an the key of C minor. on This strong original and and with at bar 249 with overlapping creating of F areas sections, until a counter­ dissolves into A minor, a drop the dominant of C, G major, emphasis ly delay syncopated major chords and inversion emerges the return of the true tonic. inverted, soon B flat and A flat expectation to bar 233 where theme A in E minor a leading solemnly and fortissimo in C minor on to serves to effective­ The theme is heard in both forms, contrary motion between the parts stretto effect. This treatment continues minor, C major, A major, then 0 minor and A flat at bar 281 the occurs recapitulation in E major major tonic. RECAPITULATION The recapitulation (bar 281) begins with theme A in inverted forms with contrary motion between the parts, theme and a original and play between counterpoints. The complete theme is heard with a transitional to theme B at bar 319. sequences and contrary motion, section using This time the 33 B section B is heard major/minor as in E minor (with feeling this time until at played by The same the flutes. into of rhythm Theme B series of chromatic a eighth figure in the violins. cadences at bar 355, and beginning scendo up to bar 363, key of G theme C again appears a as before, heard inverted with it is sixteenth-note accompaniment deceptive is present, notes repeatedly recurs fortissimo section at bar 343, a balance of the B area. strength of E minor dissolves sequential progressions. rather than This furthers the tonal toward the tonic and diminishes the The harmonies) unstable in the exposition. After several grand climax and cre­ abruptly but calmly in major, both in original and inverted forms a at the same the time. The key of G major further leads away from any strengthening of the B the tonality. exposition, phere. as theme B was also given (C sharp), same then to A a a different character and atmos­ from G A series of modulations follows, flat major, is the The character of theme C differs from the statement in scale-like progression -- G major as major, to E flat, F, E flat, 0 flat major at bar 375; then A minor, until type scale-wise progression to C had been at bar seen 379, there at bar 135, but 34 this time an ascending figure descending figure follows rather than at bar descending a 383 with the theme C The one. rhythm in the strings. The purpose of this last section of the re-establishment of the tonic E major is (bars 391-412) firmly established, (bar the 12 ) and the major. has been At bar 391 and this transitional section The melodic material section is taken from the third motif of theme counterpoint recapitulation. continues for of tonic E leads to the Coda at bar 413. of this transitional A tonality recapitulation The fifty-two was pedal point bars until first on E in bars 291-298 of seen (bar 391 in the basses) the end of the movement. CODA Theme A returns in the coda in E major with tween theme and theme. counterpoint, The horns and trumpets begin which is derived from theme A dramatically ing a to emphasize great tension. effect until based This (first on a figure the movement is is brought triadic build-up a figure bars) augmented to a play be- the first three bars of the three the climaic again at bar 421 and which is used in all parts, creat­ in bar 431 for added glorious close. 35 The tonal main parts evolution -- plan of the first movement can be divided into two the first part to to B minor and major half reaffirms the true tonic lenge presented present E major but with the slow out of the basic on E major, but from the 8 tonalities. tonality. The second not without some chal­ Chapter 7 THE ADAGIO The second movement, a or coda. most it is Adagio, It is marked Sehr feierlich und Molto lento theme the maestoso. The in the mournful begins part e was opening sustained strains of The of C reserved for the The dark color of the trast to the stately, beautiful melody key sharp minor, tubas is melody ABABA plus of the first key which for the a related key, movement. especially appropri- The theme is continued bars. a Although impressive slow Wagnerian -- langsam (most solemn and slow) avoided in the first movement. effectively ate for the is in Rondo form by the strings with and the increased volume provides a con- piano beginning. Adagio melody can be divided first three the most significant. is contained in bars one at bar four and continues to segments, with the The first segment three and through into five a half. bar twelve. (a) (example l5a) The second (b) begins Segment three (c) (bars 37 