Musical Examples

Nathan Pell, Key Profiles in Bruckner’s Symphonic Expositions


Main Examples

Ex. 3: Bruckner VIII: Finale Opening | Ex. 4: Bass-Line Sketches | Ex. 5: Symphony VI: Adagio (Middleground) | Ex. 6: Symphony VI: Adagio (Foreground)

Example 6. Symphony VI: Adagio (Foreground)

mm. 1–41 | mm. 44–52 | mm. 52–93


Figure N is a foreground sketch of the third theme (which, though formally part of the exposition, belongs to the development’s voice leading in a Schenkerian sense). At first the third theme’s key is uncertain. Is m. 53 a deceptive cadence in C minor or are we to hear an Aflat major tonic here? I favor the former; thus the tonic at m. 54 closes the fifth progression that began in m. 39. However, the rest of the theme discourages a C minor interpretation, and so I hear the Aflat tonic emerge over the course of the antecedent as an auxiliary cadence. The G major at the end of m. 56 serves as a clever sort of misdirection. This Aflat soon yields to Dflat major, and its melodic descent (mm. 59–61) is not supported harmonically.

Measures 52–93: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943

Measures 69–77: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943

Measures 174–176: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943

Measures 85–93: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943

Appendix

Symphony III: Finale | Symphony IV: Finale | Symphony V: Finale | Symphony VI: Finale | Symphony VII: Finale | Symphony VIII: Finale | Symphony VI: Adagio, Opening (Alternate Reading)