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SpringConcert, May 3 , 2008: Form and Themes

Symphony No. 4 (Romantic) in E flat Major by Anton Bruckner

1. Bewegt, nicht zu schnell (E-flat major)

2. Andante, quasi allegretto ( C minor )

3. Scherzo, Bewegt - Trio: Nicht zu schnell ( B-flat major )

4. Finale: Bewegt, doch nicht zu schnell (E-flat major)

• To understand how musical form takes place in symphonic music.
• To learn about the structure of the sonata form.

Note to teacher:
There will be many definitions of musical terms in this lesson. Try as much as possible to help students understand that learning the meanings of terms is going to help them appreciate music better. Make a game of word definition by using flash cards, for example, to help students learn the material.
1. Discuss the structure of sonata form.
Explain to your child the basic elements of sonata form.

Exposition	Development	Recapitulation
Introduction Theme A Theme B	Multi-themed	Dominating theme Coda
Tonic -------->Dominant	Multi-keyed	Tonic

 

2. Now let’s explore the different sections of the sonata form through Bruckner’s Symphony No.4.

Note to Parents and Teachers:
We will only look at a very broad interpretation of the sonata form using the first movement in our discussion. Rather than analyze the work in detail in this lesson, we will concentrate on the broader ideas found in sonata form, focusing mainly on identifying themes that are found in the work. We will not be discussing any tonal center or modulation techniques or complicated sonata form structure except for a brief statement about modulation in the development section.

• Fun Exercise for Younger Students
  Appoint a theme to each section and play the theme so that the child they can recognize that theme. Play a recording of the symphony. Have the child raise their hand whenever their theme appears in the music. This will help to listen and react to the themes and better recognize the different sections. This exercise may be used in all sections of the movement.
• Fun Fact About Bruckner’s Symphonies
  Bruckner loved to have drastic changes in his dynamics when he composed symphonies. When you listen to his works, you may find yourself turning the volume up and down in order to hear what is going on!

Exposition

(Refer to “Vocabulary” section above as you explain the exposition)

• Introduction (mm.1-50)
  Play the introduction on the piano or CD. The introduction that Bruckner composed here begins with the horn singing the melody on top of a tremolo of strings. Ask what kind of mood the introduction produces. Is it triumphant? Is it Majestic? Is it Sad? Is it Happy? Try to find different adjectives to describe the introduction. The introduction provides a back drop for the upcoming material.
• Theme A (mm.51-74)
  In typical sonata form, two or three themes are introduced and are often in contrasting moods, providing different expressions. In this case, the first theme is a very strong and mighty theme. Notice together that in the introduction, the rhythm from this theme is introduced several measures before the actual theme begins. This helps to set up the importance of this dominant theme.
• Theme B (mm.75 -118)
  This theme is, in comparison to the first theme, very light and almost pastoral. It provides a stark contrast in comparison with Theme A. This is a typical occurrence in sonata form. Themes will always contrast each other.

After these three sections are introduced, there is a fourth section restating the themes found in the exposition before the development takes place.

Development

(Refer to “Vocabulary” section above as you explain the development)

Listen to the opening of the development beginning on measure 169. Ask if the child can recognize the theme that appears at the beginning of the development. Is it part of the introduction? Part of Theme A? Theme B?

At measure 217, the introduction is brought back and then Theme A appears again in measure 223.

Have your child recognize that as the development progresses, there is a certain instability that occurs in the music. Point out that this is because in the development, the original themes modulate through different keys, finally coming back to the original one and the recapitulation.

Recapitulation

The recapitulation begins with the Introduction theme at measure 375, Theme A at measure 423, and then Theme B at measure 447. The recapitulation here has an extended coda that brings a triumphal end to the symphony. All of the themes are gloriously brought back, pulling everything together as one complete idea.

Closure Questions

Q. In sonata form, where can you find the main themes first introduced?

A. The exposition.

Q. What happens in the development section of sonata form?

A. Themes are brought back again and move through various keys (they are developed).

Q. When two themes are introduced, what type of character do they portray?

A. One is more dominating and the other is softer. Both themes are always contrasting each other in some way.

Composer Biography:

Anton Bruckner (1824-1896), Austrian composer and organist, highly regarded for his immense, original symphonic works. Josef Anton Bruckner was born in Ansfelden to a peasant family. His early musical education consisted of organ instruction from his father, music theory from his godfather, and general music lessons at the Saint Florian abbey near Linz . His first work, a requiem mass, was written in 1849. Deeply religious, he became the official organist at St. Florian in 1851, and from 1856 to 1868 he was organist at the Cathedral of Linz. During Bruckner's residence at Linz he studied briefly with a Viennese authority on counterpoint, Simon Sechter, and composed three of his principal choral works—the First Mass in D minor (1864), the Second Mass in E minor (1866), and the Third Mass in F minor (1867)—and his Symphony No. 1 in C minor (1866). From 1868 to 1892 Bruckner was court organist and professor at the Vienna Conservatory. He composed eight additional symphonies and many sacred, orchestral, choral, organ, and piano works. He was at work on his Symphony No. 9 in D minor (unfinished) when he died. Because he was a self-proclaimed follower of German composer Richard Wagner, anti-Wagnerian musicians and critics in Vienna opposed his works. In his final years, however, Bruckner was greatly honored in Austria , receiving decorations and a salary and pension from the government.