thirteen through eighteen) nineteen through twenty-two)and segment thirty-two) may be thought is made up of sequences. of as an This first theme, with its is followed by theme B with a four-bar change a bridge of meter five (bars twenty-three through extension of the thirty-two bars, (to 3/4) and lively key, is lengthy to F and Adagio into sharp major. but unhurried and is somewhat similar to the second theme of the rhythmically of Beethoven's is middle After an eight-bar opening statement, there eight bars, an extension of the main theme, followed by the Symphony. section of principal theme. of chromatic dissonance to lead The second theme is rather Ninth Segment four (bars return of the original melody, this time with woodwinds a (especially 38 imitative in F again six to sharp major. seventy-six) tonic F bar flutes) added to the sharp original string arrangement, A transitional with sustained a which progresses to F sixty-nine, figure is pedal 'point original key in this developed (bars sixty­ in the basses then to G double-sharp, the dominant of the The sixteenth-note section follows and of C on sharp at sharp minor. section. At bar seventy-seven the original C sharp minor is reached, and theme A. Fragments of the theme the first bar of the theme are explored The motif in the woodwinds at bar sion by the first violins. cially dwelt six with a developed extensively with first (bar eighty-five forward). eighty-nine is answered in inver- The last half of the first bar is espe­ sequentially at bars ninety through ninety- stepwise harmonic progression using augmented sixth chords (bars eighty-nine the theme is also 100. treated upon, now - ninety-two). The first half of this first bar of developed separately This section leads by a gradual in bars ninety-three through crescendo towards the climax at bar 101 where theme A is heard in inversion for four bars clarinets and second violins, and in second horns, while the first violins paniment and the lower original form by by oboes, the first and playa sixteenth-note strings have sustained eighth notes. accom- 39 There is development a at bars motif in bar five of theme A. This 105 through begins in 114 of the short major but ends in E C flat major at bar 115 where the entire section of the melody (bars four through seven) gets considerable development. Bar five is stated several both sections and typical on a times by woodwinds first, different scale degree each time. Brucknerian crescendo based entry of the motif in different ments. to A for several F and sharp, bars, giving a on the motif progresses of where theme B returns in this one at first might think monically as Not for the as of the a counterpoint one original as C at bar major so strange recognized 133, as enhar­ sharp minor tonic. fulfillment of the a as a huge dominant tonic. The second violins and violas accompanied by A flat is but it also functions upcoming minor, with C It is not surprising key. only is this section important of theme B, to A flat half-step, (G sharp) is heard However, with another deceptive glance, though, the dominant recapitulation preparation a harmonically pedal point a heading towards of the major climaxes of the movement. cadence, the tonality shifts up a successive terraces with the finally G, when feeling This is and in different choirs of instru- keys From the E flat at bar 115, flat, E, F, then brass, then play in the first the melody in violins, a this new completely key new idea. 40 The middle section of the theme also adds contrapuntal interest while the return of the B theme eight bars later undergoes tion in the form of A. This section a transitional (bars 157-184) bridge introduces a transforma­ to another restatement of theme an accompaniment figure in the violins which lasts the entire twenty-seven bars. The theme appears in the tenor tubas, second violins and but the second violins join the first violins after seven bars of the theme are and five of the theme is section of climax. the rising a tonality revolving again developed extensively through series of stirring modulations to an a beautiful awesome sequential harmonic progressions with each time around ferring the entire sequence Drily heard and at bar 161 the motif of bars four crescendoes and It includes eight bars. violas, a principal chord, to another level or key area, then trans­ passing through 41 the areas of 0 sharp minor, major, 0 flat A flat major of C sharp, G bass change to A flats and the sharp major. forte tutti triple sound. theme A. a istic closing end. The