Symphony n° 7 of Anton Bruckner

The Symphonie n° 7 in semi major is the symphony most carried out of the type-setter because, undoubtedly, of incomparable the Adagio . It starts to write the Symphony in September 1881 with the presentiment of died of Wagner, which thereafter was actually carried out (1883). The first movement, which announces Parsifal without being inspired some is finished in July 1882. The worship which it carried to Wagner is somewhat exaggerated but, it is certain that the spiritual fruit of the exaltée admiration of Bruckner is particularly ripe and the Seventh - often entitled Wagnérienne but also Symphonie of the tremors is most cordially sincere and burning of all the symphonies of the type-setter, and contains many quite selected topics. The author does not make any modification to him.

The symphony is in four movements:

1. Allegro moderato

2. Adagio: sehr feierlich und sehr langsam

3. Sherzo: sehr schnell

4. Final: bewegt, doch nicht schnell

Data sheet

Composition: September 23rd, 1881 - August 17th, 1883

Edition: Vienna, Gutmann (Schalke revision and Löwe) - 1944, Wiesbaden, Bruckner Gesellschaft (Haas revision) - 1954, Vienna and Leipzig Musikwissenschaftlicher Verlag (revision Nowak) Dedication: With Louis II of Bavaria

The first hearing: December 30th 1884 under the direction of Arthur Nikisch (without the Wagner-Tüben) success but criticized.

The symphony is written for: 2 Flute S, 2 Oboe, 2 Clarinet S, 2 Bassoon S; 4 (or 8) horns, 3 Trumpet S, 3 Trombone S, 5 tuba S (including 2 Wagnerian tubas tenors and 1 Wagnerian tuba double bass); drinking cups, Triangle, Cymbal S; cords

Execution time: 65-70 minutes

Movements

The main theme of the first movement appears after a soft tremor of the cords says Urnebel, which is one of the melody ideas most extended and richest of the history of the music. It is of this topic and in his report/ratio with him that are born and rise not only the two other topics from this part but also the development of all the composition. The Scherzo which abounds in sounds, with the topic strongly formed rate/rhythm “of primitive intervals” in octaves, fifths and quads, is the movement more snuffed by the listeners. The Adagio is regarded as the most important piece of this symphony. In 1 ' honor of Wagner, it builds the Adagio around two monumental topics, introducing a melody there (corresponding to the paroles" Not confundar in aeternum". I will not Te Deum have shame for eternity) that it composes at the same time. In this movement, it is also the first to be used in a partition which is not opera four of the “Wagner-tüben” (tubas of Wagner) only the Master of Bayreuth makes manufacture especially for the execution of its Tetralogy. The topic of the final rises from the first movement while being more rhythmic and more striking, and with the contrasting topic of the choral, it uses ceaseless variations culminating in one dazzling taken again until the imposing end of the work.

I - Allegro moderato

As of the beginning, the horns and violoncellos entonnent the broad and elegiac main theme with tremors which the violins violas take again. With interval runs, the oboe and the clarinet introduces tranquillo the second topic, generous a extase whose harmonies, the doubled color and remarkable one make think of Wagner. The development is completely under the sign of envoûtement of the Anneau of Nibelung . Some shy persons tests tried by the horns to outline a melody choral society but covered by virtual images of the fundamental idea and by the second topic.

II - Adagio: sehr feierlich und sehr langsam ( very solemn and very slow )

(C minor sharp and major F sharp) The death of Wagner obsesses it: " I returned at home one day, very sad; I thought it is impossible that the Master lives a long time still. At this time precise, the Adagio in C minor sharp was to me inspiré" . Misterioso E slow assai five tubas Wagnerian (Wagner-tüben) modulates as beautiful organ a topic of a rare rise which the violins take again with a melody that one Te Deum raises in his . Almost everywhere this threne is resigned. This adagio was carried out with funerals of the type-setter in an arrangement for harmony of Ferdinand Löwe. It was also diffused on radio allemande the shortly after died of Adolf Hitler.

III - Scherzo: sehr schnell ( very quickly )

According to the legend, the topic of the trumpet is suggested with the type-setter by the song of a cock which awakes it each morning with Saint-Florian. When wood and the cords start to hammer their ranges on inexorable rates/rhythms, one can only be seized of fear. The trio (in major F) appears, with the departure, idyllic, thanks to its mélodieux and pastoral topic, but the duolets cause a light anguish which is dissipated in last measurements to leave the place to a flute giving a melody. It is one of most beautiful the Scherzo of the symphonies of Bruckner, with that of the 6 {{E}} and of the 9 {{E}}.

IV - Finale: bewegt, doch nicht schnell ( animated but not fast )

The fundamental idea dominates the final . Particularly enjouée with excess, it reveals towards the end a tendency to be let cut down. A contrast arises with a choral which does nothing but pass. One finds it at the end of the development but loses oneself with the repetition of the movement. Lastly, there are passages where the technique dominates and the piece finishes on a monumental return of the fundamental idea of the first movement.

Selective discography

Arrangement

The type-setters Karl Rankl and Hans Eisler carried out an arrangement of the symphony for chamber orchestra.

Source

  • Summits of the Music by C. Howeler, French version (Flammarion Edition in France).

Bonds

  • Discographie supplements

  • Synopsis of the symphonies of Bruckner

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