MTO 24.1 Examples: Pell, Key Profiles in Bruckner's Symphonic Expositions

MTO 24.1 Examples: Pell, Key Profiles in Bruckner’s Symphonic Expositions

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Example 1. Key Schemes of the Expositions

Example 2a. Formal Precedents for Bruckner’s Key Schemes

Example 2b. Schenkerian Precedents (from Der Freie Satz) for Bruckner’s Voice Leading

Example 3 Bruckner VIII: Finale Opening On this level, the fourth progression is subdivided to the extent that its identity as a fourth diminishes. Middleground: Schenker discusses this phenomenon in Der freie Satz ([1935] 1979, §212 and Fig. 87,4). This subdivision allows measures 1-31 for the reinterpretation of several elements: the Bb (once a passing tone) becomes a neighbor tone, and the G recedes beneath the Bb in structural importance. Reinterpretation of this kind is implicit in several of Schenker’s concepts. A. B. C. C'. D. E. 1 11 17 25 31 4-Prg. ' bbb œ œ œ œ eœ œ œ eœ œ œ œ eœ œ œ œ eœ œ & œ œ bœ bbœ œ œ bbœ œ œ * III. IV. œ œ œ nœ œ œ œ nœ ? œ œ œ bœ œ bœ œ bœ œ bœ œ® bbb œ ˙ œ ˙ œ ˙ bbbb ˙ bbb œ ˙ œ œ ˙ bœ œ®œ Db mbaj. C min. œ & ˙

{ The Ab of mm. 17–24 is composed out in the same way as Gb in the foreground. Foreground: Surface: measures 1-9 measures 3-9 F. * ' G. H. I. J. K. # # 3 4 5 6 r7 r8 r 9 # œ œ œ œ œ # j r w # œe œ œe œ œ e œ œ œ e œ œ œ e œ œ œ # C œ œ ˙™™™ œ œ™™ œœ™™ w & œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ & w wœ w ˙ œ™™ œ ˙™™™ œ œ™™ œ œ™™œ w Diatonic ff w ˙ œ™™ ™™™ ™™ ™™ etc. j ?# # ˙ ˙ ®˙ ˙ ˙ ˙ œ ˙ ?# # w wœ r r r r # œ œ œ œ œ® ˙ œ œ œ # C w ˙ œ™™ œ ˙ œ œ œ œ œ ˙ J E ˙ w wœ w ˙ ™™™ ™™ ™™ w œ™™ œ ˙™™™ œ œ™™ œ œ™™œ w F'. G'. H'. I'. J'. K'. { { 3 4 5 6 7 8 9 # # # # j r r r r w # œeœ œ œeœ œ œ eœ œ œ œ eœ œ œ œ eœ #œ œ œ # C œ #œ ˙ # œ œ # œœ w & œœ#œ œœ#œ œ œ#œ œ œ œ#œ œ œ œ#œ & w wœ w ˙ #œ™™ œ #˙™™™ œ #œ™™ œ œ™™œ #w ff w ˙# œ™™ œ # ˙™™™ œ # œ™™ œ œ™™œ Chromatic * ™™ etc. j ?# # ˙ ˙ ®˙ ˙ ˙ ˙ œ ˙ ?# # w wœ r r r r # œ œ#Eœ œ##œe®q ˙ œ #œ#œ # C w ˙ œ™™#œ #˙ œ #œ œ œ œ ˙ J E ˙ w wœ w ˙ œ ™™™ ™™ ™™ w ™™#œ #˙™™™ œ #œ™™ œ œ™™œ w * = Chromatic event. 1. Diatonic G becomes Gb in the middleground. { 2. Gb major becomes{ F# minor in the foreground. 3. F# minor reverts to F# major at the end of the passage. ≈ ‰ Œ

Œ ‰Œ Œ ŒŒ Œ Œ

Example 4 Bass-Line Sketches of Bruckner's Finale Expositions

1 9 11 12 16 21 24 25 33 35 36 40 45 46 65 85 95 10*7 111 131 134 · ‚ · ‚ <„> j j j j arp. ... #œ œ œ œ #œ œ nœ nœ œ œ #œ # œ < > œ < > II I ? #˙#œ ˙ bœ #œ nœ œ œ #œ nœ #œ n œ œ nœ #œ #œQ #œ #œ #œ nœ b ˙ œ J ˙ œ œ œ J œ œ # œ #˙ nœ#nœ #˙œ ˙ 5 6 6 5 nœ œ 5 6 n˙ J #˙ ˙ J 3 3 4 D ’ J 6 5 J / 0 8 J 7 ´ J / 0 I #III# II# V I# #III# / II# V0 # A: VII# V I

1 43 49 58 59 63*71 72 74 76 79 93 109113 115 1*17 123 125 135 139155 · ‚ „ · ‚ j „ œ /0 j j j j œ œ nqœ qœ œ œ œq œ bœ nœœ œ œ œ bœ bœ nœ bœ j nœbœ IV ? b ˙ œ œ œ bœ˙ bbœnœq nœ Qœ œ bœ nœ˙ bœ#œ nœ #œ b b œ ˙ ˙ œ œ Qœ œ Q œ œ nœ nœbœ bœ œ ∫œ b˙ œ œ b˙ J 5 6J 6 6-/50 8 M J´ bœ J nœ nœ J 4- 3 5 /0 J J / 0 6 ´ J / 0 I IV5 6 V Ib IV V I§ VI§ IVJ 8 M ´ II§ V

31 *57 67 71 74*81 82 83 89 93 97 * 131 · ‚ „ · ‚ „ # œ n œ nœ œ = First Theme œ œ bœ qœ # nœq nqœ #œ œ · = Second Theme V ? b b˙ œ ˙ b ˙ bQœbQœbœ # œ #nœ nœ nœ n˙ b ˙ œ ˙ œ Q nœ ‚ = Third Theme J /0’ / 0 *„ = See Appendix for I bIII V I V bIJII II§ V Detailed Graphs

1 19 29 37 39 42 47 53 6*5/97 *113 125 139 · ‚ „ · ‚ „ 5 A œ nœ j œ œ nœ #»œ nœ œ nœ bœ nœ œ V I ?# # #œ ˙ œ œ nœ œ bœ # œ œ #œ ˙ # ˙ nœ œ ˙ n˙ œ bœ œ nœ nœ œ n˙ œ J 5 Y 5 5 6 5 6 J / 0 J 3 4 3 6 5 6 5 /0 ’ I §III ´ II# V I V §III8 M ´ JII# V

Dev. 1 3 8 9 10 11 *13 19 23 27 *33 3*5/65 77 7*9 80 93 1*09 117 147 163 187 191 ·^ ‚^ ^ „^ „^ Dev. 8 7 #6 n6 5’ · ‚ „ „ j 5 A j j ’ œ œ œ qQœ œ œ œ #‹œ #œ œ ‹œ j qœ œnqœ œnqœ qœ œnœ qœ q # œ ‹œ # œ #œ j œ nœ nœ œ œœ #œ œ VI I ?# ## œ œ œ nœnœ ˙ #œ œ œ#œ nœ œnœ œ œ nœ nœ #œ # œ #˙œ #œ nQœ n˙ œ #œ #œ #œ ˙ #œnœ q œ nœ J nœ˙ œn œ ìì œœœ nœ ˙ ˙ J 5 6 5 G 6 J´ 8 J / 0 J6 5 / 0 I III# IV# § V I IIJI# IV# § §VI V

G F Eb see Example 3 * G F Eb 1 11 17 25 31 41 48 49 57 69 72 123 135 183 215 323 333 Dev. Dev. · ‚ „ · ‚ „ j œ j j j œ œ œ œ œ œ bœ œ œ œ œ œ œœ œ bœ œ VII I ? b œq nœ œ bh˙ œ ˙ bœ bœ nœœ œ bœ bœ œ bœ bœ bœ nœœ œ nœq bœ nœ b∫œ b œ bœ bnœœ nœ œ œ œ b b ˙ œ J œ bœ œ J œ œ bœ œ ìì #œ ˙ œ J J œ 6 5 œ ˙ œ œ J ˙ ˙4 3 J / 0 / 0 5 6 J I IV IIIb IV V bIII/III III Ib bIII/III III I§ IV III/IIIb IIJIb IV V « « «

Œ Œ Œ Œ ≈ Œ

Ó Œ ‰ ‰ Ó Œ Œ Œ Œ Ó ÓŒ ŒŒ ‰ Ó Ó

Ó Œ Ó ‰ ‰ Ó

Example 5 Symphony VI: Adagio (Middleground)

3^ 2^ 1^ 3^ 2^ 3^ 2^ 1^ 3^ #2^ 2^ b3^ 3^ b3^ 2^ 1^ ’ ’ ’ 3^ 2^ 3^ 2^ 1^ < > j b œ & ˙ bœ ˙ nw bœ w ˙ ˙ #œ n˙ bœ n˙ bœ ˙ ˙ ˙ œ œ #˙ n˙ b˙ bœ œ n˙ œ œ b˙ ˙ ˙ Layer 1 Layer 2 Layer 3 œ œ NJü Nü 5 j œ œ #œ œj F: Cü 4ü E ? ˙ ˙ œ bœ ˙ <œ> ˙ b˙ b ˙ œ œ ˙ ˙ bœ ˙ ˙ ˙ ˙ b˙ œ œ ˙ œ œ ˙ ˙ J / 0 / 0 / 0 / 0 J 5 6 { I V I I V I V I I VII# V bIII I bVI V I Theme: Form: · Expo. ‚ „Dev. · ‚„Recap. Coda · Exp‚o. „ Dev. · Re‚cap. „ Coda

