Philip Hale's Boston Symphony Programme Notes

by Philip Hale

There is a modulation to the dominant of the chief tonality. The second theme now assumes an obstinate, arrogant character. Wood-wind instruments conduct over pianissimo and sustained chords of tubas, with the use of the first measures of the chief motive, to the second subsidiary section. In spite of the interrupting springs of the seventh there is a return to a quiet mood. Then comes a chromatic and mighty crescendo for full orchestra, which reaches a climax with trumpet fanfares. The chief motive returns and is given out thrice pianissimo. The first horn has the chief motive in augmentation, and there is a double echo of it: from first oboe; from tenor tuba.

The “working-out” section begins with the indication “very quietly.” Oboes and tubas introduce constituent parts of the chief motive in augmentation; then the motive itself appears in inversion and as in a stretto. This form of elaboration is long continued. And now the second theme appears inverted, and gives with its compelling rhythm the impetus to a great crescendo which reaches its climax with the encounter of the two themes fortississimo. This shock occurs three times without a decisive result. The orchestra seems to lose its force. There are wandering fragments of the two motives, while the trumpet keeps up monotonously the rhythm of the chief theme. A fragment of the first theme leads to the repetition section.

The repetition is at first free, whereas as a rule in Bruckner’s symphonies it is literal. The first theme, now a lamentation, is given to the first oboe. The clarinet answers in another tonality. After bold modulations the second theme is repeated. The prevailing mood of unrest ends with a long held fermata. The second subsidiary section is repeated quietly, and, as in the first chief section of the movement, it is used in a crescendo; but here the climax is built on a coda motive of a bitterly complaining character, while horns and trumpets repeat incessantly the chief theme. Grief itself soon loses its voice. The violins sigh the chief motive thrice pianissimo. Only the last portion of the theme is then heard, and it dies away in the violas.

II. Scherzo, Allegro moderato, C minor, 3-4. The chief theme (violas and violoncellos) has a rough humor, while violins have a contrasting figure of a whispering and mysterious nature. This figure brings in a great crescendo in which the theme is blown by horns, later by trumpets, and at last by the bass tuba. At the end of the section a rhythm appears (E flat major, bassoons, drums, basses) that is slightly reminiscent of a rhythm in Beethoven’s Symphony No. 8. The whispering figure is inverted. The first section is repeated.

The trio begins langsam (“slow”), 2-4, softly and delicately (first violins). The horn enters. There are pleasant harmonies in E major. “The whole episode breathes smiling happiness.”

The harp is used here and in the adagio, the only instances of the use of this instrument in a symphony by Bruckner. A second subject brings the return to A flat major. The beginning of the trio is repeated with changes in tonality, and the whole first part of the scherzo is repeated with an ending in C major.

III. The adagio is said to be probably the longest symphonic adagio movement in existence, and there are some that put it at the head of all adagios by reason of its solemnity, nobility, and elevated thought. It begins, “solemn, slow, but not dragging,” D flat major, 4-4. The first violins sing (on the G string) a long and intimate song to the accompaniment of the second violins and lower strings. “This theme contains three moments of mood. For the first four measures the violins complain softly; then sighing clarinets and bassoons enter in gasps; the four last measures are only an extension to strengthen the mood.” A strange organ-point puts an end to the mood of doubt and brings in triumphant certainty. The violins, playing with greater breadth, lead to a calm close in F. There is a repetition of what has gone before, with the exception of a few measures of the chief theme.

The second theme is sung by the violoncellos, and they lead to the serenely quiet song of the tubas. Some measures based on fragments of the second theme bring in the “working-out” section. The chief theme appears. Portions of the long cantilena are combined, and there is fresh and melodic counterpoint. There is at the same time a crescendo. After the climax the second theme becomes prominent, with interruptions by the tubas.

The first theme appears with lively figuration at the beginning of the second section of development. A portion of this theme is used in augmentation. “Then appears suddenly and in a decided manner the rhythm for horns of the ‘Siegfried’ motive in The Ring.” The accompaniment for strings grows livelier; the chief theme is more and more impressive in the brass. The second theme enters, and there are tranquillizing episodes, but there is no checking the course of the crescendo or the acceleration in pace. “À tempo (though in a lively movement).” The third section of the chief theme is now in powerful augmentation. There is a return to the prevailing tempo. The mood is milder. The violins “intimately and softly” remember once more the second theme. The coda brings in a peaceful close. In the third and fourth measures before the end the tubas indicate pianissimo the chief rhythm of the finale that follows.

IV. Finale, C minor, “solemnly, not fast,” 2-2. The heavily rhythmed chief theme contains three important motives. It first appears in F sharp, as the enharmonically changed subdominant of the preceding tonality, D flat major (or as the dominant of the dominant of C minor). Joyful fanfares sound in D flat. The whole is repeated, and there is a modulation from A flat to E flat. Then appears sonorously the conclusion of the whole theme in the prevailing tonality, C minor. Out of the counterpoint arises a lamenting strain for oboes.