I. Allegro moderato
II. Adagio: sehr feierlich und langsam
III. Scherzo: allegro. Trio: etwas langsamer
IV. Finale: bewegt, doch nicht schnell
This certainly is a gigantic work, abounding in lofty and noble pages,
abounding also in trivialities, tiresome repetitions, and fussy and
insignificant details. As in the other symphonies of Bruckner that we
have heard, there is a lack of continuity in each movement; there are
impressive preparations that lead to nothing: “In the name of the
Prophet—Figs!” The composer had little sense of structure. To use
Disraeli’s phrase, he was intoxicated with his own verbosity. His taste
in ornamentation was more than doubtful. He could crown a noble façade
with gingerbread work; he would plan an extension of cheap stucco to a
pure temple of marble.
And yet in the Seventh symphony there are pages that come closer to
Beethoven at his greatest than we find in the symphonies of other
composers. There are grand thoughts expressed in a masterly manner in
Franck’s symphony and in the symphony in B flat by Vincent d’Indy; the
introduction to the _finale_ of Brahms’ First symphony has elemental
grandeur and spiritual intensity; but Bruckner’s spirit in the _adagio_
and in the main body of the _scherzo_ of the Seventh symphony is nearer
akin to that of Beethoven.
* * *
Bruckner’s Symphony in E major was composed in the time between
September, 1881, and September, 1883. The first movement was completed
December 29, 1882; the third, October 16, 1882; the fourth, September 5,
1883. The symphony is dedicated “To His Majesty the King, Ludwig II of
Bavaria, in deepest reverence,” and was published in 1885.
The statement is often made that the _adagio_ was composed as funeral
music in memory of Richard Wagner. As a matter of fact, this _adagio_
was completed in October, 1882. Wagner died February 13, 1883.
The singular statement has been made that a premonition of Wagner’s
death inspired Bruckner to compose a dirge—this _adagio_. Bruckner, who
had what the Germans call “peasant cunning,” may have agreed to this in
the presence of those who were thus affected by the thought, but he
himself knew, as will be seen by his letters to Felix Mottl in 1885
concerning the first performance at Carlsruhe, that the movement had not
in all respects the character of a dirge. Indeed, he pointed out the
measures of the funeral music: “At X in the _adagio_ (Funeral music for
tubas and horns)” etc.; also, “Please take a very slow and solemn tempo.
At the close, in the Dirge (In memory of the death of the Master), think
of our Ideal!... Kindly do not forget the _fff_ at the end of the
Dirge.”
Bruckner wrote to Mottl in a letter published February 10, 1900: “At one
time I came home and was very sad; I thought to myself, it is impossible
that the Master can live for a long time, and then the _adagio_ in C
sharp minor came into my head.”
The symphony is scored for two flutes, two oboes, two clarinets, two
bassoons, four horns, three trumpets, three trombones, four Wagner
tubas, bass tuba, kettledrums, triangle, cymbals, strings.
I. _Allegro moderato_, E major, 2-2. The first theme is announced by
horn and violoncellos against the violins, tremolo, and clarinets,
violas, and violoncellos add a subsidiary theme. The chief theme appears
in a richer orchestral dress. There is a _crescendo_ based on the
subsidiary theme, and the whole orchestra enters, but there is quickly a
_diminuendo_, and the mood becomes more nervous, more uncertain. The
second theme, one of complaint, is given to oboe and clarinet, with
horns and trumpet in the accompaniment. This theme with its peculiar
instrumentation and its changing tonality is in marked opposition to the
first. This second chief theme is developed at length. (The first
assumes greater importance later.) In this development there are
evidences in the manner of leading the voices of Bruckner’s partiality
for the organ. The mood becomes more restful, although the theme of
complaint is not silent, but soon appears, inverted, in the violins. It
may here be said that Bruckner delighted in this manner of varying a
theme. A mighty _crescendo_ is based on a phrase of this inverted theme
over an organ-point, F sharp, but instead of the arrival of the expected
climax a theme of somewhat mournful character is given to wood-wind
instruments with counterpoint in the strings. The rhythm of this
counterpoint is maintained in the final section of the exposition part.
An episode for the brass follows. There is soon a calmer mood, and
gentle horn and clarinet tones mingle with the voices of the strings.
The free fantasia begins with an inversion of the first theme
(clarinet). The rhythm of the characteristic counterpoint just mentioned
appears, but a solemn, religious mood is soon established (trombones,
_pianissimo_). The second chief theme appears in its inverted form, also
the “contrapuntal figure.” The mood is now one of doubt and perplexity,
but the decisive, inexorable first theme enters, inverted, C minor, in
the full orchestra, _fortissimo_, and with canonic imitation.