3^ 3^ ^ ^ ^ n3^ ^ ^ ^ ^ #2 2 b3 bis 3 b3 2 1 ’ »Db: 5 6 n3^ b3^ 2^ 1^ j j &b ˙ œ œ œ˙ œ œ #œ #˙ #œ n˙ b˙ nœ bœ œ œ nœ˙ œ œ bœ œ œ n˙ b˙ ˙ ˙ Fœ: 5üü 6œ #œ n œ œ b œ b œ b œ bœ œ œ Layer 4 n œ Jj œ bœ j ? ˙ ˙ œ® #œ ˙ œ˙ bœ bœ®œ® œ bœ œ b˙ ˙ bœ œ b J b˙ bœ œ ˙ œ ˙ ˙ J bis « / 0 { I I VI VII# V bIII bVI bIII bVI IVb I I bVI V I Measure: 1 5 11 17 23 25 36 37 53 61 70 81 89 93 113 125 141 157 Form: Exposition Development Recapitulation Coda · ‚ „ · ‚ „

Œ Ó

Ó Œ Œ Œ Ó™ Ó Ó Example 6 In addition to the deep middleground motive Example 5 shows A as the top voice for this passage. More A–Ab–G (see Ex. 5), these graphs highlight Symphony VI: Adagio (Foreground) locally, this A arpeggiates up to a high F. After a two- the tetrachord motive (marked with a black The drawn-out A major dominant of mm. 9–10 and pervasive half-step upper neighbors of mm. octave descent (mm. 13–21, through a neighbor G) F is asterisk) and the octave motive. 5–10 lead me to hear m. 11 as an implied D minor and the top-voice Bb as an appoggiatura. chromatically altered to F# in m. 24, where it leads to G#. 1 2 3 4 ^ 5 6 7 8 9 10 11 12 13 14 15 16 17 3 ' ' A. Arp. ^ ^ j j 2 1 œ œ ˙ œ œ œ œ

G bœ œbœ bœ bœœœ bœœœ œ œ œ œœ œœ ˙ œœ˙ ˙bœ œ

b œ ˙ bœ œ œ nœ nœ #œ œ œ { œ nœ œ œ & œ { œ ˙ ˙ œ œ œ œbœ œ œ ˙ œbœ œ octave œ œbœ œnœ œ bœths & motive 7 N G 6 7 œ octave motive Parallel 10 bœ œ 5 3 E T T G œ ˙ ? ˙ bœbœœ œ nœnœ ˙ #œ œ #œ ˙ œ œ œ b { œbœbœ nœ nœ ˙ ˙ #œ ˙ CS œ nœœ#œ n˙ 8 10 8 10 8 10 J The oboe’s A§ in m. 6 (see the score) J tetrachord stands for a Bb (the analogous spot in m. 6 7 6 F: I motive & ( ) I V I D: V ( I ) III ( I V ) V 8 clarifies), which continues the parallel 4 This G, in C major, sets in motion a fifth { ( ) Bb minor momentarily tonicized. tenths beyond those shown here. ^ * At the arrival of ^ , the deep middleground motive progress5ion (as is typical in Schenker’s is climactically r2ectified to a diatonic step, A –G. Tetrachord motive in ascending form. § sonata form) that ends in m. 54. 2^ ≥ 17 18 19 20 21 23 24 ' 25 26 27 31 33 35 36 37 39 j 40 41 { * #2^ ' b3^ ' dux > > * d* œ > ux gezogen ˙ ˙ œœœœœ Æ j * j b˙ ˙ nœœœœ œœbœ œ œœÆ œ œ œ œœ œ œ #œ#œœœœ J J Jnœœœ &b œ œ œœœ œ œbœ bœœbœœ ˙ ˙ #˙ #˙ nœ #˙ nœ œ #œ #˙ œ #˙ n˙ ‰ J comœes œ œco œ nœ œ œ œ ˙ #œ mes œ# œnœ œ#œ nœ#œ#œ œ ##œ n ˙ # œ n ˙ ˙ A§ G n 7œ 6œ œ G##œ A G# * n˙ # § & Ab G œ bœ œ j j b˙ œ#œ œ œ œ œ ? #œ œ#˙ ˙ #œ #˙ ˙ ˙ œ œ b ˙ œ ˙ œ n˙ #œ ˙ > ˙ & 4 > > C#: I V3 6 7 4 Mm. 31–35 cast Ab/G# as root, D: V4 E: VII3 I third, and fifth (see Ex. 5). (I I I # ) I (V I # ) # ´ 8 b7 5 6 6 On this level the approach to E major appears plagal; but see Example 5, C: III# bVI I IV V4 where the real bass is shown to be D , a chromatic inflection of m. 11’s D minor. { # A replaces A as a chromatic passing tone, Here B is subordinate to G : the F: VII b § V b b Figures B–G clarify mm. 5–9 (see Fig. A). Figures C–G focus on mm. 5–7, which are then sequenced. yielding a (dissonant) diminished third chord. exact opposite of m. 2! (See Fig. A.) B. 5 6 7 8 9 C.5 6 7D.5 6 7 E.5 6 7 F.5 7 G.5 6 7 b œ bœ bœ œ nœ œ bœ bœ œ nœ œ bœ bœ 'œ nœ œ bœ bœ œ œ nœ œ bœ bœ œ œ œ nœ & œ bœ œ œ nœ nœ œ œ œ œ œ œ œ nœ «bœ œ nœ bœ œ n œ nœ bœ œ n œ œ #œ nœ #œ # œ œ #œ œ œ #œ œ œ œ #œ œ œ œ bœ œ #œ nœ œ ¥œ bœ œ #œ nœ 6 &5 & 8 & 5 8 5 8 4 3 Parallel octaves mitigated by reaching over in the top voice. F# anticipation provides enharmonic A lower neighbor F§ in the bass allows for the dissonant Ab of Figure E to be prepared The bass ascends F–G–A, with semitones in between. consonant support for upper voice Db and Bb. as a consonance. The neighbor figure also mitigates the enharmonic succession Gb–F#. Schenker introduced this principle in Der freie Satz ([1935] 1979, §249 and Fig. 114,2). H. A§ Ab G I. 44 45 49 50 * 51 52 Vln. I Æ œÆ Æ bœÆ œ œ Cl. bœ * œ nœ œ#œ œ œ #œ œ œ Œ œ œ œbœ œ œ Ó ˙ œ J ? œ œ bœ bœ œ bœ ˙ &b ‰ bbœ œ œ œ œ bœ œ œ bœ [cresc. sempre] pp œ œ œ bœ œ œ œ bœ œ œ bœ œ œ Vc. p dim. The passage quoted in Figure H makes the A§–Ab–G A G motive explicit. For the remainder of the exposition, Figure I marks a turning point in the motivic life of the piece: here the tet*rachord figure appears in both b * the Ab–G connection predominates. descending and ascending forms. This signals the onset of the development’s voice leading (Figs. J–L).

