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Characteristics of Bruckner's compository technique

His treatment of the 2nd and 3rd theme groups is completely new.
The 2nd theme group, the so-called lyrical theme, is mostly clothed in a rich web of contrapuntal polyphony. Influences of polyphonic organ music are unmistakable. In contrast to the 2nd, the 3rd theme group stresses the rhythmic element. To create an even more dramatic effect Bruckner prefers the unisono on this occasion.

In the development Bruckner uses all methods of thematic elaboration: apart from harmonic and instrumental crescendos he applies all contrapuntal devices like augmentation, reduction, reversion and combination of several themes.

Recapitulation: the returning main theme is often enriched, otherwise the classical rules are observed.

Coda: By stressing the idea of the Coda, resp. the Finale the point of gravitation has shifted within the sonata form. The development is not so much a struggle (like the thematic elaboration in Beethoven's concept), it is rather a further symphonic growth. The climax is shifted from the development towards the Coda.

2nd movement: Bruckner is the creator of the most solemn Adagios. The soul of the mystic who has had a vision of God reveals itself. Bruckner's symphonies are "non-verbal Masses" - a thought that strikes you on listening to his 2nd movements.

3rd movement: they contain elements from popular dances of his Upper Austrian home province (Ländler, "G'strampfte").

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