material (bar 177) sharp minor is at bar statement, other parts. the the shining a quiet a coda of a the G in the sharps C major at a of mass two-bar transition in thirty-five bars already present and the of the theme After four bars, profound, character­ not heard by the horns a At by the tenor tuba, sustained chords it is taken up to be traced to for fourteen bars. is heard over movement diminishes can (segment c), developed original melody solemn and quotation and the major. in 193 in the first violins through eighteen point (bar 207) final great, tonic organ pedal appears at bar 195 and lasts to the since its first appearance, and is a major to the dominant soft passage derived from bar five and the latter part of The tonic C thirteen B major, G height of the crescendo is reached major (enharmonic C sharp tonic), begins with this major, and The tension is section B flat sharp minor, This lasts for six bars and after o flat bars F major, to E flat serene in all to finish close in C sharp Chapter 8 THE SCHERZO The third movement is with 3/4 meter. Da a Capo. It a scherzo marked Sehr schnell It includes sections A, begins trumpet figure with restless rhythm by the a at bar five. four-bar theme made up of The clarinet's the thematic material the beginning strings, followed by at bar nine is answer seventh. The key is a distinguish­ These elements provide of the Scherzo sections of the Trio. &. 2.1 (bcr a (very fast) Trio, and the usual series of sequences with the a ing characteristic of the leap of all B, C and (A, B, and C) up to A minor. 1) Sc.Aeyu> tJ± $1F_b= <!=t=fLlJ= J f-r!Clc==I: 1N\<:".::t::"C) Theme I consists of three segments trated in example 21, but the designation three segments in reference to them. (a), (b), and theme I will (c), apply as illus­ to all 43 The themes At bar thirteen, are the developed by the use of inversion and imitation. trumpet signal is heard again, followed by the clarinet's rejoinder at bar seventeen, still accompanied by the restless strings. There is a of the first rhythm Beethoven's Ninth At bar drive to this movement, intensified by the restless theme, that especially calls to mind the Scherzo of Symphony. twenty-one, the lower strings continue this rhythm while the first and second violins join the clarinets and oboes with theme III. The horns enter at bar twenty-nine with the trumpet figure (theme II) with the flutes and oboes theme I bar in the of 0 flat major. intervals, first in at A flat arriving tal key 0 major section of the dotted major at bar figure with the woodwinds and horns The tutti all joining strings reinforce II, and fifty-three a strings This is then at bar in a statement of repeated twice thirty-three, then E flat forty-one and leading into sounding the motif the crescendo A again at bar nd descending and major. developmen- point initiated on G, to again. forty-nine C minor scale is derived from theme I with trumpets dominant organ a at four- taken from the third bar of theme II, section grows to fortissimo. at bar the lead a forte pattern sounding eventually theme to 44 C minor. Four bars later the G pedal gains added (bar fifty-seven), strength, the parts alternate and in the character of now By bar sixty-five, there is goal, the B natural as doubt no themes appear in C minor reinforced by a At bar tonic three. Upper woodwinds simo followed bars lowed by at bar a at proclaim eighty-one. form of the Scherzo type development there is the might an original count section. at bar G flat. be considered, as of the three themes. 23 on next 101, in lower strings page). as four bars later, time in the B section, constituting ninety-seven, in the clarinets The first theme motif is one theme III appears with At bar 109, even against violins, but overlapped by original theme II chap­ the the section of before, but this time between flutes and violins with the with the inverted form. sections, the At bar inversion of theme III form of the theme in the Again, is fol­ mentioned earlier in This section proves to be interesting (see example brasses added at I motif in A flat. of sonata form with the B section complex development more seventy­ A pause of two bars Even with the lack of distinct theme group a at bar timpani figure leading into the second section, B, ninety-three with the theme 4, The trum­ The first bar theme I motif is repeated in C minor beginning two-bar sixty-nine, on the the first theme fortis­ by the descending scale pattern, with bar seventy-seven. eight and violins pedal point pedal point. pets play theme II