Bruckner Symphony No. 4, 1st movement

The first movement of Bruckner’s 4th is in sonata form. The exposition is from the beginning of the piece to m. 192. The development section is from m. 193 to m. 364. Finally, the recapitulation is from m. 365 to the end of the piece, which includes a coda from m. 533 to the end.

The exposition can be split into 2 subjects and a closing section. In the opening subject the strings outline an E-flat major triad while what appears to be one of the main themes of the piece is played by the French horn. This statement of the theme lasts from m. 3 to m. 18. This statement is then expanded and repeated from m. 19 to m. 50 to make up the second half of the first part of the opening subject. The restatement of the theme begins with an E-flat major but moves through C minor and A major. This suggests that the method of expansion may be a circle of 3rds progression. The second half of the opening subject is marked by both th

The coda begins at m. 533 in A-flat major and can be split up into 2 sections. The first section is from m. 533 to m. 556. The second section begins at m. 557 where the piece moves from A-flat minor to B-flat major. Ultimately, the piece resolves from the B-flat major (V of E-flat) to E-flat major (tonic) in m. 571 to finish.

After the transitional period from m. 193 to m. 216, the development section can really be identified. While the transition may be considered part of the development, a new rehearsal letter (H) and a restatement of the opening theme at m. 217 strongly suggest the beginning of the development. The development can then be split into 3 sections. The first part is from m. 217 to m. 252. It begins in F major, then moves through A major to C-sharp minor. This is yet another example of how the circle of thirds progression plays an important role in this piece. This first section finishes with a B-flat dominant to help set the stage for the second section. The resolution of this B-flat dominant chord to E-flat minor in m. 253 marks the beginning of the second section of the development. The second section is from m. 253 to m. 287. The beginning of the third part in m. 287 can be distinguished by the rehearsal letter (K) and by the return of the opening theme. This time the theme is in A-flat major. However, it does not take long for this A-flat to resolve to E-flat. The theme is quoted in m. 312 in the tonic of E-flat major. This section ends by m. 333. After the third section of the development, there is another transitional period, from m. 334 to m. 364, before the beginning of the recapitulation.

The closing section of the recapitulation lasts from m. 485 to m. 532 and can be split into 2 sections. The first part lasts from m. 485 to m. 501. Then, the tutti dies out and there is some transitional material from m. 501 to m. 517. Suddenly, the next part of the closing section opens as a tutti section in m. 517. This section lasts until m. 532. Starting in m. 525, various strings and horns begin playing A-flat’s and E-flat’s

Some topics in this essay:
C-sharp A-flat, Albert Gutmann’s, A-flat’s E-flat’s, E-flat E-flat, Anton Bruckner, Vienna February, e-flat major, coda section, rehearsal letter, restatement theme, closing section, split 2, split 3, third section, exposition split, section subject, exposition split 2, split 3 sections, coda section section, begins e-flat major, closing section subject,