Figures J–L illustrate how the development’s voice leading reverses the course of Figure M gives an example of octave-play (perhaps related to the octave displacement in Figure L) from the the exposition’s motivic descending tetrachord on a large scale. Figures N and O developm{ ent’s climax. Notice too the invertible counterpoint here, which also begins the development (mm. 69 ff.). provide a more detailed account of this voice leading. (See Ex. 5 for deeper layers.) Vln. 1 octave motive 81 82 83 84 J. K. L. M. 81 82 83 j 84 i.e. { œ j bœ™ œ œ bœ * * ™ bœ bœ œ œ œ bœ nœ œ œ œ b˙ b˙ b˙ bœ œ bœ œ œnœ œ Œ œnœ#œ œ Œ œ nœ &b œ œ &b ( ) œ nœ b˙œ bœbœb˙ b˙œ bœ b˙œ b˙œ b˙œ b˙™ bœ œ bœ b˙™ œ œ bœ bœ bœ b˙ ˙ b˙ ˙ Vc. f nœ œ™ J ff #œ nœ™ J Fig. J shows the motivic inner-voice fourth progress’ion—the same pitches as’ m. 1! In Fig. K, the bass motion duplicates: what Schenker would call, in Der freie Satz, an unfolding. At this stage the fourth C–F is no longer strictly a linear progression, but is still understood to resemble one. See Schenker (1935) 1979, §141 and Fig. 43. The motivic fourth’s identity is further clouded by the twin octave displacements of Fig. L. One might relate these octaves to the octave motive from the opening, whose downward direction is reversed in the development—just like the tetrachord’s. Indeed, I feel a palpable upwards pull over the course of the development (see Fig. O in particular). (For a more local use of melodic inversion, see mm. 77–80.) 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 Ab 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 Ab 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 Ab soon yields to Db major, and its melodic descent (mm. 59–61) is not supported harmonically. 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 70 81 C C Db Eb F Ab: N. 3^ 2^ (q u a s i : ^ ^ ^ ) C: ^ ^ ’ 3 2 1 2 1 * * bœ ’ ( ) bœ ˙ ˙ b œ bœ œ œbœ bœ˙ œ bœ bœ &bb˙œ œ œ ˙ bœ bœ bœ œ bœ & œ œ ˙ œ bœ bœ œnœ œ œ bœ bœbbœ bœbbœ bœ nœ bœbœ b œbbœbbœbbœ bœ bœ bœ bœ bnœbœ bœ b˙œ nœ bœ œ bœ œ œ" œ b˙ ˙ CS b ˙ b˙ ∫ œb œ n(b œ ) bœbœbœ b ˙ ˙ b˙ b˙ b˙ dux bœ J ’ CS Aux. Cad. J J * C: V ( ) I ( ) III? 6 7 Ab: III ( I I ) V ( ) I bVII? ( ) ( ) 6 7 ( ) Db: V III IV I V Ib II § V I The structural Db that I show in mm. 65–66 is merely putative; this is not the C#5 sixteenth note in m. 65. More literal readings are certainly possible. These would most likely take Ab as the main tone across mm. 61–67. However, this feels overly static to my ear: m. 65 is the theme’s climax, approached with a build-up and reached with a discharge of energy. For this reason, I take m. 65 as the point at which the ascending tetrachord’s C resolves to Db; accordingly I read mm. 61–64 as prolonging dominant, not tonic, harmony. Note that, in my reading, the Db splits: on a deeper level it ascends to Eb, but locally it descends into an inner voice (mm. 67–68). 70 75 77 78 79 80 81 83 85 86 87 88 89 91 92 93 F O. A C Eb ^ P. 174 175 176 4 5 Eb F * 3 bœ bœœ Vla. gezogen from: Vc. bœ nœ œ bœ œ œœ œbœ bœœ œ bœ œbœbœ nœ ˙ œ œœ nœ œbœ œ ' ˙ ˙™ ? œ œ &b n œ œ œ œnœœbœ œbœ œ œ œ bœbœ œ œ nœ œ œ bœ œ n˙ Bb ˙ ˙ b œ œ b ˙ nœb œ bœnœ œ bœbœ b˙ b˙œ ˙5 6 5 6, etc. « ˙ ˙ œ bœn œ bœ œ œ œ œ ˙ { b ˙5 5 5 ˙ œb˙ motivic reworking! Bruckner’s coda is a masterful example of motivic synthesis. I provide but one (very simple) illustration of F: bIIIb § bVI (I V b ) I this in Figure S. Here, both the descending and ascending Figure O gives a detailed middleground graph of the development proper (mm. 69–92). The central feature of its voice leading is the ascending ninth from Eb (m. 70) to forms of the tetrachord—crucial engines of the movement’s F (m. 81). Note the incredible motivic reworking Bruckner achieves in the coda (Figure P), where the violas are given the last word in the movement: E–F–A–C–E–F. motivic growth—are made to sound simultaneously. 85 86 85 86 69 70 71 72 73 74 75 76 77 C Vln. 1 Q. R. Ob. i.e. l. & Ob. S. 5 6 5 6 5 G j 165 166 nœ œbœ œ nœœ j œ bœ œœ œbœ nœ œ œ ? bœ bœ nœ nœ œ œbœ ˙œ œ œ ˙ bbœ ‰ bœ‰ œ œbœ‰nœœ bœ b œ œ œ œ œ b b˙ œ nœnœ œ & J #œœ J & œ œ œ ´ 8 M 6 5 Cl. Figure R demonstrates how a descending tetrachord is registrally œ œ œ œ 1. V I III ≥ 4 3 concealed within the clarinet and oboe lines during the retransition. Vc. œ à 2. III (V I ) I Figure Q provides three interpretations of the harmony at the start of the development. I choose the first (which, in my view, makes for the most ppp x convincing middleground), despite the fact that these local tonics exist for just a single eighth note each. In this reading (as well as in Reading {3. III V I 3), each two-measure unit arpeggiates its local tonic, and the final chords in mm. 70 and 72 act as applied dominants within a 5–6 sequence. Symphony III: Finale The measure numbers correspond to the 1873 version. Those Figured Bass Reduction of Second in bold mark beginnings of Bruckner’s periods, as indicated Theme: Chorale Element in the autograph of the 1877 revision, Wn. Mus. Hs. 19.475. 69 73 77 81 85 A. ≥ ˙™ ˙™ # # # ˙ ˙ œ n˙ n˙ ˙ ˙ œ ˙ ˙ ˙ ˙ b & # ## C ˙ ˙ ˙ ˙ w w ˙ Ó b bbbb ˙ œ mm. ™ 69-134 69‘-72 ?# # #C ˙ b ˙ # ## ˙ ˙ ˙ ˙ ˙ ˙ ˙ n˙ #˙ ˙ #˙ w ˙ ˙ ˙ ˙ ˙ b bbbb ˙ ˙ 4 6 H 6 7 ˙ 4 T Y Y §7 8ü 7 ˙ 4 ? 7 6˙ ?6˙ 4 3 4 5 3 R R 5 3 5 4 2 F# major 3 § § ? 3 D# minor #III# { 91 97 101 ˙ ˙™ bœ ˙ ˙ bbbb b œ œ w ˙ ˙ ˙ ˙ n˙ ˙ nnnn n w w ˙ ˙ Ó & b ˙ ˙ ˙ w ™ œ ˙ n w w ˙ ˙ w ? b ˙ n ˙ ˙ ˙ ˙ ˙ b bbbb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ n nnnn ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 7˙ § 7˙ 7 ˙ 6 7˙ § 6 7˙ 5- Y !7 ˙ 6 7 7 H 7 4 4 #6˙ ! 2 § T 4 2 ! 5 { § C major 3 107 115 ˙ ˙ ˙ ˙ ˙ n˙ # ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ## bb b ˙ ˙ ˙ ˙ ˙ ˙ & ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ b w ? ˙ # # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ bbbb ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ # § 7 § 7 § § { A major G# major 119 123 127 131 134 ˙ b˙ ˙ ˙ ˙ ˙ #˙ # ˙ ˙ ˙ ˙ ˙ ˙ ˙ # bb b ˙ bb b b ## # ## ˙ ˙ & b ˙ b b ˙ ˙ ˙ ˙ ˙ ˙ ˙ # ˙ ˙ ˙ ˙ ˙ w ˙ n˙ b˙ ˙ #˙ n˙ ˙ n˙ ? b ˙ n˙ ˙ ˙ ˙ b ˙∫˙ ˙∫˙ ˙ # # ˙ #˙ ˙ ‹˙ ˙ ˙ ˙ # # ˙ b˙ w b bb ˙ n˙ b bbbb #˙ # ## # 7 6 6 6 Y 6 6 6 7 6 7 ´ G 7 6 6 6 ?6 6 6 6 7 6 7 ´ 4 4 5 4 4 4 5 4 4 ? 4 4 5 4 4 4 5 4 4 3 3 2 2 3 3 3 3 2 2 3 3 E# minor F# major G# minor E major A major { II# &V# This represents, in my reading, the structural dominant of the movement, which Bruckner removed from the 1877 revision (!). It is followed by a repeat of the second theme in F major, which I read as belonging to the development's voice leading. For a history of Bruckner’s revisions of this movement, see Gault 2011, 51–53 and 82; and Röder 2001. Figures B–D, E–H, and I–L feature elaborations by stages, from The tenor’s chromatic passing tone C§ creates parallel fifths between the foreground to surface. Note how Bruckner elaborates all three passages to chorale-melody instruments and the 2nd clarinet and 3rd horn. Bruckner incorporate bass motion in half steps. mitigates these fifths with surface-level voice leading in the violins. B. C. D. ˙ ˙ ˙™ œ ˙™ œ # ## # w w ˙ ˙ n˙ n˙ ˙ ˙ #˙ n˙ n ˙ ˙ ˙ & # # ˙ w ˙ ˙ ˙ ˙ ' ˙ ˙ mm. ˙ w w ˙w ˙ w n˙ ˙ n˙ ˙ ˙ ˙ n˙w n˙ ˙ nn˙ w 73-76 ˙ #w & & #w ?# # # # ## ˙ w w w ˙ n˙ #˙ ˙ #˙ w ˙ n˙ #˙ ˙ # ˙ w ˙ 4 6 6 6 5 ˙ 4 6 §7 Y §7 8 7 ˙ 4 T §7 Y §7 8 7 3 4 3 3 T R 5 3 T R T 3 § § D§ replaces D# in the alto On the surface, a { as a chromatic alteration. G# anticipation in the cellos sounds together Figures E–G are in strict counterpoint. Bb neighbor note harmonizes Figure H is in four- with the A§. E. F. passing tone in the bass. G. H. voice free composition. b ' &b bb w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w˙ ˙ ˙ ˙ ˙ ˙ mm. w w ˙ ˙ v.c.â w w ˙ 119-122 n˙ ˙ w ˙ n˙ w n˙ ˙ w ˙ n˙ w n˙ w w ˙ n˙ ˙ n˙ w ä w ˙ n˙ ˙ ˙ w ˙ w ˙ ˙ ˙ ˙ ?bb b ˙ n˙ nw ˙ ˙ n˙ b˙ ˙ ˙ nw b˙ ˙ ˙ b˙ n˙ b˙ n˙ ˙ & b & & 7ü 6 Eb avoids downbeat This chromatic passing tone is diminished fifth. forbidden in strict counterpoint, Bruckner transposes these two progressions to Ab but is conceptually active on the minor and E{ major respectively in mm. 127–134. layers represented in Figures F–G. Figures K–L are in free composition. Figure L adds a fourth voice. This added rhythmic activity motivates Figures I–J are in strict counterpoint. I. J. K. the metrical displacement of Figure L. L. ' b w w w w ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ &b bbbb ˙ ˙ ˙ ˙ w ˙ mm. w w w w w w w w w ˙ w w w 123-126 w w ' w ˙ ˙ ˙ w w ˙ ˙ w w œnœb˙ ˙ ∫˙ ˙ ∫˙ ˙ n˙ b˙ ˙ ∫˙ ˙ ∫˙ ? b b b w w w ˙ b b b 7ü 6 7ü 6 Figures M and N show the motion from the raised mediant that begins the second theme to the dominant at m. 134. The diminished seventh chord of mm. 85–107 does not appear as a verticality on the surface; rather it is delineated in the middleground by a series of foreground key areas: F# major (m. 65), D# minor (m. 85), C major (m. 97), and A major (m. 107). (The procedure of arpeggiating chords, including dim{inished ones, in the middleground is quite common. These chords usually appear as surface verticalities, but there is no theoretical problem presented by their absence on relatively foreground layers. It is by no means rare for the “invisible hand” of middleground voice leading to guide foreground events without appearing literally. I give a list of Schenkerian precedents in Example 2b, first footnote.)