answered by horns and trombones ter inverted concerning Bruckner's appears with the great extended G, giving the dominant seventh of C minor. for an point. organ an one repeated step lower interplay form and the clarinets is heard for the first inverted in flute and clarinet, while in the on 45 bar, the violins invert the theme I motif but in A major. same and trumpets mirror each other in bars 116 through 120 with theme II. A section of excursions into many not violins. but a thirty-two tools for At bar 121, third theme in overlapped in the the first horn sounds theme II major with the theme I motif again The first oboe answers the horn (inverted) These two themes bars with inversion and imitation tossed continuing as the in inversion followed through various (173)), area of D flat areas by the first bas (original form). is begun at 157 in cellos and basses. flat, G flat, G minor in the in the violins and violas inverted. and the first clarinet the theme I motif are development. At bar 157, point follows. Theme III appears inverted in viola and cello at bar 125, with about for soon areas similar canonic effect with theme I material woodwinds playing fragments of theme I. primary key is there the stretto effect of the only the woodwinds, C Horns (E While the flat minor the first horn has an A D flat strings (161), A pedal continue flat, C, interesting rhythm 46 repeated four bars later by the from theme II trombone in the woodwinds. which is the dominant lation section, leading pianissimo, theme III four bars later An E against the figure derived major area the simultaneously entering The trumpet voices theme II at bar 193 answered in A minor continues in all is heard once again by the second clarinet and violas at 205, the has theme II I at 197 and original inverted one and count the by the second Theme III strings. the third horn at bar 201, and by but one count apart, form of the theme in the upper woodwinds. in B flat major with in horns and trombones, in a descending scale original segment is repeated four bars later on Bar 209 passage and theme and inverted forms. The theme B, up one-half step, and again C, against theme II by horns and trumpets, echoing each at 217 on other. The last two bars of theme II are form and repeated in bars 225-232. Against this, beginning cellos and basses have the theme I motif, each bar until heard at bar 221 in their inverted, with only the double-dotted quarter motif original This recapitu­ imitation. clarinet and theme I against 177, clarinet, joined by the first vio­ lins and with first bassoon and second violins later in at bar to A minor at bar 185 and the with themes I and II by begins bar 229. The crescendo interplay and contrapuntal at bar 221, the ascending one-half step gradually grows in intensity. treatment of the three elements 47 continue in alternating which, dominant, leads as a A parts. pedal point to the A begins in E on bar 233 at bar 249. pedal point The theme II motif is hammered out by the upper woodwinds, horns and trum­ pets heard to the triple forte climax at bar 249, when themes in the tonic of A minor. the section at bar 269, The building continues I and II are to the end of and the Trio follows. TRIO the theme II motif Using in F major. as bridge, a The slower Trio provides the Trio theme emerges marked contrast to the swift a Scherzo with its inexhaustible energy and extensive thematic It is ment. a welcome singing quality (the marking and its hemiola that appears melody is cantabile), its rhythms all help bring The theme contains beautiful F major and after forty only which lasts leading to 0 a bars short time. to mind harmonic contrast in nature from the Scherzo is to in the string a The form is major (bar 315) and returning some of Brahms' progressions. the themes. The key change modulation to 0 major binary, with to F Its triadic formation, emphasized by there is develop­ section. F major major by way of A 48 minor and other key areas. and 0 major, and then the key areas. At bar 353 eight bars later to a a At bar 317 there melody begins and an a a return of the dominant seventh fortissimo section. F minor chord and dominant seventh ending. The Da on an eight of the C on After a original key and on melody in F leads to F diversion to 0 flat major (dominant seventh of 0 major is heard, diminishing Capo follows. C, leading major. theme, it appears again in A sharp indirectly A flat chord C to F bars of A minor journey through different dominant organ point appears However, after this statement major; then a are