Anton Bruckner - Symphony No. 7 in E major | Analysis | I. Allegro Moderato
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- čas přidán 11. 09. 2024
- In this video we will take a look at the first movement of Anton Bruckner's 7th symphony in E major. We will analyse form, the thematic material, counterpoint and various other techniques that Bruckner employed in writing this monumental masterpiece.
0:44 Exposition | Theme A
3:17 Exposition | Theme B
6:53 Exposition | Theme C
9:10 Development Section | Transition
10:20 Development Section | Theme B
12:35 Development Section | Theme C
13:25 Development Section | Theme A
14:22 Development Section | False Recapitulation
16:22 Recapitulation | Theme A
18:14 Recapitulation | Theme B
20:24 Recapitulation | Theme C
21:52 Ending and Coda | Theme A
To better understand Sonata Form you can watch my explanation of it here:
• Sonata Form Explanatio...
For a similar analysis of the second movement:
• Anton Bruckner - Symph...
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Many thanks for this very clear and helpful analysis! I have set myself the task, this Bruckner anniversary year, of trying to understand his symphonic structures better, and this kind of overview exactly hits the spot. If you could do some more, that would be really appreciated! You could perhaps also say a bit about the key relations, especially how his sonata-form innovatation of a third subject group stands in relation to the other two - is there a consistent pattern across the symphonies? Thanks again.
All by your side ☝️
For analysis of this symphony look out also for The Essence of Bruckner by Robert Simpson. Hint..this movement is not in sonata form as, among other reasons, it does not attempt to create sonata tension at the point of recapitulation. Instead there is a drift towards the dominant during the exposition while in the later part of the movement the tonic key is reasserted through stealth. This is an example of a Bruckner movement where the development and recapitulation overlap and may be more easily understood as forming a "Counterstatement" to the Exposition.
It is indeed not the Sonata form in the classical sense, but Bruckner, following in Beethoven's footsteps, transformed it even further (third theme, conflation of recap and development), which begs the question: 'when does sonata form stop being sonata form, and becomes something totally new?'
@@bildung226 An example of Bruckner sticking to sonata form in respect of the rush of energy at the point of recapitulation would be the first movement of the Sixth. He even adds timpani to clinch the moment.
I have deduced a rule for the Seventh Symphony, namely the bigger the orchestra and conductor, the worse the performance will be. For a start there is the cult of starting the symphony at an adagio pace while the markings are Alla breve and Allegro Moderato. The second and third groups then enter progressively more slowly. These and further abominations can be traced back to Arthur Nikisch's first performance and the subsequent expressive and tempo markings which found their way into the score. Robert Haas tried to clean this up but Leopold Nowak stuck it all back it "for musicological reasons". The situation in the finale is even worse. For a relatively faithful recording go to Rosbaud and SW Deutsch Rundfunk Orch.
12:47 which edition is this? AFAIK, the only movement in all Bruckner's symphonies with any metronome markings (by Bruckner himself) is the 8th's Finale
Maybe arranged by the Schalks? They managed to screw most of his scores up.