Bruckner: Symphony No. 4 ‘Romantic’ (1878-80 version) - An Analysis

Vince Sheehan walks through the structure of this famous symphony - with musical illustrations on the violin and piano. Numbers in brackets refer to bars/measures:
1. Exposition: 1st subject, transition (51), 2nd subject (75), codetta (119); Development (217); Recapitulation: 1st subject (365), transition (413), 2nd subject (437), Codetta (485), Coda (501)
2. Exposition: 1st subject, transition (41), 2nd subject (51), codetta (87); Development (101); Recapitulation: 1st subject (129), 2nd subject (155), codetta (187); Coda (i) (193), (ii) (237)
3. A; B (trio); A (repeat)
4. Introduction; Exposition: 1st subject (43), 2nd subject (93), 3rd subject (155), codetta (183); Development (203); Recapitulation: 1st subject (383), 2nd subject (413); Coda (477)

[@theenergyflowtribejamesbro1302]

Fabulous analysis, thank you. I shall link to this video in a forth-coming video.

[@vincentsheehan3193]

Thanks for your encouraging comment and please feel free to link the video. I've also analysed the 3rd symphony if you're interested. All the best!

[@theenergyflowtribejamesbro1302]

@@vincentsheehan3193 Yes, yes, I did like your analysis of the 3rd as well. How beautiful that history has given us so many versions which personally I view as symphonies in their own right.

[@Libertarianne]

Great analysis. When I was a kid, my uncle turned me on to this symphony (the last movement) when I admired his homemade keychain (an Austrian 25-schilling coin with Bruckner's profile). I've loved it ever since.

[@vincentsheehan3193]

That is a brilliant memory! Your uncle clearly had great taste!

[@uweaschmutat4575]

good, please more videos like this

[@NN-df7hl]

Fabulous! Thanks for pointing out the brass chorale. It is indeed one of the highlights in mvt 1 (along with that coda!). I'm curious about the music AFTER the big chorale where it peters out and nearly fades away (before entering the Recap). What is that based on? I also hear a foretaste of the "Holy Spirit" music there. PS: Bro, you're not in your usual man-cave. You only use that for the big, big works like Bruckner 9? ;)

[@vincentsheehan3193]

The Bruckner man cave is fairly recent 😂 yes that passage after the chorale is essential a ‘winding down’ transition to the recapitulation. You are absolutely right - you do hear foretastes of the Holy Spirit line during this passage in the winds. Great 👂 skills!

[@NN-df7hl]

@@vincentsheehan3193 Haha. Your "cave" puts the rest of us in the dust. :D BTW, I noticed plucked strings that accompany the 2nd Subject (violas) in the Adagio. Something so haunting about it! It's like around 3:27 in the Chung version: kzbin.info/www/bejne/hoDIl5imjsxpraM But before that the 1st Subject seems to transfigure into a soaring emphatic sound (almost like a Part B). Is that right? Cheers and thanks!!!

[@marcolorenzin9149]

Hi Vincent. A little question: you've written there are two subjects, but I've found a Bruckner's 4 symphony description where the exposition is divided in three subjects: 1st subject first group, second group (51), 2nd subject (75), 3rd subject (119; it is a variation of the 1st subject second group). What do you think about that?

[@vincentsheehan3193]

An excellent question. It is true that in many of his symphonies Brückner used 3 subject groups (look at the 7th for example). However, with the 4th symphony I feel that it makes more sense as a listener to view the ‘3rd subject’ (bar 119) as a codetta, simply because it is essentially the same as the 1st subject (rather than being a discrete theme). I’ve thought long and hard about this and to my mind this seems to be the best way to look at it.

[@marcolorenzin9149]

@@vincentsheehan3193 Yes, I think it in the same way. Thanks!

[@NN-df7hl]

If I may add: the finale's crescendo where that brass motif from the 1st subject is developed is absolutely hair-raising. When I first heard it on my system I had an almost levitating feeling, like the brass was lifting me out of my seat. HA! But then the Recap where he blares that same motif again (just not as built out) felt kind of anti-climatic. Seems like he could've cut this second tutti and made things more mellow for the lead-up to the coda. But then I know nothing! Just speaking as a casual listener. :D PS: The finale's development as a whole is pretty interesting. I hear phrases from the exposition's themes but in a totally different order. He appears to start with the beginning of the exposition's rhythm then brings in a part of the 2nd Theme with brass, then later he goes back to a section of Theme 1 and etc. It goes wherever it wants to go! Then after the HUGE CRESCENDO, you get like fragments (or shattered pieces) of themes. I can't follow all the nuances and which bits are from where exactly but...wow! PPS: That Recap though -- he just leaps right into the Brass motif! If I had to guess it seems like the second time around is the "hero" saying, I'm Still Here following the diabolical overwhelming power of the CRESCENDO.

[@vincentsheehan3193]

I love this comment - you are clearly a focussed listener - awesome!