to a sharp (through flat), a pianissimo Chapter 9 THE FINALE The Finale is in poses with the exposition of 339 form for all sonata-allegro practical pur­ up almost half of the total movement making bars, the development slightly less and the recapitulation to amounting marking only forty bars wi th a The meter, 1, and the The tempo twenty-five bar coda. is Bewegt, doch nicht schnell (With motion, the but not fast). movement tonality, E major, theme bears a strong resemblance to the main are same as one. EXPOSITION The opening theme of the first movement. and are Both open the tonic chord of E major on in formation, and both open triadic pianissimo with violin tremolo. Ex J.f:, (bar /) t b Theme A doeh n;cht hr'<Z1I (Ii)r-:: . irt'!Jc;r:rtlLrill;£\i4frUi illiJ '}(d) __ jtt*£¥-ITfEJE1@'i there seems but this proves not to be the case. A flat major With the second phrase of the toward C sharp minor, there is a includes an surprising rapid modulation melody, to inversion of the first motif an (a) to be a At bar area, move seven which at bar nine in the oboe. 50 The theme is then stated in the dominant at bar eleven by the cellos and at bar nineteen. basses, leading Bars nineteen a landing point through thirty-four further dwells in C to the first motif on of B flat contain (a) a major transitional of the theme, section which coming to a close major. Theme B enters at bar thirty-five in the form of chorale, beginning in A flat major the end of the and four-part B flat minor at to modulating a phrase. 7h<m 13 2....7Cba'f' 35) t# cr r 6lj-t-JstllJl1E[@1¥1TiJtf:J'rgfpJE· 1 fCCO poco Pf ercsc <.t f.'I,.'J.7o..(bar 51) .II. os ci blr'L;;lSE'Y_nH:ITJM§= """r At bar C thirty-nine theme B is heard in sharp major, and to regions, The theme five F d,·", major moving into then E This major, modulating to major, E flat, and G flat fifty-one, where the first theme terminates. at bar is then treated sequentially (Ex.27a). B gradually section over a pedal point C diminishes to at bar pianissimo fifty- at bar in A flat sixty-five, where the chorale theme is heard, beginning again major. for Woodwind are treatment and original, is followed treatment, there is four times, added here to the original After the statement strings. differs from the tial parts overlapped by B major, the extension but continues the crescendo--diminuendo as a beginning in four-part setting before by a sequence. After more sequen- figure repeated in the cello and bass parts the violas, which can be recognized as 51 derived from the second, third, and fourth notes of the chorale The fortissimo tutti them. proclaims what section that follows, might be called a heavily accented, "third theme" of the movement. However, it is clearly derived from theme A, and thus will be desig­ nated A as prime (AI). All woodwind and string parts in unison, with the brass are parts varying slightly from the woodwinds and strings, but also in unison with each other where the parts appear. At bar ninety-seven, all key is A minor. a state- in B flat minor with the first three notes of the theme in inver- ment sion. Theme AI bars, there is is then heard inverted a development inversion and sequences used 112 to used here is derived 133 until uses the the same directly tion of the material. a same C a only two a crescendo. closing section There is timpani "bridge," pedal point. gradual The from bars five and six of theme development section begins previous sections by but after The fortissimo breaks at bar frequently. The section from bar 129 to 144 is tion and in F minor, of the first two bars of the theme with after which there is pianissimo material A. The instruments but trumpets join for a pedal point at bar to the on C from bar 145, ushered in which is made by a exposi- as in continua- 52 DEVELOPMENT The material though not in bars 147 to 162 immed i a tel y comes recogni zed with its from bar two of theme A, ·presenta t ion sion, then in original upward formation (bar 151). at bar and a in A major at bar 171. of the chorale theme B, fragment original form in and sequences used of theme note A,(b) in Theme AI major Theme A in an dominating a (chora 1 e). growing tension with imitation is used repeatedly with running eighth Of begin again on F minor and end importance the thematic material a on a on unison E a original form in both themes A and .