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

The passage quoted in Figure H makes the AnaturalAflat–G motive explicit. For the remainder of the exposition, the Aflat–G connection predominates. Figure I marks a turning point in the motivic life of the piece: here the tetrachord figure appears in both descending and ascending forms. This signals the onset of the development’s voice leading (Figs. J–L).

Measures 41–54: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943


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