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

Transcription

1 MTO 2.1 Examples: Pell, Key Profiles i Bruckers Symphoic Expositios (Note: audio, video, ad other iteractive examples are oly availale olie) Example 1. Key Schemes of the Expositios

2 Example 2a. Formal Precedets for Bruckers Key Schemes Example 2. Schekeria Precedets (from Der Freie Satz) for Bruckers oice Leadig

3 Example Middlegroud: measures 1-1 A. Foregroud: measures 1-9 F.. Diatoic F. Chromatic -Prg. Brucker : Fiale Opeig O this level, the fourth progressio is sudivided to the extet that its idetity as a fourth dimiishes. Scheker discusses this pheomeo i Der freie Satz ([19] 199, 212 ad Fig.,). This sudivisio allos for the reiterpretatio of several elemets: the B (oce a passig toe) ecomes a eighor toe, ad the recedes eeath the B i structural importace. Reiterpretatio of this kid is implicit i several of Schekers cocepts. B. C. C. D. e e?.. H... D ma. C mi. Surface: measures -9 e e e e e e e C r r ff?? C E r r. H... E e e e e e 9 C r r r r ff? E e q? C E r r r r = Chromatic evet. 1. Diatoic ecomes i the middlegroud. K. K. 2. maor ecomes F mior i the foregroud.. F mior reverts to F maor at the ed of the passage. The A of 1 2 is composed out i the same ay as i the foregroud. 9 r r r r etc. etc.

4 A Example Bass-Lie Sketches of Bruckers Fiale Expositios? D 2 < arp. > Q A: 11 1 < > < >...? 1 9 q Q q q Q Q q M M 1 191? Qq Q Q 2 q 9 9 q 9 11 = First Theme = Secod Theme = Third Theme = See Appedix for Detailed raphs? A 1 Y 19» M 12 19? ^ ^ q Dev ^ ^ ^ q q q qq Q 11 q 1 q q Dev. ìì ? q F Dev. h E see Example «2 1 1 «9 q 9 F 2 12 E 1 « Dev. ìì

5 Example? Layer 1 < > < > Symphoy : Adagio (Middlegroud) 1^ 1^ Theme: Form: Layer 2 Layer Expo. Dev. Nü Nü F: Cü ü E < > Recap. Coda Expo. Dev. 1^ Recap. 1^ < > Coda? Layer F: üü is» D: «is 1^ 1^ Measure: Form: 1 Expositio Developmet 9 11 Recapitulatio Coda

6 Example A. Symphoy : Adagio (Foregroud) B. C. D. E. F.. H.? additio to the deep middlegroud motive A A (see Ex. ), these graphs highlight the tetrachord motive (marked ith a lack asterisk) ad the octave motive. 1 2 F: tetrachord motive? D: Arp. 1 1 dux comes B mior mometarily toicized dux comes O this level the approach to E maor appears plagal; ut see Example, here the real ass is sho to e D, a chromatic iflectio of m. 11s D mior. The dra-out A maor domiat of 9 1 ad pervasive half-step upper eighors of 1 lead me to hear m. 11 as a implied D mior ad the top-voice B as a appoggiatura. The ooes A i m. (see the score) stads for a B (the aalogous spot i m. clarifies), hich cotiues the parallel teths eyod those sho here. Tetrachord motive i ascedig form ^ 2 A E: C: F: Figures B clarify 9 (see Fig. A). Figures C focus o, hich are the sequeced. Parallel octaves mitigated y reachig over i the top voice. The ass asceds F A, ith semitoes i etee. l ^ 1 octave octave motive Parallel 1 ths motive CS D: ( ) [cresc. sempre] 9 A A Æ Æ Æ The passage quoted i Figure H makes the A A motive explicit. For the remaider of the expositio, the A coectio predomiates. Æ pp. gezoge Mm. 1 cast A as root, third, ad fifth (see Ex. ). F aticipatio provides eharmoic cosoat support for upper voice D ad B. 9 Œ? Cl. c. p At the arrival of, the deep middlegroud motive is climactically rectified to a diatoic step, A. Example shos A as the top voice for this passage. More locally, this A arpeggiates up to a high F. After a tooctave descet ( 1 21, through a eighor ) F is chromatically altered to F i m. 2, here it leads to N ^( ) 1 E T T This, i C maor, sets i motio a fifth progressio (as is typical i Schekers soata form) that eds i m > > > Æ Æ A A > > > C: ( ) A replaces A as a chromatic passig toe, yieldig a (dissoat) dimiished third chord. «Here B is suordiate to : the exact opposite of m. 2! (See Fig. A.) A loer eighor F i the ass allos for the dissoat A of Figure E to e prepared as a cosoace. The eighor figure also mitigates the eharmoic successio F. Scheker itroduced this priciple i Der freie Satz ([19] 199, 29 ad Fig. 11,2). Figure marks a turig poit i the motivic life of the piece: here the tetrachord figure appears i oth descedig ad ascedig forms. This sigals the oset of the developmets voice leadig (Figs. L). 1 Ó dim. A 2

