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Bruckner as a writer of symphonies |
Bruckner links up with Beethoven's composition technique: in Beethoven's 9th Symphony he found the constructive element that he used as his structural basis: the augmentation and enlargement of the individual movements in the way Beethoven had indicated.
- Augmentation is achieved by using 3 themes, which are usually presented in the exposition. Enlargement is achieved by extending the Coda.
- n Beethoven's Ninth we first find the idea of resonating themes from preceding movements in the Finale. In Bruckner's work this resumption of a dominating theme from the 1st movement becomes a rule from the 3rd symphony onwards.
- This technique plus the enlargement of the Coda place a greater emphasis on the Finale. This is one of the most essential deviations from the classical norm. In Beethoven's Ninth we can also observe a completely new creative principle in the construction of themes, which departs from the formation of song-like themes preferred in the classical era.
- This results in the development of the theme from parts of its motifs. Bruckner so to speak allows us to watch the growth of the theme from its imminent life force. Almost any main theme starts in piano, rises to a dynamic climax and returns to a gentle piano. This 1st theme, which usually has no regular structure and extends over 10-20 bars (or more) is followed by a
free repetition. This means a bi-partite principle, which is also contained in Beethoven's Ninth Symphony.
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