65 85-107 131 134 65 85-107 111 131 134 107 110 111 115 122 123 126 127 130 131 134 M. N. O. mm. ## œ n n œ #œ œ # #œ nnœ ##œ nœ œ mm. # j œ œ nœ 65-134 ? #˙ # #œ ˙ œ # œ œ œ œ œ 107-134 ?# # œ œ œ œ #œ œœ œ ‹œœ œ œ œ #˙œ #œ #˙œ # ˙ œ #˙œ œ n œ #œ œ nœ œ n˙œ J #˙ #œ h˙ J n˙ H 6 ?6 6 J 5 H 4 4 #III# II# V# #III# #IV# II# V# Figure O shows more detailed voice # # § 3 leading for the end of the passage. A: VII# V I Symphony IV: Finale

49 51 58 49 50 51 58 49 50 51 58 49 50 51 57 58 51 52 53 54 55 56 57 58 55 56 57 58 A. B. C. D. E. F. 4-Prg. mm. œ nœ œ #œ n œ œ #œ n œ j Gj 49-58 ? b œ #œ œ œ # œ œ œ# œ œ œ œ# œn œ #œ œ nœ #œ œ bœ #œ œ b b œ œ œ œ œ œ œ œ œ œ nœ œ œœ œ œœ nœ œ nœœ œœ n œœ œœ 5 G 6 J J J œ œ œ & & 4-Prg. &4-Prg. Also heard on The D major of Figure C yields here to D The top-voice fourth progression of Figure E is altered in Figure F. The bass’s fourth progression in the surface as Gb minor, allowing the F–F#–G motion (see Fig. turn is given a follower a third higher: A–Bb–(C)–D. major, bVI of Bb. A) to be retraced at a more foreground level. The Ab of this chord becomes a lower neighbor G on the surface. The resulting chord can be heard Figures G through H depict the arduous attainment (mm. 59–63) of a local V in Ab major. In Figs. G and H, a structural #IV (m. 62) is gradually locally either as a diminished third chord leading subsumed into a filled-in ascending fifth in the bass. The parallel fifths of Fig. H are mitigated by means of a 5–6 sequence in Fig. I. This voice to F#, or as a “leading-tone dominant seventh leading may seem somewhat fastidious since the progression is deployed in first inversion on the surface (Fig. J). But this maneuver has its basis chord” (for which see my comments on the Fifth in deeper voice leading: Example 4 suggests that the real bass in m. 59 is C, part of a larger-scale 5–6 sequence than the one shown in Fig. I. Symphony) resolving to Ab. 59 61 62 63 59 60 61 62 63 59 60 61 62 63 59 60 61 62 G. H. I. J. / ' ( ) œ mm. G œ œ bœ nœ œ / / œ bœ nœ œ œ œ nœœ œ bbœ nœ œ œ nœ œ nœœ œ n#œœ œ 59-63 ? b œ ˙œ ˙œ ˙ œ bœ ˙œ n˙œ ˙ œ œœ bœ n œ ˙œ n#œ nœ œ b˙ œ œœ bœ nœ œ nœ œ b b ˙ J ˙ œ J ˙ nœ œ nœ 6 5 5ü 6 5ü 6 5ü 6 5 M 4( 3 ) Figures K–O concern a very complex cadential approach. Fig. K shows the basic outline to consist of two large voice exchanges, the first diatonic, the second chromaticized and leading to an augmented sixth. The first one is in fact a double voice exchange; in addition to the exchange between C and Ab, note also the exchange between the inner voices: Ab–G–F# (not indicated for reasons of legibility). Fig. L provides the motivation behind this interior voice exchange: a chord with a seventh more organically generates a German augmented sixth than a chord without a seventh. Figs. M–O show only the first voice exchange. Fig. M includes the lead-in to the passage (see Figs. G–I) and shows that the first voice exchange takes place over a putative Eb bass, which then materializes forcefully in m. 71. This powerful orchestral unison on Eb (Fig. N) arpeggiates the Ab triad, which becomes a local tonic in m. 72. (I hear the G in m. 71 as instrumental to this tonicization, and thus read the six-four as cadential rather than arpeggiating. However, one can hardly consider this G to constitute a resolution; I consider the resolution solely conceptual, as in Beethoven's Ninth Symphony, i, m. 34.) Figure O gives the final picture, in which m. 67 is made to sound like a D dominant ninth harmony, with a suspended fourth. Note how this neighbor-note D helps to articulate the arrival of Eb as the real bass in m. 71. 62 63 67 71 73 71 72 73 63 67 70 71 73 Another, in my view less convincing, reading of this passage (mm. 3 63–71) is possible, in which the chord with F# in the bass (m. 63) M. j G N. 3 3 œ bw O. j G fun ctions as an unfolding of D (m. 67). Study of the score will œ œ œ œ œ 3 œ œ œ œ ˙ ˙ reveal the structubral ramifications of this interpretation. b nœ bœ œ œœ œ œ œ œ˙ œ œ œ œ b b b b bœ œ Cæ æœæœ æ æ æ æ æ æ ˙ œ œ & 63 71 73 74 76 & œ œ#œ œ ææ æ nœ ˙ #˙ mm. J æ œ J 62-76 K. j L. 3 3 G vs. G 3 G j j j 3 œ b˙ DN œ œ ˙ œ œ œ œ bœ nœ œ œ œ œ œ œ ˙ œ œ ˙ ? b #œœ œ œ nœ œ nœ œ bœ nœœœ ? b œ œ #œ œ œ œ œ æœœ œ œ œ #˙ /œ #œbœ ˙ ˙ œ œ bœ œ bœ G G J Cæ æœ æ æ æ Ó G 5 < > J b b œ G œ #œ œ nœ œ œ œ œ b b ˙ ˙ œæœ æ æ æ ˙ nœ J ˙ b˙ œ œ bœ ˙ J J ˙ 6 æ 5 8æ !7 œ œ 5 +6 !7 +6 ˙Ab: V 4( 3 ) I J 3 It. Ger. J 6 5 J 6 5 J 4( 3 ) & 4( 3 ) 113 114 115 116 117 113 114 115 116 117 121 123 125 P. Q. { Fifth arises as D momentarily asserts itself as the real bass. mm. œ œ œ bœ œ œ b œœj œ œ bœ œ œ œ nœ bœ 113-125 ? b G œ œ œ œ œ bœ œ bœ œœ b œ n œ œ œ bœ œ b b b œ nœ œ nœ œ bœ œ nœ œ œ nœ œ ∫ œ bœ ˙ 6 6 ´ 4 ! 4 ! Symphony V: Finale 47 48 49 50 51 52 53 54 55 56 57 47 50 53 57