7 Figures L illustrate ho the developmets voice leadig reverses the course of the expositios motivic descedig tetrachord o a large scale. Figures N ad O provide a more detailed accout of this voice leadig. (See Ex. for deeper layers.). K. L. M. N. l. 1 c. Fig. shos the motivic ier-voice fourth progressio the same pitches as m. 1! Fig. K, the ass motio duplicates: hat Scheker ould call, i Der freie Satz, a ufoldig. At this stage the fourth C F is o loger strictly a liear progressio, ut is still uderstood to resemle oe. See Scheker (19) 199, 11 ad Fig.. The motivic fourths idetity is further clouded y the ti octave displacemets of Fig. L. Oe might relate these octaves to the octave motive from the opeig, hose doard directio is reversed i the developmet ust like the tetrachords. deed, feel a palpale upards pull over the course of the developmet (see Fig. O i particular). (For a more local use of melodic iversio, see.) Figure N is a foregroud sketch of the third theme (hich, though formally part of the expositio, elogs to the developmets voice leadig i a Schekeria sese). At first the third themes key is ucertai. s m. a deceptive cadece i C mior or are e to hear a A maor toic here? favor the former; thus the toic at m. closes the fifth progressio that ega i m. 9. Hoever, the rest of the theme discourages a C mior iterpretatio, ad so hear the A toic emerge over the course of the atecedet as a auxiliary cadece. The maor at the ed of m. serves as a clever sort of misdirectio. This A soo yields to D maor, ad its melodic descet ( 9 1) is ot supported harmoically. 2 C A: C: 1^ C: A: quasi: " Aux. Cad.? 9 C O. E P. 1 f CS 1 1^? Figure M gives a example of octave-play (perhaps related to the octave displacemet i Figure L) from the developmets climax. Notice too the ivertile couterpoit here, hich also egis the developmet ( 9 ff.). octave motive 2 Q R. O. i.e. S. l ff i.e. 1 2 D: The structural D that sho i is merely putative; this is ot the C sixteeth ote i m.. More literal readigs are certaily possile. These ould most likely take A as the mai toe across 1. Hoever, this feels overly static to my ear: m. is the themes climax, approached ith a uild-up ad reached ith a discharge of eergy. For this reaso, take m. as the poit at hich the ascedig tetrachords C resolves to D; accordigly read 1 as prologig domiat, ot toic, harmoy. Note that, i my readig, the D splits: o a deeper level it asceds to E, ut locally it desceds ito a ier voice ( ). E F: F A C 9 D ( ) Figure O gives a detailed middlegroud graph of the developmet proper ( 9 92). The cetral feature of its voice leadig is the ascedig ith from E (m. ) to F (m. 1). Note the icredile motivic reorkig Brucker achieves i the coda (Figure P), here the violas are give the last ord i the movemet: E F A C E F.? à 1. x 2.. M F «, etc. Cl. Figure R demostrates ho a descedig tetrachord is registrally cocealed ithi the clariet ad ooe lies durig the retrasitio. Figure Q provides three iterpretatios of the harmoy at the start of the developmet. choose the first (hich, i my vie, makes for the most covicig middlegroud), despite the fact that these local toics exist for ust a sigle eighth ote each. this readig (as ell as i Readig ), each to-measure uit arpeggiates its local toic, ad the fial chords i ad 2 act as applied domiats ithi a sequece. Œ Cl. O. Œ CS dux E 1 F la. gezoge from: c. B? motivic reorkig! Bruckers coda is a masterful example of motivic sythesis. provide ut oe (very simple) illustratio of this i Figure S. Here, oth the descedig ad ascedig forms of the tetrachord crucial egies of the movemets motivic groth are made to soud simultaeously. c. ppp 1

8 9-1 A. Figured Bass Reductio of Secod Theme: Chorale Elemet F maor 9 C? C Symphoy : Fiale The measure umers correspod to the 1 versio. Those i old mark egiigs of Bruckers periods, as idicated i the autograph of the 1 revisio, W. Mus. Hs H T Y R Y R ü Ó??? Ó? - Y! 2 T C maor D mior 2 H! 2!? 1 11 A maor maor? Y E mior? F maor mior This represets, i my readig, the structural domiat of the movemet, hich Brucker removed from the 1 revisio (!). t is folloed y a repeat of the secod theme i F maor, hich read as elogig to the developmets voice leadig. For a history of Bruckers revisios of this movemet, see ault 211, 1 ad 2; ad Röder 21.? E maor 2 2 A maor

