se
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. It is this the one charge that cannot be brought home to
the earlier German group of reaction against the classic idea.

There is melody, almost abundant, in Wagner and Liszt and their German
contemporaries. Indeed it was an age of lyricists. The fault was that
they failed to recognize their lyric limitation, lengthening and padding
their motives abnormally to fit a form that was too large. Hence the
symphony of Liszt, with barren stretches, and the impossible plan of the
later music-drama. The truest form of such a period was the song, as it
blossomed in the works of a Franz.

Nor has this grandiose tendency even yet spent its course. A saving
element was the fashioning of a new form, by Liszt himself,--the
Symphonic Poem,--far inferior to the symphony, but more adequate to the
special poetic intent.

Whatever be the truth of personal gossip, there is no doubt that
Bruckner lent himself and his art to a championing of the reactionary
cause in the form that was intrinsically at odds with its spirit. Hence
in later works of Bruckner these strange episodes of borrowed romance,
abruptly stopped by a firm counterpoint of excellent quality,--indeed
far the best of his writing. For, if a man have little ideas, at least
his good workmanship will count for something.

In truth, one of the strangest types is presented in Bruckner,--a pedant
who by persistent ingenuity simulates a master-work almost to
perf