A. B. -Prg. œ j œ j œ œ œ 6 œj b œ œ œ œ bœ œ œ œ nœ QœbQœ bœbnœœ œ œnœnnœ bœ bœbœbœ bœ nœ œ b œ œ œ œ œ œ œ b bœ bœ œbœ nœ œnœ J J œ œ œ b rg. J mm. & œ œ bœ œ œ J & 6-P 47-57 œ j j œ œ œ œ bœ œ bœ œ œ bœ œ œ bœ nœ bœj œ œ œ ?bb œ b œ nœ œ œ b œ nœ œ nœ œ bœ nœ œ œ J œbœ œ œ œ œ œnœ œ ?bb œ & J& J bœ bœ œ œ œ & J Soprano follows bass in parallel tenths (mm. 47– Ab: 6 5 I 53). Figure B shows the diatonic underpinning. bVI V I VI V Unu{sual tenor voice (vla.) conceals Whole-tone ascent by 5–6 Diminished chord { The enharmonic change from Cb to B (also notated as such in Bruckner’s underlying fifths with bass: Bb–Cb, F–Gb. sequence (mm. 48–52) displaced on surface score; Example 4 provides more context) is a small but necessary broken by half step F–Gb. to m. 54. corrective: the same kind required by a complete traversal of the circle 67 71 74 76 81E. 74 75 76 81 of fifths. However, it is not a real enharmonic shift, for the change D. presents no chromatic disjunction in the linearity of the ensuing music. b b &b &b b˙ b˙ bœœ b˙ œ b˙b∫˙ bb˙ œ œ b˙ b˙b∫˙ mm. C. 67 71 74 76 81 b ˙ ˙ nœ ˙ bœ ˙ œb œ ˙ F. 67 69 71 73 74 75 76 77 79 81 83 67-83 = b˙ b˙ bœ œ b˙‘ bœ bœ bœ nœ œ nœœ# nœ #œ ? bb˙ ˙ b˙ ? b b˙ œ ˙ bœ b˙ ˙nœbœ nœ b˙ ? bb˙ œ œ œ˙nœ bœœb˙œ œ œ œ b˙œ # œ nn œ b b b J J œ n˙ œ n˙ n˙ B B N N !7 B B Y N 6 N !7 N 6 6 N N !7 B ! B N B Y ! 6 6 N N N M N ´ 7 T ! B 4 ! V B ! V B B 4 V 4 4 B = G # & ! ! & ! & ! ! &# The middleground dominant seventh chord {concluding Figures C–E undergoes an unusual transformation as it passes through the structural layers. Figure F shows how a six-three chord built on Cb becomes a diminished seventh chord built on A§ through a chromatic voice exchange. Another voice exchange returns the bass to Cb, but the top voice keeps the A§, producing an augmented sixth. This augmented sixth was a dominant seventh on the preceding layer, and this reinterpretation is a fairly common procedure in Schenkerian terms; see Example 2 for relevant figures from Der freie Satz ([1935] 1979) where Schenker shows this voice-leading event. However, what happens next is not common: the augmented sixth reverts to a dominant seventh in E major. There is no Schenkerian precedent for this maneuver, probably because it is not a scenario often found in the repertoire. The closest analogue that I am aware of (thanks to David Loeb) occurs in the finale of Brahms’s Piano Quintet, Op. 34, mm. 26–29—indeed, even in the same key! Very local instances are more common; see for example Mozart’s G-major Piano Concerto, K. 453, ii, mm. 74–81. I would imagine that the scarcity of this voice leading on a larger scale stems from its inherent deflation of chromatic tendency; the opposite transformation, of a dominant seventh into an augmented sixth, brings about an inflation of chromatic tendency. However, this example poses no theoretical problems from a Schenkerian view, and thus cannot be deemed a heterodox element.