9 - B. C. D. Figures B D, E H, ad L feature elaoratios y stages, from foregroud to surface. Note ho Brucker elaorates all three passages to icorporate ass motio i half steps.? T Y R The teors chromatic passig toe C creates parallel fifths etee the chorale-melody istrumets ad the 2d clariet ad rd hor. Brucker mitigates these fifths ith surface-level voice leadig i the violis. T T Y R T E. F. passig toe i the ass.. H... K. L. Figures E are i strict couterpoit.? Brucker trasposes these to progressios to A mior ad E maor respectively i Figures are i strict couterpoit.? B eighor ote harmoizes < > E avoids doeat dimiished fifth. This chromatic passig toe is foridde i strict couterpoit, ut is coceptually active o the layers represeted i Figures F. ü ü < > ü Figures K L are i free compositio. This added rhythmic activity motivates the metrical displacemet of Figure L. D replaces D i the alto as a chromatic alteratio. Figure H is i fourvoice free compositio. O the surface, a aticipatio i the cellos souds together ith the A. ẇ v.c.â ẇ ẇ ä Figure L adds a fourth voice. Figures M ad N sho the motio from the raised mediat that egis the secod theme to the domiat at m. 1. The dimiished seveth chord of 1 does ot appear as a verticality o the surface; rather it is delieated i the middlegroud y a series of foregroud key areas: F maor (m. ), D mior (m. ), C maor (m. 9), ad A maor (m. 1). (The procedure of arpeggiatig chords, icludig dimiished oes, i the middlegroud is quite commo. These chords usually appear as surface verticalities, ut there is o theoretical prolem preseted y their asece o relatively foregroud layers. t is y o meas rare for the ivisile had of middlegroud voice leadig to guide foregroud evets ithout appearig literally. give a list of Schekeria precedets i Example 2, first footote.) ẇ M. N.? h O.? 1-1 Figure O shos more detailed voice leadig for the ed of the passage A: 122 H 12 H 12 12?

10 9-9- Symphoy : Fiale A. B. C. D. E.. H K. L.? ?? P. Q. 9 1 Also heard o the surface as maor, of B. The D maor of Figure C yields here to D mior, alloig the F F motio (see Fig. A) to e retraced at a more foregroud level. M. N. O Prg. Figures through H depict the arduous attaimet ( 9 ) of a local i A maor. Figs. ad H, a structural (m. 2) is gradually susumed ito a filled-i ascedig fifth i the ass. The parallel fifths of Fig. H are mitigated y meas of a sequece i Fig.. This voice leadig may seem somehat fastidious sice the progressio is deployed i first iversio o the surface (Fig. ). But this maeuver has its asis i deeper voice leadig: Example suggests that the real ass i m. 9 is C, part of a larger-scale sequece tha the oe sho i Fig t. +! vs ! er ü 2 ü? ü 1 M 2 -Prg. Cæ æ æ æ ææ æ æ æ æ æ æ æ Cæ æ ææ æ æ æ æ æ æ æ æ A: ( ) ( ) ! F. -Prg. The top-voice fourth progressio of Figure E is altered i Figure F. The asss fourth progressio i tur is give a folloer a third higher: A B (C) D. The A of this chord ecomes a loer eighor o the surface. The resultig chord ca e heard locally either as a dimiished third chord leadig to F, or as a leadig-toe domiat seveth chord (for hich see my commets o the Fifth Symphoy) resolvig to A Figures K O cocer a very complex cadetial approach. Fig. K shos the asic outlie to cosist of to large voice exchages, the first diatoic, the secod chromaticized ad leadig to a augmeted sixth. The first oe is i fact a doule voice exchage; i additio to the exchage etee C ad A, ote also the exchage etee the ier voices: A F (ot idicated for reasos of legiility). Fig. L provides the motivatio ehid this iterior voice exchage: a chord ith a seveth more orgaically geerates a erma augmeted sixth tha a chord ithout a seveth. Figs. M O sho oly the first voice exchage. Fig. M icludes the lead-i to the passage (see Figs. ) ad shos that the first voice exchage takes place over a putative E ass, hich the materializes forcefully i m. 1. This poerful orchestral uiso o E (Fig. N) arpeggiates the A triad, hich ecomes a local toic i m. 2. ( hear the i m. 1 as istrumetal to this toicizatio, ad thus read the six-four as cadetial rather tha arpeggiatig. Hoever, oe ca hardly cosider this to costitute a resolutio; cosider the resolutio solely coceptual, as i Beethoves Nith Symphoy, i, m..) Figure O gives the fial picture, i hich m. is made to soud like a D domiat ith harmoy, ith a suspeded fourth. Note ho this eighor-ote D helps to articulate the arrival of E as the real ass i m. 1. Aother, i my vie less covicig, readig of this passage ( 1) is possile, i hich the chord ith F i the ass (m. ) fuctios as a ufoldig of D (m. ). Study of the score ill reveal the structural ramificatios of this iterpretatio. 1 11?! Ó 1 DN < > Fifth arises as D mometarily asserts itself as the real ass.

