SYMPHONY NO. 7, IN E MAJOR
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.