The chord at m. 92 (see score) requires some explanation. It has the appearance of a dominant seventh chord built on F#, but leads to G major in m. 93 as if it were a deceptive cadence in B minor. Indeed, the voice leading is exactly the same as a deceptive cadence to bVI, except that the chord of resolution functions as a local tonic. The progression takes advantage of the premise that the dominant chord’s “business end” is the leading tone, which can in turn be unfolded or even abstracted from the dominant (see Example 2b, first footnote). Thus I call this chord a “leading-tone dominant seventh.” Bruckner was hardly the first to avail himself of this voice-leading opportunity; as Burstein (1998, 302–3) observes, composers as early as Haydn occasionally used a VII# chord to lead to I, as in the first movement of the Eb Piano Sonata, Hob. XVI:25, mm. 50–51 (a reference I owe to Cody Franchetti). In Bruckner’s treatment, the leading-tone chord is given a seventh, for which reason I regard it as an altered diminished seventh chord. Such chords become an important fixture of Bruckner’s late harmonic language, although they can be found in early symphonies as well; a very exposed case is the retransition of the Seventh Symphony’s first movement (mm. 277–281). Bruckner’s leading-tone dominant sevenths are not troublesome from a Schenkerian perspective, which ascribes great importance to the leading tone. Indeed, the figure from Der freie Satz cited in Example 2b, third footnote gives a near-exact Schenkerian analogue ([1935] 1979, Fig. 114,2b, sketching the retransition of Haydn, Symphony No. 104 in D, iv)! Kevin Swinden discusses the chord (2004, 206–15), providing several examples from Bruckner (some not entirely convincing). 97 99 101 102 103 107 110 111 113 115 121 125 129 131 5^ 5^ 4^ 3^ b3^ b2^ 2^ 1^ G. j n œ G nœ mm. ˙ bœ nœ nœb#œœ œ #n œœ œ nœ œ ˙ bœ bœ œ nœ œ œ nœ n œ œ œ œ œ b œ nœ ˙ n œ nœ b˙ n˙ b˙ œ œ œ bœ bœ n˙ 97-131 ? b nœ œ œ #œ œ bœ nœ œ #œ nœ n œ œ œ œ œ œ bœ œb œ n œ bœ ˙ b ˙ ˙ b˙5 6 nœ b˙ ˙ œ nœ n˙ J ˙ J 8 7 6 N 5 F: V I bIII bII V I 4 § On the surface, this half 6 cadence is given a 5 chord. Symphony VI: Finale 65 66 67 68 69 70 71 72 73 76 77 80 81 86 87 88 89 91 92 93 94 96 97 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ A. 5 4 3 2 ’ 5 4 3 3 1 1 ’ ' j j & ˙ œ œ˙ œ œ nœ ˙ œ œ˙ œ œ mm. œ œ œœ œ œ˙ œ˙ œ œ œ œ œœ œ œ œœ œ œ˙ #œ #œ ’ œ œ œ œ˙ #œb nœ œ #œ nœ œ ˙ 65-97 œ œ #œ œ œ œ #œ nœ # œ n œ œ œ œ bœ ? ˙ ˙ #œ œ nqœ œ bœ bœ bœ œ œ ˙ œ œ œ œ ˙ œ ˙ œ #œ œ œ ˙ œ œ œ ˙ #œ n˙ bœ ˙ œ ˙ J ’ J J ˙ / 0 VI/ I0 V { I V I III Third divider Plagal I It is certainly no coincidence that the extended third divider that occupies the consequent of the second theme rests on the (locally tonicized) harmony of E, the eventual dominant of the symphony. Although this E has no prolongational relation to the structural dominant of m. 139 (not shown here, but see Example 4), it functions as a sort of “resonance frequency” as I exerts a pull on III: yet another form of tonal agency inherent in the work’s voice-leading fabric (which I discuss in footnote 28). Furthermore, Bruckner denies C major tonal stability by withholding a V–I cadence into m. 97. Instead a bass motion in thirds yields to a wandering passage (mm. 81–89) that ultimately regains the tonic plagally (mm. 89–97). Figures C–F show this “wandering” section in greater detail. Recall from [5.3] above that none of the finales discussed here contains a firm cadence in the key of the second theme, a fact which further underlines the second theme’s intermediate status in the overall key profile. The unusual sequence of foreground keys in mm. 85–89 must attenuate our sense of tonal cohesion. Figures D and E show how I believe the tonal governance of the passage operates. Figure F shows the compositional basis for the 73 74 75 76 77 78 79 80 seemingly directionless harmonies: they allow Bruckner to quote more or less exactly the start of the melody from ^ ^ ^ ^ ^ Isolde’s Liebestod (here transposed down a major third to better illustrate the relation) in the second violins. 3 2’ 3 2 1 81 82 83 84 85 87 89 85 86 87 88 89 B. j j C. D. E. ˙ nœ œ ’ ˙ œ œ œ # œ œ œ œ œ œ œœ œ˙ œ œ œ œ œœ œ œœ œ˙ œ˙ n ˙ œ #œ nœ˙ bœ#˙œ #œ n˙ bœ ˙ ?## # #œ œ œ œ œ œ nn n ˙ œ ˙ œ œ ˙ ˙ #œ nœ œ # ˙ œ œ œ œ œ nœ ˙ ˙ œ œ‹œ œ#œ œ ˙ ˙ n œ œ ˙œ J œ J J J J Note in Fig. F the vast differences between the composers’ harmonizations. In Bruckner’s treatment, each measure 6 6 comprises a local tonic and its dominant, whereas in the Wagner the tonics and dominants come at half the rate, I II5 V ’I II5 V I and structural harmonies come on beat three (with the downbeats containing passing or appoggiatura chords). F. 85 86 87 88 # # # # ‰ j j ‰ ‰ j j œ & pp œ œ œ nœ œ œ nœ nœ œ œ nœ™ nœ œ Mœild und lei - se wie er lä - chœelt, wie das Au - ge hold er öﬀ - net, I V I V # ## & # ˙ ‹œ n˙ œ nœ b˙ œ pp œ ˙ œ dimœ. pnœ cresc. I V I V I V I V 97 103 104 109 113 105 107 109 105 107 109 105 107 109 105 107 109 105 106 105 106 G. H. I. J. K. L. N vs. N bœ bœ nœ " nœ ˙ ˙ mm. œ œ nœ bœ"b œ n œ b ˙ b ˙ n˙ b ˙ b ˙ #œ œ # œ b œ bœ b∫œ bœ œ ? œ bœ œ nœ n˙œbœ bœnœn˙œ#œn ˙œ b œnœnn˙œ #œ n ˙œ bb˙œ bn˙œ n˙nb ˙œ n˙ n˙ n˙ n˙ œœbbœœ nœœ bœ b œ b œ b œ œ 97-113 ˙ b˙ n˙œ b ˙ b˙ b˙ J J jb˙ nœ ˙ #œ n˙ œ œ b˙ nœ œ b˙ J bnœb ˙b œn˙b œ n ˙ J J J J J 5 7 5 7 5 J J J 8 §7 !7 Reachin&g over in top voice Figures H–L show the derivation of the striking passage that connects mm. 104 and 109. Bruckner’s harmonic language smooths parallel fifths. here exhibits a porous boundary between dominant and diminished seventh chords (see especially Fig. L). In Figures A–S, each quarter note represents one measure of Symphony VII: Finale music, unless measure numbers indicate otherwise. Figures Anticipation breaks up parallel fifths Anticipation in inner voices responds Soprano’s chromatic passing line C#–B#–B§ A–W explain the voice leading of mm. 1–35 by stages. between soprano and tenor (C#–B, F#–E). to dissonance between upper voices. moves with alto A–G#–G§. 1 5 11 1 5 11 1 5 11 1 5 11 1 5 11 A. B. C. D. E. # # ' ' ' & # # ˙ ˙ œ w˙ ˙ w ˙ ˙ œ ˙œ œ ˙ w ˙ ˙ œ œ œ ˙ w ˙ ˙ œ œ œ n˙ w ˙ ˙ œ œ#œnn˙ w mm. ˙™ œ w w ˙™ œ ˙ ˙ w ˙™ œ œ ˙ w ˙™ œ œ ˙ w ˙™ œ œ ˙ w 1-11 ™ ™ ™ ™ ™ # ?## # w w w w ˙ ˙ w w ˙ ˙ w w ˙ ˙ w w ˙ ˙ w 5 6 6 7 6 5 6 6 7 6 5 6 6 7 6 5 6 6 7 6 § 5 6 6 7 H §5 4 5 4 5 4 5 4 4 5 4 4 5 4 § 2 3 2 3 2 3 2 3 2 3 { Figures G and H show how a voice exchange elaborates mm. 5–7. Figures I–S show how the first eleven measures are transposed and elaborated. 1 3 4 5 7 9 10 11 5 7 5 6 7 11 15 27 11 15 27 11 15 27 F. G. H. I. J. K. # # # # # & # # ˙ ˙ œ œ˙ #œ#œnnœ w œ #œ œ ‹œ##œ & # ## ˙ ˙ œ w˙ ˙ w ˙ ˙ œ ˙œœ ˙ w ˙ ˙ œ œœ ˙ w ˙™ œ œ‹ œ œ #w œ ‹ œ œ œ ‹œ mm. ˙™ w ˙™ ˙ w ˙™ ˙ w ™ 11-27 ?# # œ #œ œ #œ œ ?# # w w w ˙ w ˙ # # w ˙™ œ w œ œ œ n œ œ # ### w ˙ w ˙ w 5 6 6 7 H T 7 5 6 6 7 6 5 6 6 7 6 5 6 6 7 6 4 5 G 4 § 6 4 5 4 5 4 5 4 2 3 ? 5 2 3 2 3 2 3 3 { 11 15 27 11 13 14 15 17 19 23 27 15 17 { 15 16 17 15 19 23 27 15 19 23 27 19 21 27 19 21 23 27 L. M. N. O. P. Q. R. S. # # / 0 ‹œ#œ‹œ ‹œ #œ ‹œ # # # ˙ ˙ œ œ‹œ #˙ w ˙ ˙ œ œ˙ #œ‹œ #œ w œ #œ œ ‹œ #œ œ˙ #œ‹œ #œ nww œ˙ #œ‹œ #œ & # ˙™ œ œ œ ˙ w ˙™ œ œ‹ œ œ œ #w œ ‹ œ œ œ‹ œ œ‹ œ œ œ # w œ‹ œ œ œ #‹ww œ œ œ œ œ œ‹œ#œ & J ‹œ ‹œ‹#œ ‹œ # œ #œ œ ‹œ œ œ nœ œ #œ nœ #œ ?## # # w ˙ ˙ w w ˙™ œ w œ œ œ nœ œ ˙ »œ œ w ˙ œ œ w #œ #œ #œ #œ œ # 7 œ œ œ #œ 5 6 6 7 ?6 G 5 6 6 7 ?6 G 6 4 5 4 4 5 G 4 5 Figures X and Y give the voice 2 3 2 3 ? 3 leading of the second theme. F major elided on the In Figures T–W, each quarter note # Top voice harmonizes bass according 35 38 39 42 44 45 46 47 48 49 50 51 65 rep{resents one measure of music. surface (see Example 4). to second-species counterpoint. / 0 E: 7^ 27 34 27 32 34 27 30 31 32 34 27 30 31 32 33 34 1^ 2^ b3^ 4^ 5^ 5^ T. U. V. W. X. G j b ' b ˙' œ œœbœ bœ œ œnœ nœ˙bœ œ bœ œnœ b˙ &b bbnww w nww n˙ ˙ bw˙ ˙ bœnœn n˙ ˙ œbœ œ &b bb œœœœbœœ œ mm. w nw w ˙n˙ w œ n ˙ bw˙ œ n˙œ œnœ mm. 27-34 35-65 & & ? b b w w w ˙ ˙ b˙ n˙ ˙ b˙ n˙ ? b b b˙ ˙ œ bœ ˙ bœ œ n˙ b b n˙ œnœ 7œ- 6 n6œ-5 9- 8 b b ˙ ˙ œ œ∫œ bœ œ ˙ Bruckner avoids pa&rallel fifths & Awkward &voice exchange & 6- 5 J J with voice exchange to prompts redistribution of C§ on the surface 4- 3 J diminished seventh (Fig. U). voices (shown in Fig. W). (in the horns). I IV (I I § )V III§ I T{his highly chromatic voice exchange reinterprets an augmented sixth as a dominant {Reaching over mitigates parallel seventh (see Figure V above, and my comments in the Appendix, Symphony V, Fig. F). octaves between outer voices. These intervals show the basic motion over these measures: G# moves to A with a 5–6 exchange that Mm. 85–88 feature a string of deceptive mitigates the resulting parallel fifths (G#–A, D#–E). cadences in which the old VI becomes the new I. 65 77 78 79 80 81 82 83 84 85 86 87 88 89 93 7^ 6^ n6^ Y. j j j j # œ nœ œ œ ## # œ ˙ #œ œ n˙ ˙ œ nœ nœ ˙ nœ nœ #‹ œ #œ #œ œœ nœ nœ n˙ & œ #œ œ œ nœ nœ œ # œ #œ ‹œ #œ #œ nœ mm. J n œ œ nœ œ œ œ 65-93 5 ' 6 5 8 7 œ œ œ j j # ˙ #œ œ œ œ j j œ #œ nœ œ œ ?## # œ œ œ œ n˙ ˙ #œ œ œ n˙ #œ œ nœ ˙ #œ & ˙ nœ œ n˙ nœ ˙ Brief F# minor improves voice J œ leading by introducing a & J III# strong contrary-motion bass IV# D major here provides consonant support for This important preparatory do&minant IV§ { and by softening the shift in the seventh of m. 89’s local V. The upper voice (prolonged for four measures) is couched within key center to A major. D is prolonged by neighbor E (mm. 87–88). a descending arpeggiation of the A minor triad. 93 101 105 109 116 117 93 95 96 96-99 101 96 97 98 99 100 101 101 102 103 104 105 105 106 107 108 109 4-Prg. Z. Aa. Bb. Cc. DN Dd. œ œ œ œ œ œ #œ œœ nœ nœ œ œ œ mm. ? œ œ œ œ #œ nœ œ œb ∫œ j œ##œ œ #œ nnœ œ œ œ œ bœ œ #œ 93-117 ˙ œ œ ˙œ bœ bœ bœ b œ bœ bb˙œ b œ b˙ bœ œ ˙ œ ˙ œ ˙ ˙ ˙ œ ˙ ˙ œ ˙ ˙ œ ˙ ˙ œ œ œ #œ ˙ 5 6 5 6 ˙ J J 5 6 & & 5 6 6 N 6J # C: II# V I This middleground diminished arpeggiation This F major becomes minor on the surface, giving the 5ü 6 In Figures Ee–Jj, which show the cadential approach (originating in Figure Aa) does not appear impression that the progression is locally 3 ü 4 in F minor. to C major, each quarter note represents two measures as a surface verticality. See my comment in of music unless measure numbers indicate otherwise. the Appendix, Symphony III, Figs. M–N. Ee. 101 105 116 117 Ff.101 105 115 116 117 Gg.101 105 111 115 116 117 Hh.101 105 109 111 115 116 117 ˙ ˙ ˙ ˙ w ˙ ˙ b˙œ n˙ w ˙ ˙ ˙™bœ nœ w ˙ ˙ ˙™ bœ nœ w & w ˙ ˙ w w œ œ ˙ w w #œ œ nœn œ w w #œ œ nœn œ w G G G ? ˙ ˙ ˙ ˙ w ˙ ˙ œ œ ˙ w ˙ ˙ #œ œ œ œ w ˙ œ œ œ#œ œ #œ œ œ œ w 6 7 6 7 6 B& &# B & # B IV tonicized. Tenor and bass add chromatic passing tones. D weakly articulated in bass. {Ii. 101 105 109 111115 116 117 Jj.101 105 109 111 115 116 117 Kk. 111 113 115 Ll.111 113 114 115 w˙ ˙ œ bbœ œ œ nœ w w˙ ˙ œ bœ œ œ nœ w bbb œ œ œ œ œ nœ œ & w #œ œ& nœ n œ w w #œb œ œ nœ œ œ w œ bœ nnœ œ bœ œ nnœ J J œ œ œj œ œ œj œ nœ œ ? ˙ œ œ œ#œ œ#œ œ œ w ˙ œ œ œ#œ œ #œ œ œ w bb bœ œ œ bœ œ b œ œ 7J 6J 7 6 5 6 7 b J J # & B # & B 7 6 Soprano given chromatic upper Upper voices anticipate, while the B The voice exchange of Figures 3 neighbor. Bass syncopates to upper neighbor Db shifts to a new Kk and Ll is a transposition of { avoid parallel fifths with alto inner voice. This disposition the earlier exchanges of (D–D#, A–Bb). avoids parallel fifths with the bass. Figures G–H and R–S. Foreground sketch of the second theme’s voice leading. Anticipation breaks up fifths between Anticipation breaks up fifths between Double bars indicate periodic divisions (mine, not Bruckner’s). Symphony VIII: Finale soprano and alto (F–G, Bb–C). alto and bass (Ab–G, Db–C). 69 70 71 72 73 74 75 76 / 770 78 79 80 81 82 83 84 F: ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ A. 3 5 5 4 3 2 1 2 3 5 8 n7 j G G ’ j ’ b b œ œ œ œ ' œ ˙ ' n˙ &b b ˙ œ œ œ ˙œ œ œ œ ˙ œ ˙ œ˙ œ œ œ ˙ ˙ œ œ œ ˙œ œ œ œ mm. & 6 J 5 J J œ œ œ œ 6 J 5 69-135 / 0 Fifth divider j J ˙ bœ œ œ ˙ œ ? b b œ œ nœ œ œ ˙ œ œ ˙ nœ œ nœ œ nœ ˙ bœ nœ bœ n˙œ œ œ nœ œ bœ ˙ œ œ ˙ b b J J ˙ ˙ 7 J J A held as pedal. nœ 6 5 7 6 & b J J J J F: III I III6 I V VII7 I & V III I V ’ ’ Elaborated on the surface ’ The theme’s key (at least until m. 78) is ambiguous: F minor or Ab major? 7–6 suspension breaks up { through a voice exchange. fifths between soprano Note the pervasive top-voice motive – – – , often coupled with a descending tetrachord in the bass. ^ ^ ^ ^ and alto (G–F, C–Bb). Measures 94–96 quote the first movement of The motive first appears in mm. 76–737.2 1 2 Bruckner’s own Seventh Symphony, mm. 197–200. 85 86 87 88 89 90 91 92 93 94 95 96 97 98 Db: 3^ 3^ 2^ 1^ 2^ C: 4^ 3^ 2^ 1^ 2^ j j j G ’ ’ b b ˙ œ œ œ œ bœ œ ˙ ∫œ œ nœ nœ bœ nœ nœ˙ nœ œ n˙ &b b œ ∫œ œ œ bœ œ œ œ œ b œ œ bœ œ bœ bœ œ œ n œ œ nœ œ J œ œ œ œ Eb F Gb V.E. bœ ˙ bœ bœ œ ∫œ bœ œ œ œ nœ ˙ nœ œ nœ ? b b œ bœ œ œ œ bœ œ nœ œ œ œ œ œ b œ n œ œ œ œ #œ nœ n ˙ b b œ œ5 ∫ œ6 œ œ bœ J 5 6 N J 3 4 nœ J J 3 J J J 5 ´ 6 Db: I I V VI 4 V III/V bII V C: VII I V VI V 3 ’ ’ { F: VI III bII6 #IV7 V Although this progression is an exact trans&position of mm. 93–94, its Neapolitan has a different function than that of m. 93: to prepare the more structural IV chord in the Anticipation breaks up fifths between # second half of the measure. Figure F explains the voice leading more fully. soprano and bass (Cb–Bb, Fb–Eb). 99 100 101 102 103 104 105 106 107 108 109 110 111 Cb: 3^ 2^ 1^ Ab: b3^ 2^ 1^ j ' bœ œ j ∫œ bœ bbbb œ ∫œ œ bœ b˙ œ ˙ ∫œ ∫œ ∫œ bœ∫˙ œ ˙ nœ˙ & bbœ˙b˙ b˙ ∫ œ bœ nœ œ bœ œœœ bœœ bœ ∫b œ ∫ œ bœ bœ ˙ œ œ Qœnœ œ J J ∫Qœ œ ∫œ J J N 5 j j j j J ? b bœ bœ œ bœ bœ œ n˙œ œ bœ bœ ∫œ ∫œ ∫œ ∫œ bb˙œ ˙ b bbb ˙ bœ ˙ œ bœ ˙ œ ∫ ˙ ∫∫˙œ ∫œ J œ b ˙ œ bœ J Third divider J bœ bœ J J J J G < > J J G Cb: I VI IV8 7 +6 III’ Db: Ib bVI bIV(!)8 7 +6 bIII’ V { bIV arises here as bVI of b&VI. Thus mm. 105–110 end a half Ab: bIII I bVI V IVb bVI I step lower than mm. 99–104, enabling a b6–5 motion over Ab. Figures C–E clarify the sixth progression and auxiliary cadence that lead to Ab. The bass note C starts out as a shared tone between the keys F and Ab. In relation to Ab, it begins a 6–5 Figure B summarizes Figure A, clarifying how the outer voices relate to the two governing keys, motion over V (Eb) that initiates the auxiliary cadence. In Fig. D, the C splits into two parts, F minor and Ab major. Note that, beginning in m. 99, the top voice descends from 5 ^ in Ab major. one governed by each harmony. F minor exerts its influence by causing C’s third to be raised to Mm. 105–110 accomplish a plagal motion whose goal is a b6–5 motion over Ab (Fb–Eb). the leading tone E§ (Fig. D), and Ab pulls its mediant down to Cb (Fig. E). Because the two tones 69 85 96 99 105 111 represent the same scale degree, they are slurred together. F: ^ ^ ^ ^ ^ ^ ^ ^ ^ 69 96 103 111 69 96 99 103 111 69 96 99 103 111 B. 3 5 8 n7 b7 6 b5 4 3 C. D. E. b ’ ˙ œ œ’ n˙ ’ b˙ bœ œ b œ œ œ nœ bœ œ nœ bœ b bb ˙ ˙ œ œ œ nœ œ œ b˙b˙ ˙ œ bœ n˙œ b bb œ œ œ œ j œ œ œ œ j œbœ œ œ & œ ˙ ˙ b˙ bn˙œ ˙ b ˙ œ & ˙ œ ˙ œ b˙ ˙ ’ œ œ’ nœ œ’ bœ ∫œ J ˙ ˙ ˙œ ˙ ˙ ˙œ ˙ ˙ ˙œ ˙ J J J J IVb J bVI I F: I V I V I V Aux. Cad . 6 5 F: I VI V / 0 III Ab: V I III V I bIII V I Ab: III bIII V Plagal Ib6 5