11 A. Symphoy : Fiale? D. 1 E. C. F.?. 9 Uusual teor voice (vla.) coceals uderlyig fifths ith ass: B C, F. 1 2 Soprao follos ass i parallel teths ( ). Figure B shos the diatoic uderpiig. B 1 B 1 N! N?! B Q Q Whole-toe ascet y sequece ( 2) roke y half step F. B B Y! N!! N 1 Dimiished chord displaced o surface to m.. A: 1! N N N B!!?! B B B. -Prg. -Prg.? The eharmoic chage from C to B (also otated as such i Bruckers score; Example provides more cotext) is a small ut ecessary corrective: the same kid required y a complete traversal of the circle of fifths. Hoever, it is ot a real eharmoic shift, for the chage presets o chromatic disuctio i the liearity of the esuig music. The middlegroud domiat seveth chord cocludig Figures C E udergoes a uusual trasformatio as it passes through the structural layers. Figure F shos ho a six-three chord uilt o C ecomes a dimiished seveth chord uilt o A through a chromatic voice exchage. Aother voice exchage returs the ass to C, ut the top voice keeps the A, producig a augmeted sixth. This augmeted sixth as a domiat seveth o the precedig layer, ad this reiterpretatio is a fairly commo procedure i Schekeria terms; see Example 2 for relevat figures from Der freie Satz ([19] 199) here Scheker shos this voice-leadig evet. Hoever, hat happes ext is ot commo: the augmeted sixth reverts to a domiat seveth i E maor. There is o Schekeria precedet for this maeuver, proaly ecause it is ot a sceario ofte foud i the repertoire. The closest aalogue that am aare of (thaks to David Loe) occurs i the fiale of Brahmss Piao Quitet, Op., 2 29 ideed, eve i the same key! ery local istaces are more commo; see for example Mozarts -maor Piao Cocerto, K., ii, 1. ould imagie that the scarcity of this voice leadig o a larger scale stems from its iheret deflatio of chromatic tedecy; the opposite trasformatio, of a domiat seveth ito a augmeted sixth, rigs aout a iflatio of chromatic tedecy. Hoever, this example poses o theoretical prolems from a Schekeria vie, ad thus caot e deemed a heterodox elemet.? ^ 9! 1 B N B B Y!! N N! N The chord at m. 92 (see score) requires some explaatio. t has the appearace of a domiat seveth chord uilt o F, ut leads to maor i m. 9 as if it ere a deceptive cadece i B mior. deed, the voice leadig is exactly the same as a deceptive cadece to, except that the chord of resolutio fuctios as a local toic. The progressio takes advatage of the premise that the domiat chords usiess ed is the leadig toe, hich ca i tur e ufolded or eve astracted from the domiat (see Example 2, first footote). Thus call this chord a leadig-toe domiat seveth. Brucker as hardly the first to avail himself of this voice-leadig opportuity; as Burstei (199, 2 ) oserves, composers as early as Hayd occasioally used a chord to lead to, as i the first movemet of the E Piao Soata, Ho. X:2, 1 (a referece oe to Cody Frachetti). Bruckers treatmet, the leadig-toe chord is give a seveth, for hich reaso regard it as a altered dimiished seveth chord. Such chords ecome a importat fixture of Bruckers late harmoic laguage, although they ca e foud i early symphoies as ell; a very exposed case is the retrasitio of the Seveth Symphoys first movemet ( 2 21). Bruckers leadig-toe domiat seveths are ot troulesome from a Schekeria perspective, hich ascries great importace to the leadig toe. deed, the figure from Der freie Satz cited i Example 2, third footote gives a ear-exact Schekeria aalogue ([19] 199, Fig. 11,2, sketchig the retrasitio of Hayd, Symphoy No. 1 i D, iv)! Kevi Side discusses the chord (2, 2 1), providig several examples from Brucker (some ot etirely covicig). 9 F: ^ 111 ^ ^ N 11 M 9 N 1 = B = T