(See examples unison C flat in all striking in on here is the tremendous climax that is immense tutti with the motif used There is It step up from the original A minor, but ends appears with its first two bars The fortissimo breaks fermata. Theme A returns inverted is restated fortissimo and marcato at bar 191. now in A minor. building back The motif derived from bars five and six example 26, in B minor, appears AI E on through 174 bring Bars 171 inverted. section of a freely. A four bars later, to and tin i nver­ in the violas. figures flat. rs 162 leads to the inversion of the entire first theme in A minor finishing and in fi A chord 29 and 29a.) parts followed by a contrast with the restatement of theme B The theme is much the same in the four string parts, but a first clarinet and first horn part and later first and second horns and tubas add new interest to the setting. The starting point in key area 53 is C major. There is the extension transitional section to bar 247 and before, which leads as a further derived from bars five and six of theme A. 251 into a figure development A and AI (example 29,29a) combined with this dotted bring new At bar 257, back the bars of heard in the flutes and first violins is "brass figure" now heard in practically in all parts. At bar 267, running eighth-note figures previously forte at bar 271, time. more the dotted motif from themes violas in bars 183-190, though not exact in form. same of the motif all Another large tutti crescendo section begins and the figure predominates augmentation a is transformed at bar in the brass and there follows four of this motif. other parts. development This through theme A material of theme A in the At bar ment of theme A in heard by the With the a triple is present in the horns and trombones and contrabass tuba 275, there is E the woodwinds sudden calm and a an at the subdued state­ major, the original tonic key, and the recapit­ ulation is reached. RECAPITULATION The theme is immediately inverted by the violas after the first statement by the clarinet and first violins at bar 275. The motif six of the main theme (b) is now heard in sequences. This motif is once more echoing the original form in and once more the "brass instrumentation, as point is there the inversion is derived from bar five construction theme A is again Finally in the oboe part. restated beginning the third return of inverted forms. heard, again both in original and is a grand bar 289 its figure" is heard, distinguished only by At bar 291, in G major and inverted theme A at bar 282 with This continues until sequences. its rhythmical motif of theme A. (b) developed crescendo leading But at this to the coda at bar 315. CODA For some At the crucial time the approach to the home moment of the climax of into of tension relaxes abruptly and the horns sound point again a key has the crescendo, is movement. the first theme of the lasts to the very end, the in over augmentation in the brass, principal theme (A) the great solemn pianissimo tremolo which is but on build-up E major, The E pedal heard the dotted motif and bars five and six of theme A. the motif derived from A been noticeable. At bar 331, in reality it is recognized from the first movement (example 31, next theme as page). 55 The final there is close. no more tremendous climax grows and 9rows in to be said and the symphony draws to intensity until its majestic Chapter 10. THE DIAGRAMS The diagrams of each movement of the of two basic parts: (1) A thematic symphony that follow consist analysis using different shapes of lines to illustrate the various themes and their derivative material. Each bar of the is shown. tonal to (2) give A harmonic relationships. show the the analysis of every clarity chord, but of the an and areas attempt has been made no endeavor has been made to harmony and any form of each movement is meter and One detail part for each instrument important harmonic In addition to the thematic and harmonic progressions. as and the For the sake of analyses, the overall details such plotted analysis showing important key principal aspects and changes is symphony given and any necessary tempo markings. that could benefit from system of numbering the bars. The bars some are explanation is the numbered every five (5) bars, with the end of bar five occurring at the end of the vertical line. Therefore would appear vertical a approximately one-eighth line. This will the thematic material. on entering exactly theme of in bar five an (or ten) inch in front of each clarify the method used of diagramming The other details of the charare each page of the chart. bar explained 57 S8 r Anion Bruckner Sympony No. ,7 in £ M Movemenf II -- · ADAGIO MoltoLpl1toe Mdesto5o 10 5 FLAUTI OBOI CLARINETTI FA GOTTI N iv' in A IV " N All. - A IV1 10 - -- - - - 60 55 II ," 70 65 75 85 80 90 I - 1\1 - - - - ........ N '1I'W ........... A A ;,-,» - - - I - AA it 111'1 A "' N\ MI\ A. 'V _ ... V v,iIlv." 1\1 v .. - N V\NV\ t\ A" 1\ M ,A_.A """":W'""""'WI' V'II' - .... , NV\ 'TV B£ TENORI ih BJ, rues BASSE In F II - - 1111 -. r.'l ,II " - rr\ - - - - 111 /II '" »)}) > '" oN V\ .. , pc:: = AA pc ::. A.I1 pc = ,A ..._ ... /\N - TUBA -CONTRABASS() TIMPANI VIOL/NO I VIOLINO II VIOLA VIOLONCELLO CONTRA8ASSO " 155 /6 o AAA AI V\ - - .. 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Theme Alor A' Motif »»»») Inversion Derived from Theme A'il1 Inversion if! ::»»:>;»"»/» $uj,ordil1iJfe Mtlferitl/ or Pe clal Po in t P Accompanying -to The me 8 Theme B in Il1version\\\\\'\"" Del'ive q from Theme 8 ill InYersiofl or AAAI\.AAAI\J\.Ot\ A' ,41-" Y'V-"'-' " .. , Oerived from Theme A .A/\ 1\A.6A TL I n '}) }>7> \\\\""',""'" - V/OONCEL t. 0 /lYe-as ") > >> ) >) )> - CONTRABASSO key y--, __ AAA .. _ ......... ...... IVV\ I\t- A_A OE'l'ivecl from Theme A Theme A or A Mofif ilJ I/1version ..... .... ..,...- .,. .... .... _ ..... .... AAAAA .. - .N:.f\ I/VVV YvW\ "A___A_ - nemeA -===========- MalOY' I Mitior ; AugMtlnt-cJ I £ Sixrt. Chyd Ab BIB LI 0 G RA P H Y A. Bekker, Paul. Inc., The Orchestra. BOOKS New York: W. W. Doernberg, Erwin. The Life and Symphonies Barrie and Rockliff, 1960. New York: Company, of Anton Bruckner. Einstein, Alfred. A Short History of Music. Random House, Inc., 1954. London: 4th American ed., Music in the Romantic Era. and Norton and 1936. New York: W. rev. W. Norton Company, Inc., 1947. Gabriel. The Symphonies of Anton Bruckner. The Bruckner Society of America, Inc., 1955. Engel, Grout, Donald Jay. A HistOry of Western Music. Norton and Company, Inc., 1960. Lang, Paul Henry. Music in Western Civilization. Norton and Company, Inc., 1941. _____ The Symphony, 1800-1900. Ed. Company, Inc., 1969. --,--,-, Norton and Lassl, Joseph. Das kleine Brucknerbuch. Iowa City, New York: W. New York: New York: (Salzburg): Iowa: W. W. W. W. w. Residenz-Verlag, 1965. Leichtentritt, Hugo. setts: Music, History, and Ideas. Harvard University Press, Cambridge, Massachu­ 1950. M. Nineteenth-Century Romanticism in Music. Prentice-Hall, Inc., 1969. Cliffs, New Jersey: Englewood Music in History. New York: Longyear, Rey McKinney, Howard American Book Nef, Karl. D. and W. R. Anderson. Company, 1940. An Outline of the University Press, 1935. History of Music. New York: Columbia 62 Newlin, Dika. New York: Buckner, Kl ngs Mahler, Schoenberg. Press, 1947. Morningside Heights, Crown Schickel, Richard and the Editors of Time-Life Records. The Opulent Era, The Story of Great Music. New York: Time, Inc., 1966. Simpson, Robert. Ltd., 1967. Walter, Bruno. The York: Wolff, Werner. Dutton and The Essence of Bruckner. Gustav Mahler. With an London: by essay Victor Gollanez, Ernst Krenek. New Greystone Press, 1941. Anton Bruckner, Rustic Genius. Company, Inc., 1942. B. Cardus, Neville. New York: E. P. PERIODICALS "Bruckner's Seven th ;" Chord and Discord, 2, 5 (1948),34-39. IIIn Defence of Bruckner," 16-18. Carner, Mosco. (1954), Engel, Gabriel. (1936), Ga tz , Fe 1 i x "Prometheus Unbound," Chord and Discord, 2, Chord and Discord, 1, 8 1-5. "The Nes saqe of Bruc kner M. ' s Symphoni es, " Chord and Discord, 1, 8 (1936), 19-20. A Great Symphonist," 1usical "Anton Bruckner: Leichtentritt, Hugo. Courier, 101, 20 (November 15, 1930), 6. Levy, Ernst. (1963), "Bruckner's Want of Success," 162-164. Simpson, Robert. Chord and Discord, 2, 10 (1946), "Bruckner and the Symphony," 1usic Rev i "Bruckner's Slow ovements," Chord and Di scord, "2, ew , 7 32-35. (1948), 13-20 . "The Seventh . --D-i-s-co-r-d"""",---=-2-, 10 (1963), Symphony of Bruckner," "Bruckner and Nah'l Smith, Warren Storey. Discord, 2, 5 (1948), 27-29. . er and Tonality," "Bruckner's Three Styles," --2-,--10----,,-,(19--="'63::-..-)-,--:::2:=-'8-39. Chord and 57-67. Chord and Chord and Discord, 63 Tischler, Louise H. and Hans. "Schubert and Bruckner: Chord and Discord, 2, 4 (1946), 23-29. "TvJO Studies on Bruckner Wellesz, Egon. Discord, 2, 7 (1954), 24-28. Wi 1 cox, James H. ' s Symphonies," "Bruckner and Symphoni c Form, II A Comparison," Chord and Chord and Di scord, 2, 9 (1960), 89-99. C. UNPUBLISHED WORKS "The Symphoni es of Anton Bruckner, Wil cox, James H. Doctor's dissertation, Florida State University, D. II Unpub 1 i shed 1956. OTHER SOURCES Kalmus Miniature Orchestra Scores. Edwin F. Scarsdale, New York: Anton Bruckner, Kalmus. Symphony No.7.