The beginning of the third, or recapitulation, part of the movement is
quietly worked. The first theme appears _piano_ (violoncellos and horn);
there is an inversion of the theme for violins and flute, and there is
canonic imitation for oboe and trumpet. As in the first part, the
subsidiary leads to the second chief theme, which is now in E minor and
is given to the clarinet. There is an end to the delicate
instrumentation. There is a great _crescendo_, which ends in an
inversion of the second chief theme, _fortissimo_, for full orchestra.
Other _crescendos_ follow, one with the second theme to an episode of
choral character, others based on the “contrapuntal figure.” The great
climax comes in the elaborate _coda_, which is built on a long
organ-point on the bass E, with the first subsidiary theme and with the
first chief theme, which now has its true and heroic character.
II. _Adagio, sehr feierlich und langsam_ (in a very solemn and slow
manner), C sharp minor, 4-4. This movement is thought by many to be
Bruckner’s masterpiece and monument. It undoubtedly established his fame
when there were few to recognize his irregular genius. The _adagio_ was
played in cities of Germany in memory of the composer shortly after his
death, as at the Philharmonic Concert, Berlin, led by Mr. Nikisch,
October 26, 1896.
In this movement, as in the _finale_, Bruckner introduced the Bayreuth
tubas, to gain effects of peculiar solemnity and also, no doubt, to pay
homage to the master whom he loved and venerated.
The chief melody of the _adagio_ is given to the lower strings and tubas
and is answered by all the strings.
There is a passage of stormy lamentation, and then consolation comes in
a melody for violins (_moderato_, F sharp major, 3-4). This theme is
developed, chiefly by the strings. Then there is a return to the first
and solemn theme, with wood-wind instruments and strings in alternation.
There is a great _crescendo_ with bold modulations until the entrance, C
major, of the chief theme (second violins, supported by horn, oboes, and
clarinets), which is soon followed by a variant of the answer to this
theme. The answer soon appears in E flat major and in its original form
and is maintained for a long time (G major). There is a modulation to A
flat major, and the _cantilena_ is repeated. After the entrance again of
the chief melody and the restoration of the original tonality there is a
_crescendo_ of great and imposing force. This is over, and the tubas
chant the answer to the chief theme and after an interlude for strings
the chief theme itself, C sharp major. The horns take up the
_cantilena_, and the last chord, C sharp major, dies away in brass
instruments to a _pizzicato_ of the strings.
III. _Scherzo_: _sehr schnell_ (very fast), A minor, 3-4. This _scherzo_
is based chiefly on two themes—the first for trumpet (_piano_), then
clarinet, with a figure for strings; the second, a wild and raging one.
The _scherzo_ ends after a great _crescendo_. Drumbeats lead to the
trio, F major, _etwas langsamer_ (somewhat slower), with an expressive
melody for strings. The theme of this trio is made at first out of an
inversion of the _scherzo_ theme, but the trio is in all respects in
marked contrast to the _scherzo_, which after the trio is repeated.
_Finale_: _bewegt, doch nicht schnell_ (with movement, but not fast), E
major, 2-2. The first theme, given to the violins, has a certain
resemblance, as far as intervals are concerned, to the chief theme of
the first movement, but it is joyous rather than impressive. Flutes and
clarinets enter at times, and horn tones also enter and lead to the
second theme, which has the character of a choral, with an accompanying
_pizzicato_ bass. The tubas are then heard in solemn chords. A new theme
of a dreamy nature follows (strings), and then at the beginning of the
free fantasia an orchestral storm breaks loose. This dies away, and a
theme appears which is derived from the first and main motive, which in
turn enters, inverted, and with a _pizzicato_ bass. The choral theme is
also inverted, but it gives way to the chief motive, which is developed
and leads to another tempestuous burst, ended suddenly with a pause for
the whole orchestra. The repetition section brings back the themes in
inverted order. The second chief theme is heard in C major. After a time
there is a _crescendo_ built on passages of this motive, which leads to
a powerful episode in B major, with a theme in the bass derived from the
chief motive. This motive is given to violins and clarinets, and there
are contrapuntal imitations. The choral theme, appearing at the end of
the free fantasia, is heard no more. The first chief theme dominates to
the end. There is an imposing _coda_.
I am indebted in a measure to the analysis of this symphony by Mr.
Johannes Reichert, prepared for the concerts of the Royal Orchestra of
Dresden.