12 -9 A. B. C. D. E.? F. 9-11? ^ Third divider. H... K. L.? ^ q t is certaily o coicidece that the exteded third divider that occupies the cosequet of the secod theme rests o the (locally toicized) harmoy of E, the evetual domiat of the symphoy. Although this E has o prologatioal relatio to the structural domiat of m. 19 (ot sho here, ut see Example ), it fuctios as a sort of resoace frequecy as exerts a pull o : yet aother form of toal agecy iheret i the orks voice-leadig faric (hich discuss i footote 2). Furthermore, Brucker deies C maor toal staility y ithholdig a cadece ito m. 9. stead a ass motio i thirds yields to a aderig passage ( 1 9) that ultimately regais the toic plagally ( 9 9). Figures C F sho this aderig sectio i greater detail. Recall from [.] aove that oe of the fiales discussed here cotais a firm cadece i the key of the secod theme, a fact hich further uderlies the secod themes itermediate status i the overall key profile. O the surface, this half cadece is give a Symphoy : Fiale chord ^ ^ ^ pp Mild ud 9 1^ lei - se ie er lä - Plagal The uusual sequece of foregroud keys i 9 must atteuate our sese of toal cohesio. Figures D ad E sho ho elieve the toal goverace of the passage operates. Figure F shos the compositioal asis for the seemigly directioless harmoies: they allo Brucker to quote more or less exactly the start of the melody from soldes Lieestod (here trasposed do a maor third to etter illustrate the relatio) i the secod violis. 1 2 chelt, 9 Note i Fig. F the vast differeces etee the composers harmoizatios. Bruckers treatmet, each measure comprises a local toic ad its domiat, hereas i the Wager the toics ad domiats come at half the rate, ad structural harmoies come o eat three (ith the doeats cotaiig passig or appoggiatura chords). ie das Au - ge hold pp dim. p cresc ! Reachig over i top voice smooths parallel fifths " " er 9 1^ 9 Figures H L sho the derivatio of the strikig passage that coects 1 ad 19. Bruckers harmoic laguage here exhiits a porous oudary etee domiat ad dimiished seveth chords (see especially Fig. L) N 1 öff - 1 vs. N et, 1

13 Figures A S, each quarter ote represets oe measure of music, uless measure umers idicate otherise. Figures A W explai the voice leadig of 1 y stages A ẇ Symphoy : Fiale Aticipatio reaks up parallel fifths etee soprao ad teor (C B, F E). B. C. D. E Aticipatio i ier voices respods to dissoace etee upper voices Sopraos chromatic passig lie C B B moves ith alto A. 1? H F.. H. Figures ad H sho ho a voice exchage elaorates ? 2? H T 11-2 Figures S sho ho the first eleve measures are trasposed ad elaorated... K ? ẇ L. M. N. O. P. Q. R. S T. U.. W ? ?» Figures T W, each quarter ote represets oe measure of music. 2? 2 2 Brucker avoids parallel fifths ith voice exchage to dimiished seveth (Fig. U). 2 2?? F maor elided o the surface (see Example ) ẇ Akard voice exchage prompts redistriutio of voices (sho i Fig. W). This highly chromatic voice exchage reiterprets a augmeted sixth as a domiat seveth (see Figure aove, ad my commets i the Appedix, Symphoy, Fig. F). Top voice harmoizes ass accordig to secod-species couterpoit Figures X ad Y give the voice leadig of the secod theme. ^ 2 E: 1^ 9 ^ X. ẇ -? C o the surface - (i the hors). Reachig over mitigates parallel octaves etee outer voices. 9 1 ^ ^

14 Y. These itervals sho the asic motio over these measures: moves to A ith a exchage that mitigates the resultig parallel fifths ( A, D E) ^ ^? < > Brief F mior improves voice leadig y itroducig a strog cotrary-motio ass ad y softeig the shift i key ceter to A maor. Z. Aa. B. Cc. Dd.? C: Figures Ee, hich sho the cadetial approach to C maor, each quarter ote represets to measures of music uless measure umers idicate otherise This middlegroud dimiished arpeggiatio (origiatig i Figure Aa) does ot appear as a surface verticality. See my commet i the Appedix, Symphoy, Figs. M N. Ee Ff g Hh.? ẇ Mm. feature a strig of deceptive cadeces i hich the old ecomes the e. i Kk Ll.? ẇ ẇ B Soprao give chromatic upper eighor. Bass sycopates to avoid parallel fifths ith alto (D D, A B). D maor here provides cosoat support for the seveth of m. 9s local. The upper voice D is prologed y eighor E ( ). 9 B toicized ^ This importat preparatory domiat (prologed for four measures) is couched ithi a descedig arpeggiatio of the A mior triad. DN This F maor ecomes mior o the surface, givig the ü impressio that the progressio is locally ü i F mior ẇ ẇ B Teor ad ass add chromatic passig toes. B Upper voices aticipate, hile the upper eighor D shifts to a e ier voice. This dispositio avoids parallel fifths ith the ass. B D eakly articulated i ass. B 1 -Prg. N The voice exchage of Figures Kk ad Ll is a traspositio of the earlier exchages of Figures H ad R S.

15 A held as pedal. 9-1 A. Symphoy : Fiale F: ^ ^ ^ 1^ Fifth divider? F: Foregroud sketch of the secod themes voice leadig. Doule ars idicate periodic divisios (mie, ot Bruckers). The themes key (at least util m. ) is amiguous: F mior or A maor? 1^ Note the pervasive top-voice motive, ofte coupled ith a descedig tetrachord i the ass. The motive first appears i. D:.E.? D: F: 1^ Aticipatio reaks up fifths etee soprao ad ass (C B, F E). suspesio reaks up fifths etee soprao ad alto ( F, C B). Aticipatio reaks up fifths etee soprao ad alto (F, B C) ^ ^ ^ Aticipatio reaks up fifths etee alto ad ass (A, D C). Elaorated o the surface through a voice exchage. Measures 9 9 quote the first movemet of Bruckers o Seveth Symphoy, C: 1^ ^ E F N C: Although this progressio is a exact traspositio of 9 9, its Neapolita has a differet fuctio tha that of m. 9: to prepare the more structural chord i the secod half of the measure. Figure F explais the voice leadig more fully C: 1^ A: Q Q N? < Third divider> C: + D: (!) + A: arises here as of. Thus 1 11 ed a half step loer tha 99 1, ealig a motio over A ^

