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| premiere_date = 〔Paul Hawkshaw and Timothy L. Jackson. "(Bruckner, Anton )", In Grove Music Online. Oxford Music Online, (accessed 4 June 2011).〕 | premiere_location = Graz | premiere_conductor= Franz Schalk | published = }} | first_recording = }} The Symphony No. 5 in B-flat major (WAB 105) of Anton Bruckner was written in 1875–1876, with a few minor changes over the next few years. It was first performed in public on two pianos by Joseph Schalk and Franz Zottmann on 20 April 1887 at the ''Bösendorfersaal'' in Vienna. The first orchestral performance - in a non-authenticated version ('Schalk-version'), ''a.o.'' with a changed orchestration in a Wagnerian fashion and with omitting 122 bars of the finale - was conducted by Franz Schalk in Graz on 8 April 1894 (Bruckner was sick and unable to attend: he never heard this symphony performed by an orchestra).〔 It was dedicated to Karl von Stremayr, minister of education in the Austro-Hungarian Empire. The symphony is sometimes referred to as the "Tragic", "Church of Faith", or "Pizzicato" symphony. == Description == The symphony was written at a time of much trouble and disillusionment during the composer's life, a court suit (from which he was exonerated), and a reduction in salary. It is not outwardly a work of storm and stress, but it is a piece of "working out", one of his most contrapuntally intricate works. It has four movements: #''Introduction (Adagio) — Allegro.'' B-flat major. #''Adagio. Sehr langsam.'' (Very slowly) D minor. #''Scherzo. Molto vivace'' D minor. #''Finale (Adagio) — Allegro moderato.'' B-flat major. Movements 1, 2 and 4 begin with pizzicato strings, hence the nickname ''Pizzicato''. The pizzicato figures are symmetrical, in the sense that the outer movements share one figure while the middle movements share a different figure. The work begins with a majestic slow introduction which, although beginning in B-flat major, traverses through several keys. It eventually leans heavily toward D major without actually tonicizing it. The introduction progresses into a main movement in sonata form. After a climax in A major, the texture is thinned until only a violin tremolo remains. This tremolo, which starts on A, then moves to D, suggesting that D will become a tonal focal point. Instead, the opening theme is in B-flat minor. Like much of Bruckner's music, this movement's exposition contains three main key regions instead of the usual two. The second theme group is in F minor, and comprises a small ternary form, with sections in F minor, D-flat major, and F minor. Bruckner introduces the third theme as an unprepared tonality (D-flat major). In the recapitulation, the themes' tonality progresses from B-flat minor to G minor to E-flat major. The coda begins in B-flat minor, but eventually shifts to the parallel major mode. The main material of the slow movement and scherzo are very similar, heard of course at different tempos and launching different developments. The Adagio primarily relies upon the alternation of two thematic sections, the first of which contains a metrical superimposition of 6 against 4. The finale opens in the same way as the first movement, but veers off soon to gradually introduce new material which becomes the source of the themes of the ''Allegro moderato'', another sonata form which contains in its course fugal and chorale sections of elaborate counterpoint. The hybridization of sonata form and fugal elements is a defining hallmark of this movement. The first theme group is treated as a fugue exposition, followed by a non-fugal second group which functions as an episode. The third theme features prominent descending octaves, a gesture seen in the first movement. Closing the exposition is a chorale gesture. This thematic material is subsequently exploited in the development as the basis for a second fugue subject. By bar 270, both fugal subjects are intoned concurrently. The simultaneous presentation of the fugal subject also occurs at the beginning of the recapitulation (bar 374). When the recapitulation's third group begins, the first theme from the first movement is also presented; the first movement material closes the symphony, contributing greatly to its cyclic properties. The symphony is the only one of Bruckner's nine that begins with a slow introduction. However, all the others except the Symphony No. 1 begin with sections that are like introductions "in-tempo", easing into the main material like the opening of Beethoven's Ninth. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Symphony No. 5 (Bruckner)」の詳細全文を読む スポンサード リンク
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