[A]
[Footnote A: Bruckner's Fifth Symphony (in B flat) is a typical example
of closest correlation of themes that are devoid of intrinsic melody.
An introduction supplies in the bass of a hymnal line the main theme of
the Allegro by inversion as well as the germ of the first subject of the
Adagio. Throughout, as in the Romantic Symphony, the relation between
the first and the last movement is subtle. A closing, jagged phrase
reappears as the first theme of the Finale.
The Adagio and Scherzo are built upon the same figure of bass. The theme
of the Trio is acclaimed by a German annotator as the reverse of the
first motive of the symphony.
In the prelude of the Finale, much as in the Ninth of Beethoven, are
passed in review the main themes of the earlier movements. Each one is
answered by an eccentric phrase that had its origin in the first
movement and is now extended to a fugal theme.
The climactic figure is a new hymnal line that moves as central theme of
an imposing double fugue.]
CHAPTER XV
THE LATER BRUCKNER
In Bruckner's later works appears the unique instance of a discipline
grounded in the best traditions, united to a deft use of ephemeral
devices. The basic cause of modern mannerism, mainly in harmonic
effects, lies in a want of formal mastery; an impatience of thorough
technic; a craving for quick sensation. With Bruckner it was the
opposite weakness of original ideas, an organic lack of poetic
individuality.
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