16 B. C. D. E. F.. H... Figure B summarizes Figure A, clarifyig ho the outer voices relate to the to goverig keys, F mior ad A maor. Note that, egiig i m. 99, the top voice desceds from i A maor. Mm accomplish a plagal motio hose goal is a motio over A (F E). 9 F: ^ ^ F: 9 9 DN 9 Neapolita mitigates augmeted secod A B A: Figures K ad L give the overall voice leadig from the secod to the third theme group. Fig. L icludes the motio from F mior to A maor. K. L. 9 ^ This dimiished chord is similar i origi to the verticality sho i the Appedix, Symphoy, Figs. M N. E: 99 ^ ^ ^ ^ Aux. Cad. 1 Plagal ^ Prg. Figures C E clarify the sixth progressio ad auxiliary cadece that lead to A. The ass ote C starts out as a shared toe etee the keys F ad A. relatio to A, it egis a motio over (E) that iitiates the auxiliary cadece. Fig. D, the C splits ito to parts, oe govered y each harmoy. F mior exerts its ifluece y causig Cs third to e raised to the leadig toe E (Fig. D), ad A pulls its mediat do to C (Fig. E). Because the to toes represet the same scale degree, they are slurred together. 9 9 F: A: 11 -Prg. The ass progressio here is cotrolled more y C tha y A (hece ad F). Note ho the augmeted sixth resolves to the third rather tha the fifth of its goal (similar to the famous chord i Till Eulespiegel). Hoever, the toe of resolutio is still ^ i the origial key, as is typical C: 9 ^ C does ot appear i the ier voices ecause of a B pedal i the 2d hor ad violas (ruig from 12 1). Note the especially tellig slur i m. 1 of the viola part. 1 C: ^ E: 9 Figure shos the expasio of Eº (spelled here as D for coveiece) ad its preparatio of maor through a motio A: C: Despite eig heard locally as a, this Aº serves to expad a iverted dimiished seveth chord leadig to. A excellet example of hat Scheker called the freest form of iterruptio i Der freie Satz ([19] 199, 21 ad Fig. 91) h

17 Example A. Symphoy : Adagio (Foregroud) B. C. D. E. F.. H.? additio to the deep middlegroud motive A A (see Ex. ), these graphs highlight the tetrachord motive (marked ith a lack asterisk) ad the octave motive. 1 2 F: tetrachord motive? D: Arp. 1 1 dux comes B mior mometarily toicized dux comes O this level the approach to E maor appears plagal; ut see Example, here the real ass is sho to e D, a chromatic iflectio of m. 11s D mior. The dra-out A maor domiat of 9 1 ad pervasive half-step upper eighors of 1 lead me to hear m. 11 as a implied D mior ad the top-voice B as a appoggiatura. The ooes A i m. (see the score) stads for a B (the aalogous spot i m. clarifies), hich cotiues the parallel teths eyod those sho here. Tetrachord motive i ascedig form ^ 2 A E: C: F: Figures B clarify 9 (see Fig. A). Figures C focus o, hich are the sequeced. Parallel octaves mitigated y reachig over i the top voice. The ass asceds F A, ith semitoes i etee. l ^ 1 octave octave motive Parallel 1 ths motive CS D: ( ) [cresc. sempre] 9 A A Æ Æ Æ The passage quoted i Figure H makes the A A motive explicit. For the remaider of the expositio, the A coectio predomiates. Æ pp. gezoge Mm. 1 cast A as root, third, ad fifth (see Ex. ). F aticipatio provides eharmoic cosoat support for upper voice D ad B. 9 Œ? Cl. c. p At the arrival of, the deep middlegroud motive is climactically rectified to a diatoic step, A. Example shos A as the top voice for this passage. More locally, this A arpeggiates up to a high F. After a tooctave descet ( 1 21, through a eighor ) F is chromatically altered to F i m. 2, here it leads to N ^( ) 1 E T T This, i C maor, sets i motio a fifth progressio (as is typical i Schekers soata form) that eds i m > > > Æ Æ A A > > > C: ( ) A replaces A as a chromatic passig toe, yieldig a (dissoat) dimiished third chord. «Here B is suordiate to : the exact opposite of m. 2! (See Fig. A.) A loer eighor F i the ass allos for the dissoat A of Figure E to e prepared as a cosoace. The eighor figure also mitigates the eharmoic successio F. Scheker itroduced this priciple i Der freie Satz ([19] 199, 29 ad Fig. 11,2). Figure marks a turig poit i the motivic life of the piece: here the tetrachord figure appears i oth descedig ad ascedig forms. This sigals the oset of the developmets voice leadig (Figs. L). 1 Ó dim. A 2