Bruckner contributed to the development of the sonata form by expanding the thematic material in the first movements of his symphonies. His orchestration is noted for the alternate sounding of complete families of instruments, creating choralelike effects that show the influence of both Wagner and church music. His symphonic work greatly influenced Austrian composer Gustav Mahler, one of his pupils.

From Microsoft® Encarta® Online Encyclopedia 2007

Curriculum compiled and constructed by Elina Hamilton

Bibliography:

"Anton Bruckner," Microsoft® Encarta® Online Encyclopedia 2007
http://encarta.msn.com © 1997-2007 Microsoft Corporation. All Rights Reserved.

Barenboim, Daniel “Symphony No. 4 in E Flat Major ‘Romantic’”Daniel Barenboim, 50 years of performance: Anton Bruckner Teldec Classics International Gmbh.

Bruckner, Anton IV. Romantische Symphonie es dur für Grosses Orchester Universal-Edition , New York

Engel, Gabriel. The Symphonies of Anton Bruckner The Bruckner Society of America, INC., Athens Press, Iowa City , Iowa 1955

Hawkshaw, Paul : 'Bruckner (Joseph), Anton', Grove Music Online ed. L. Macy (Accessed 24/03/2008 ), http://www.grovemusic.com

Kennedy, Michael. The Oxford Dictionary of Music, second edition revised. Oxford University Press Inc., New York 2006

Newlan, Dika. Bruckner Mahler Schoenber W.W. Norton & Company, INC. George J. Macleod Limited, Toronto , Canada 1978

Educational Benchmarks

National Arts Standards for Arts Education, Grades K-4
http://artsedge.kennedy-center.org/teach/standards/standards_k4.cfm

Content Standard #6: Listening to, analyzing, and describing music.

Achievement Standard:

• Students identify simple music forms when presented aurally
• Students demonstrate perceptual skills by moving, by answering questions about, and by describing aural examples of music of various styles representing diverse cultures
• Students use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances
• Students identify the sounds of a variety of instruments, including many orchestra and band instruments, and instruments from various cultures, as well as children's voices and male and female adult voices
• Students respond through purposeful movement (e.g., swaying, skipping, dramatic play) to selected prominent music characteristics or to specific music events (e.g., meter changes, dynamic changes, same/different sections) while listening to music

Content Standard #8: Understanding relationships between music, the other arts, and disciplines outside the arts.
Achievement Standard:

• Students identify similarities and differences in the meanings of common terms (e.g., form, line, contrast) used in the various arts
• Students identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music (e.g., foreign languages: singing songs in various languages; language arts: using the expressive elements of music in interpretive readings; mathematics: mathematical basis of values of notes, rests, and time signatures; science: vibration of strings, drum heads, or air columns generating sounds used in music; geography: songs associated with various countries or regions)

Content Standard #9: Understanding music in relation to history and culture.
Achievement Standard:

• Students identify by genre or style aural examples of music from various historical periods and cultures
• Students describe in simple terms how elements of music are used in music examples from various cultures of the world
• Students identify various uses of music in their daily experiences and describe characteristics that make certain music suitable for each use
• Students identify and describe roles of musicians (e.g., orchestra conductor, folksinger, church organist) in various music settings and cultures
• Students demonstrate audience behavior appropriate for the context and style of music performed

Content Standard	Benchmark 1	Benchmark 2
	Grade 3	Grade 5
Common Curriculum Goal: Apply critical analysis to works of art.
Apply knowledge of essential elements, organizational principles and aesthetic criteria to the analysis of works of art, and identify how the elements and principles contribute to the aesthetic effect.	Recognize essential elements, organizational principles and aesthetic effects in works of art.	Identify essential elements, organizational principles and aesthetic criteria that can be used to analyze works of art.

Common Curriculum Goal: Respond to works of art and give reasons for preferences.
Respond to works of art, giving reasons for preferences and using terminology that conveys knowledge of the arts.	Identify and describe personal preferences connected with viewing or listening to a work of art using terminology that conveys knowledge of the arts.	Describe personal preferences and identify how essential elements and organizational principles in a work of art contribute to those preferences.