Download Bruckner: Symphony No. 8 (Cambridge Music Handbooks) by Benjamin M. Korstvedt PDF

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)

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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.

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