18 Figures L illustrate ho the developmets voice leadig reverses the course of the expositios motivic descedig tetrachord o a large scale. Figures N ad O provide a more detailed accout of this voice leadig. (See Ex. for deeper layers.). K. L. M. N. l. 1 c. Fig. shos the motivic ier-voice fourth progressio the same pitches as m. 1! Fig. K, the ass motio duplicates: hat Scheker ould call, i Der freie Satz, a ufoldig. At this stage the fourth C F is o loger strictly a liear progressio, ut is still uderstood to resemle oe. See Scheker (19) 199, 11 ad Fig.. The motivic fourths idetity is further clouded y the ti octave displacemets of Fig. L. Oe might relate these octaves to the octave motive from the opeig, hose doard directio is reversed i the developmet ust like the tetrachords. deed, feel a palpale upards pull over the course of the developmet (see Fig. O i particular). (For a more local use of melodic iversio, see.) Figure N is a foregroud sketch of the third theme (hich, though formally part of the expositio, elogs to the developmets voice leadig i a Schekeria sese). At first the third themes key is ucertai. s m. a deceptive cadece i C mior or are e to hear a A maor toic here? favor the former; thus the toic at m. closes the fifth progressio that ega i m. 9. Hoever, the rest of the theme discourages a C mior iterpretatio, ad so hear the A toic emerge over the course of the atecedet as a auxiliary cadece. The maor at the ed of m. serves as a clever sort of misdirectio. This A soo yields to D maor, ad its melodic descet ( 9 1) is ot supported harmoically. 2 C A: C: 1^ C: A: quasi: " Aux. Cad.? 9 C O. E P. 1 f CS 1 1^? Figure M gives a example of octave-play (perhaps related to the octave displacemet i Figure L) from the developmets climax. Notice too the ivertile couterpoit here, hich also egis the developmet ( 9 ff.). octave motive 2 Q R. O. i.e. S. l ff i.e. 1 2 D: The structural D that sho i is merely putative; this is ot the C sixteeth ote i m.. More literal readigs are certaily possile. These ould most likely take A as the mai toe across 1. Hoever, this feels overly static to my ear: m. is the themes climax, approached ith a uild-up ad reached ith a discharge of eergy. For this reaso, take m. as the poit at hich the ascedig tetrachords C resolves to D; accordigly read 1 as prologig domiat, ot toic, harmoy. Note that, i my readig, the D splits: o a deeper level it asceds to E, ut locally it desceds ito a ier voice ( ). E F: F A C 9 D ( ) Figure O gives a detailed middlegroud graph of the developmet proper ( 9 92). The cetral feature of its voice leadig is the ascedig ith from E (m. ) to F (m. 1). Note the icredile motivic reorkig Brucker achieves i the coda (Figure P), here the violas are give the last ord i the movemet: E F A C E F.? à 1. x 2.. M F «, etc. Cl. Figure R demostrates ho a descedig tetrachord is registrally cocealed ithi the clariet ad ooe lies durig the retrasitio. Figure Q provides three iterpretatios of the harmoy at the start of the developmet. choose the first (hich, i my vie, makes for the most covicig middlegroud), despite the fact that these local toics exist for ust a sigle eighth ote each. this readig (as ell as i Readig ), each to-measure uit arpeggiates its local toic, ad the fial chords i ad 2 act as applied domiats ithi a sequece. Œ Cl. O. Œ CS dux E 1 F la. gezoge from: c. B? motivic reorkig! Bruckers coda is a masterful example of motivic sythesis. provide ut oe (very simple) illustratio of this i Figure S. Here, oth the descedig ad ascedig forms of the tetrachord crucial egies of the movemets motivic groth are made to soud simultaeously. c. ppp 1