85 90 95 96 111 113 115 111 113 115 111 113 115 DN F. j G. H. I. G bœ ∫œ bœ ∫∫œ∫b œ b œ G bœ bb b œ˙ œ œ nœ nœ˙ bb b œb œ b ˙œ bœ ∫˙ œ œ nœ b˙œ bœ nœ ∫˙ œ œ nœ b˙œ b œ nœ ∫˙ & b ˙ œ nœ & b ˙ ˙ ∫œ ˙ ∫œ œ œ n˙ ˙ 5 7 5 7 5 œ bœ ∫œ ∫œ œ ∫œ bœ ∫œ ∫œ bœ & bœ bœ œ 4-Pr bœ bœ bœ œ J bœ J &4-Prg. g. J Neapolitan mitigates augmented The bass progression here is controlled more by Cb than by Ab (hence Gb and & 4 b6 second Ab–B§. Fb). Note how the augmented sixth resolves to the third rather than the Ab: I II3 V 4 b6 fifth of its goal (similar to the famous chord in Till Eulenspiegel). However, Cb: I II3 V the tone of resolution is still in the original key, as is typical. 5^ Despite being heard locally as a G§, this Aº serves to expand 115 116 117 118 119 120 121 122 123 an inverted diminished seventh chord leading to bIII. Figure J shows the J. j expansion of E j j º # œ œ œ œ œ #œ œ (spelled here as D§ # œ œ #œ œ bœœ œ œ œ for convenience) & œœ nœ œ œ nœ #œ G œ #œ and its preparation J œ nœ œ bœ œ of Gb major through œ J œ œ a b6–5 motion. Figures K and L give the overall voice leading from 6 5 the second to the third theme group. Fig. L # includes the motion from F minor to Ab major. Cb does not appear in the inner voices because of a Bb pedal This diminished chord is similar in origin to the verticality in the 2nd horn and violas (running from mm. 127–130). An excellent example of what Schenker called “the freest form shown in the Appendix, Symphony III, Figs. M–N. Note the especially telling slur in m. 130 of the viola part. of interruption” in Der freie Satz ([1935] 1979, §217 and Fig. 91). 69 111113115 123 127 130 131 135 69 78 83 85 96 99 100 103 111 113 115 123 127 131 135 C: 4^ 3^ b2^ 3^ C: 4^ 3^ b2^ 3^ K. L. ' ' ' ’ b b ˙ œ œ∫œ œ œ b œ œ bœ nœ ˙ b b ˙ nœ œ nœ bœ œ ˙ œ ∫œ ˙ b˙ hb˙ ˙ ˙ &b b œ œ bœ bœ b˙œ œ œ œ bœ &b b œ œ œ œ bœ œ œ ˙ ˙ œ bœ bœ bœ œ ˙ œ œ œ bœ œ b˙ ˙ b˙ ∫˙ ˙ ˙ ˙ b˙ J J ’ J bœ b˙ ˙ ˙ b7 Eb: II IIb5 bIII bVI V Ib Eb: II bIII V Ib Example 6 In addition to the deep middleground motive Example 5 shows A as the top voice for this passage. More A–Ab–G (see Ex. 5), these graphs highlight Symphony VI: Adagio (Foreground) locally, this A arpeggiates up to a high F. After a two- the tetrachord motive (marked with a black The drawn-out A major dominant of mm. 9–10 and pervasive half-step upper neighbors of mm. octave descent (mm. 13–21, through a neighbor G) F is asterisk) and the octave motive. 5–10 lead me to hear m. 11 as an implied D minor and the top-voice Bb as an appoggiatura. chromatically altered to F# in m. 24, where it leads to G#. 1 2 3 4 ^ 5 6 7 8 9 10 11 12 13 14 15 16 17 3 ' ' A. Arp. ^ ^ j j 2 1 œ œ ˙ œ œ œ œ

