The composer continues the use of a titled sharp key from the earlier Sixth Symphony, here with E Major in the heading. As before, though, Bruckner is never consistently sunshine and roses with such a marking.
Despite an opening tempo indication of Allegro Moderato set with an Alla Breve time signature on my score, most seem to take the aforementioned Allegro Moderato to the crotchet, not the minim. To my mind, this takes away a feeling of 'two' in this music, although perhaps this is more a failing of my score choice.
A soaring, fanfare-like motive is given to the cello at the ope of the first movement. It is a positive, noble start to the symphony, one I enjoy very much. It doesn't take long for Bruckner to move towards the first climax, as the composer seems to enjoy getting his motive introductions over with. The second motive contains a group of four demisemiquavers, setting it apart from the others, and one Bruckner will really latch onto in his development. This theme is fairly genial as well, even if its initial statement is a bit uncertain. I daresay, this may be the most gentle of opening movements, despite many heroic climaxes and minor-keyed developments.
A more menacing march-like, skipping motive rounds off the last of Bruckner's thematic presentations, leading into one of Bruckner's finest development sections. I say this mainly due to how the composer doesn't simply take his various sections and mess with them, but he moves his motives in differing directions so as to mask their original statements to some degree. If a theme pops, one can usually identify it through its rhythms, rather than a restatement of music and intent.
Also, any repetition of material, which he normally does without change, is now procured in such a way as to move the music in a certain purposeful direction rather than spinning his musical wheels. All in all, this first movement is much more thought-out than I have found in his previous symphonies.Before I move on, I also want to mention the noticeably heightened role of the clarinet, seen in this movement, but consistently moving forward as well. Bruckner is well know for his string and brass work, but it should be noted the fine writing he does for winds as well.
This is most reverential and elegiac music, bolstered by Wagner tubas and contra-bass tuba. Bruckner often uses the bass-line instruments to lead southward towards new sections or cadential moments.
The second theme is sweeter and soaring, one almost too much for this listener. Is does provide a nice contrast to the opening material, and I find it doesn't necessarily lessen the effectiveness of the other solemn portions. Instead, these are perhaps more gentle pastoral evocations rather than anything particularly happy or sunny.
Perhaps the most poignant moments comes at the great Wagner climax, where, depending on the edition being used, a cymbal crash might be heard. Even those using the Haas version, where said cymbal is deleted, choose to readmit the cymbal crash at the climax. This arrival point is the nexus point of a very long preparation on the part of Bruckner, and in the right hands, can be quite an emotional experience. The fact the music ends in a becalmed C-sharp Major from the initial strife-laden C-sharp minor shows a logical and convincing journey from the composer.
The third-movement Scherzo is a terrific one, especially coming from the Sixth Symphony's less-than convincing setting. A leaping fanfare figure is given to trumpet, an effective orchestration choice from Bruckner, and the motoric, propulsive strings bring much menace to the atmosphere. The opening A-minor-keyed Scherzo is transitioned to an F-Major Trio by solo timpani, handing it off to the latter's typically slower, lyrical mood. Most effective too, since Bruckner uses the solo timpani to transition between the Scherzo A & B sections as well. Additionally, the 3/4 time is kept in the Trio, first as a swooning string featurette, followed by pastoral winds ensemble moments.
Also similar to the beginning is a fanfare-like spring figure made of thirds and fifths in E Major, presented here in speedier, dotted rhythms and portending much joy. This is offset with a noble commencement march, brought to mind through a string chorale with pizzicato bass moving underneath.
Only a jagged, unison, brass-heavy third theme breaks up the good spirits of the movement. Even this one heads towards heroics rather than suspicion and another tight development from Bruckner. Should I mention the transitional tapping timpani solo returns here as well to lead the listener to the development proper. I am sure it was no accident.
Of course, the music gets all mixed up here, but is generally more sectionalized than what I observed in the first movement. With the key of the symphony, and the general good feelings, this might have been a lost moment where Bruckner could have ended on a delicate note, however as in his other symphony, triumph is left with the listener at the last moments, with some really swell brass moments throughout.
Aside from the Gutmann / Schalk / Loewe version found on older recordings, most performances use Haas or Nowak with little between the two. Again, the cymbal crash (triangle and timpani too) at the climax of the second movement is the most noticeable difference between the two, with some minor instructional changes.
As to performances, Symphony no. 7 can range from 60 to 80 minutes, with the most egregious going even longer. I personally prefer recordings ranging from 65 - 70 minutes in length, keeping this one beautiful, yet flowing.
1960: Hindemith
1975: Karajan
1976: Bohm
1980: Jochum
1988: Solti
1990: Eichhorn
For now, we will have a very basic list of Bruckner reviews above. Those recordings I mentioned as an example in the text above, or performances I have come to respect which await future reviews, are listed above in greened bold. My actual reviews can be found in the typical Oozy Keep orange. Until we at The Oozy Channel Keep have gotten ourselves up and running, this should suffice and we can reorganize the page a little more coherently in the future.