19 A. B. E. F. Symphoy : Adagio, Opeig (Alterate Readig) The chromatic alteratio of Figure A is couterpoited i Figure B y the fifth progressio C D E F, a motio from a ier voice. The chage i the top voice from A to A provides a poit of articulatio that sudivides the ier-voice fifth ito a fourth (C to F) plus a step (F to ). Figure E remids us that the fifth progressio ad augmeted sixth of Figure D are commo fixtures of classical soata expositios. Bruckers voice leadig differs oly i that his augmeted sixth resolves to the fifth of, rather tha to the root of. Brucker uses this more traditioal voice leadig i the fiale of the same symphoy. See Example ad footote 2, as ell as Schachter 19, 2. -Prg. C. D.. H.. -Prg. Figure posits that Bruckers passage performs a similar sort of chromatic mitigatio, ut usig a differet iterpolatio tha Beethoves chord. stead, the E of the ascedig ier-voice fourth is harmoized ith a harmoy, represetig a ufolded third of. The resultig top voice A A thus softes the direct chromaticism A A. Notice that the E chord ad the augmeted sixth are o each iterpreted as elogig to to separate ad cotradictory prologatioal spas: that of the opeig toic (ad the fourth progressio it deploys) ad that of the goal domiat (composed out through its upper third). er Figure C adds to Figure A a chromatic passig toe i a ier voice. Figure D shos this F i the cotext of Figure Bs fourth ad fifth progressios. Because the oudaries of the C F fourth outlie a larger middlegroud harmoy (i this case, a augmeted sixth), the fourth progressio remais a valid Zug. (Scheker [19] 199, 2 ad Fig.,1 are relevat i this coectio.) Figure H provides further ratioale for this uusual voice leadig: he the ufolded third of Figure s domiat ecomes, i Figure H, E maor istead of E mior, cotraputal support is provided for the top-voice A i the form of. The eharmoic equivalece allos for the augmeted sixths dissoat A to e prepared as a cosoace ad therey composed out. But the chromatic mitigatio that rought aout the iterpolated chord i the first place stads i cotradictio to this equivalece, sice the ufoldig i the ass demads that e treat ad A as differet otes. ^ 2 CS er Each of the foregoig figures has featured the direct chromatic successio A A. Scheker otes i Der freie Satz that composers sometimes allo such direct chromaticism, ut o other occasios attempt to softe its effect, therey addig to the voice-leadig cotet: The prohiitio of chromatic steps i strict couterpoit o loger holds i free compositio. Hoever, sice i free compositio direct chromatic successios are geerally avoided (thus affordig the possiility of more audat prologatios), the prohiitio is i a certai sese reëstalished ([19] 199, 91, 29). Figure F shos ho Scheker illustrates this cocept, reproducig a sketch of the Eroica Symphoy ([19] 199, Fig. 11,2, hich i tur copies Meistererk ; see [19] 199, Figs. 2 ad ). Note the uavoidale prologatioal coflict surely itetioal i Schekers readig: is read at oce as a alteratio of the Kopfto ( ) ad as a structurally suordiate passig toe etee A ad F. He explais the cotradictio as follos: The A maor chord i ar... is a iterpolatio hose sole purpose is to rectify the hidde false relatio g 2 ; E e 2... y settig it i a diatoic cotext, as is the custom he rectifyig direct chromatic progressios ([19] 199, 1 1). Susequet aalysts have questioed the isdom of Schekers cotradictory Eroica sketches (see Laufer 191, 1 1); ut it caot e deied that such eccetricities are a real feature of Schekers o aalytic practice as opposed to its more systematic America progey. Perhaps the reader ill fid this aalysis ucovicig or orse, a ato ause of the theoretical apparatus. Nevertheless, log delieratio has led me to fid it a etter aalysis tha that of Example, more faithful to the music ad to Schekers methods ad it is for that reaso that deemed its iclusio ecessary. urge its serious cosideratio, ad provide the folloig explaatio: f oe does ot agree ith Schekers cotradictory Eroica graphs, the this readig of Brucker ill likely seem equally usatisfactory. But if oe does accept Schekers readig, the serious questio emerges: if e allo such a aalytic licese for Beethove, hy precisely ould e disallo it for Brucker? regard such a impulse as the legacy of the doule stadard i aalysis, fostered y the caos sortig of music ito good vs. ad, uified vs. icoheret. Secod, y icludig this extravagat readig he closely to Schekers Scheker ot a saitized moder versio of his theories: he e restrict ourselves oly to the prim, proper asics of Schekers thought, e do ourselves ad the music a disservice. Fially, despite the cotroversy of its cotradictio, elieve the readig preset here to e, i fact, more coservative tha the oe sho i Example. There the deep middlegroud progressio is: F maor E maor C maor. To e sure, the guidig middlegroud motive A provides some coherece, ad the harmoy is icorporated ito the approach to the domiat (as of ). But eve so, the voice leadig of this readig seems to me haphazard, as if appearig y fiat rather tha evolvig out of forethought. Such readigs make the music seem quite radical to my mid, more radical tha it is. By cotrast, the readig offer here provides a clear ratioale oth for the E maor (to mitigate a direct chromatic successio ad itroduce the dissoat A as a cosoace) ad for the augmeted sixth (to coect the opeig toic ith the structural domiat through a ier-voice progressio). Because it explais more, cosider it the etter readig; ad i terms of voice leadig, it is surprisigly the less avat-garde. do ot elieve i itroducig cotradictios idiscrimiately ito the Schekeria frameork. But they deserve ot to e rushed aside he they appear the most musically sesitive solutios i certai aalytic situatios, especially he such situatios ere foresee y Scheker himself ^ 2 Figure shos the fleshig out of the ier-voice fourth progressio, as D mior ad E maor are toicized locally. 2 er