G bœ œbœ bœ bœœœ bœœœ œ œ œ œœ œœ ˙ œœ˙ ˙bœ œ

b ˙ bœ b ˙ 4-Prg. bœ b ˙ bœ b ˙ bœ & œ ˙˙ & œœ œ œ œ ˙˙ & œ # œ ˙˙ & œœ œ œ # œ ˙˙ ˙ ˙ 5-Prg. ˙ ˙ I V I V I V I V Figure E reminds us that the fifth progression and augmented sixth of Figure D are common fixtures of classical Each of the foregoing figures has featured the direct chromatic succession A–Ab. Schenker notes in sonata expositions. Bruckner’s voice leading differs only in that his augmented sixth resolves to the fifth of V, rather Der freie Satz that composers sometimes allow such direct chromaticism, but on other occasions than to the root of II§. Bruckner uses this more traditional voice leading in the finale of the same symphony. See attempt to soften its effect, thereby adding to the voice-leading content: “The prohibition of chromatic Example 4 and footnote 28, as well as Schachter 1983, 62–68. steps in strict counterpoint no longer holds in free composition. However, since in free composition direct chromatic successions are generally avoided (thus affording the possibility of more abundant prolongations), the prohibition is in a certain sense reëstablished” ([1935] 1979, 91, §249). Figure F ^ ^ ^ ^ shows how Schenker illustrates this concept, reproducing a sketch of the Eroica Symphony ([1935] E. 3 b3 2 2 F. 1979, Fig. 115,2, which in turn copies Meisterwerk III; see [1930] 1997, Figs. 2 and 3). Note the unavoidable prolongational conflict—surely intentional—in Schenker’s reading: Gb is read at once as an alteration of the Kopfton (G§) and as a structurally subordinate passing tone between Ab and F. He explains the contradiction as follows: “The Ab major chord in bar 43 . . . is an interpolation whose b ˙ 2 2 & œ œ œ #œ œ˙ œ˙ sole purpose is to rectify the hidden false relation ‘g –Gb; Eb–e ’ . . . by setting it in a diatonic context, œ b œ nœ ˙ as is the custom when rectifying direct chromatic progressions” ([1930] 1997, 14–15). Subsequent ˙ ˙ analysts have questioned the wisdom of Schenker’s contradictory Eroica sketches (see Laufer 1981, J 167–71); but it cannot be denied that such eccentricities are a real feature of Schenker’s own analytic I ( )II§ V practice—as opposed to its more systematic American progeny. Figure G posits that Bruckner’s passage performs a similar sort of chromatic mitigation, but using a different interpolation than Beethoven’s IV chord. Instead, the E of the ascending inner-voice fourth is harmonized with a VII harmony, representing an unfolded third of V. The resulting top voice A–G–Ab thus softens the direct chromaticism A–Ab. Notice that the E chord and the augmented sixth are now each interpreted as belonging to two separate and contradictory prolongational spans: that of the opening tonic (and the fourth progression it deploys) and that of the goal dominant (composed out through its upper third). 1 9 11 23 25 36 37 G. 3^ 2^ b3^ 2^ H. 3^ #2^ b3^ 2^ I. 3^ #2^ b3^ 2^

b ˙ bœ b ˙ bœ b ˙ œ bœ & œœ œ œ # œ ˙ & œœ œ #œ # œ n˙ & œœ #œ œ ##œ #œ # œ n˙ ˙ ˙ ˙ CS ˙ ˙ n˙ I ( ) Ger ´ V I ( ) Ger ´ V I ( ) VI ( ) VII# Ger ´ V Figure H provides further rationale for this unusual voice leading: when the unfolded third of Figure Figure I shows the fleshing out of the inner-voice fourth G’s dominant becomes, in Figure H, E major instead of E minor, contrapuntal support is provided for progression, as D minor and E major are tonicized locally. the top-voice Ab in the form of G#. The enharmonic equivalence allows for the augmented sixth’s dissonant Ab to be prepared as a consonance and thereby composed out. But the chromatic mitigation that brought about the interpolated VII chord in the first place stands in contradiction to this equivalence, since the unfolding in the bass demands that we treat G# and Ab as different notes.

Perhaps the reader will find this analysis unconvincing—or worse, a wanton abuse of the theoretical apparatus. Nevertheless, long deliberation has led me to find it a better analysis than that of Example 5, more faithful to the music and to Schenker’s methods—and it is for that reason that I deemed its inclusion necessary. I urge its serious consideration, and provide the following explanation:

If one does not agree with Schenker’s contradictory Eroica graphs, then this reading of Bruckner will likely seem equally unsatisfactory. But if one does accept Schenker’s reading, the serious question emerges: if we allow such an analytic license for Beethoven, why precisely would we disallow it for Bruckner? I regard such an impulse as the legacy of the double standard in analysis, fostered by the canon’s sorting of music into good vs. bad, unified vs. incoherent. Second, by including this extravagant reading I hew closely to Schenker’s Schenker—not a sanitized modern version of his theories: when we restrict ourselves only to the prim, proper basics of Schenker’s thought, we do ourselves and the music a disservice. Finally, despite the controversy of its contradiction, I believe the reading I present here to be, in fact, more conservative than the one I show in Example 5. There the deep middleground progression is: F major–E major–C major. To be sure, the guiding middleground motive A–G#–G provides some coherence, and the VII# harmony is incorporated into the approach to the dominant (as III of V). But even so, the voice leading of this reading seems to me haphazard, as if appearing by fiat rather than evolving out of forethought. Such readings make the music seem quite radical—to my mind, more radical than it is. By contrast, the reading I offer here provides a clear rationale both for the E major (to mitigate a direct chromatic succession and introduce the dissonant Ab as a consonance) and for the augmented sixth (to connect the opening tonic with the structural dominant through an inner-voice progression). Because it explains more, I consider it the better reading; and in terms of voice leading, it is surprisingly the less avant-garde. I do not believe in introducing contradictions indiscriminately into the Schenkerian framework. But they deserve not to be brushed aside when they appear the most musically sensitive solutions in certain analytic situations, especially when such situations were foreseen by Schenker himself.