Philip Hale's Boston Symphony Programme Notes

by Philip Hale

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.

SYMPHONY NO. 8, IN C MINOR

I. Allegro moderato II. Scherzo: allegro—andante—allegro moderato III. Adagio IV. Finale: Feierlich, nicht schnell

Bruckner’s Eighth is in all respects to be numbered with his greatest. The structure is nobler, the form more clearly recognized than in his other symphonies. There is less perplexing or boresome detail. The digressions do not cause the main line of musical argument to be forgotten. The interest is more steadily maintained. The instrumentation is richer in color and in contrasts. Above all, the invention shown, both in thematic lines and in wealth of development, is little less than marvelous, for Bruckner was sixty years old when he began work on this symphony.

Much has been said in European cities about the extraordinary length of the work. This length does not seem distressing. Bruckner had a great deal to say, and whereas in other symphonies he sometimes stammers and often falters, as though he were not able to express his thoughts, as though they were so great to him that he hesitated to put them into even musical speech, which comes nearest to the full expression of the inherently inexpressible, in this symphony he is master of his speech; he is convincing, authoritative, eloquent. Furthermore, he is more discriminative in his use of material. In other symphonies he is seen building indifferently with marble and clay. His Eighth symphony is as a stately temple, in which mortals forget the paltry cares and tribulations of earth, and gods appear calm and benignant.