By Benjamin M. Korstvedt
Anton Bruckner's 8th Symphony (1890), one of many final of the good Romantic symphonies, is a grandly complicated masterpiece. This publication explores this many-faceted paintings from a number of angles. It files the advanced and sometimes misunderstood heritage of the symphony's composition and revision and offers an obtainable consultant to its musical layout. It demonstrates, through a learn of recognized recordings, how functionality types have advanced during this century. It additionally revisits the traditional knowledge concerning the a number of types and variations of the symphony and is derived to a few provocative new conclusions.
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Additional info for Bruckner: Symphony No. 8 (Cambridge Music Handbooks)
It is the second movement, rather than the third, and for the ﬁrst time since the Third Symphony, it is placed in the tonic key. Thus rather than appearing as a strong contrast – in tempo, key, and tone – to a preceding slow movement, this Scherzo, in eﬀect, joins with the opening Allegro to form the ﬁrst part of the symphony. 7 Scherzo, mm. 1–5 The movement follows the classical pattern of Scherzo, Trio, and da capo reprise of the Scherzo. 7). This arpeggio ﬁgure functions as the main-spring of the movement; it sets into motion an eﬀortlessly steady forward ﬂow that suﬀuses the whole Scherzo.
So, despite its palpable rhythmic energy, the Scherzo serves as a stabilizing foil to the ﬁrst movement. Here we can sense the logic of Bruckner’s unusual decision to locate it before the Adagio, and to have it essay the tonic key. The Scherzo is thus able to anchor the ﬁrst act of the symphony, before the long and magniﬁcent tonal excursus enacted by the Adagio and much of the Finale. The Trio is idiosyncratic. It is, in eﬀect, a miniature slow movement tucked into the Scherzo. ) The ﬁrst half of the Trio has two components.
9 Adagio, second thematic group, melodic ideas (a) mm. 47–51 (b) mm. 67–9 (brass parts only) original tune loudly returns, only slightly deﬂected by the interrupting chorale. On its ﬁrst appearance this thematic group is in the key of E major; on its return it is relocated to E . Just before the coda, a slight but signiﬁcant fragment of the B theme appears, hovering on the threshold of the tonic (mm. 255–8). The basic gesture of the Adagio is the movement, whether gradual or sudden, from darkness (which is described by dissonance and/or harmonic remoteness) to light, clarity, and consonance.