Bierhance - The Observation of Form

The Observation of Form
The form analysis method of

Constantin Bugeanu
in reference to the 1st and 5th Symphonies of

Egon Wellesz
by
Jörg Bierhance
Declaration
I, Jörg Bierhance, hereby declare that the work presented is entirely my own. Material which includes
outside consultation is clearly stated.
This study was originally submitted and accepted in partial fulfilment of the requirements for the degree
Master of Music at Fontys School of Fine and Performing Arts, Tilburg, NL, Academic year
2016/2017. It has been revised and supplemented for this publication.
Egon Wellesz: SYMPHONY No. 1, Opus 62 (1945), 1st Movement

© Mit freundlicher Genehmigung/By permission of
SCHOTT MUSIC, Mainz – Germany

© Mit freundlicher Genehmigung/By courtesy of
MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG, Hamburg
Credits of Photos and Figures:
Fig. 1: Egon Wellesz, Portrait, © and with kind permission of Egon-Wellesz-Fonds bei der Gesellschaft der
Musikfreunde in Wien
Fig. 2: Constantin Bugeanu, Portrait, with kind permission from the private archive of Prof. Grigore
Constantinescu, Bucharest
Fig. 3: Sketch by Bugeanu about the question of Sein, © Jörg Bierhance
Fig. 4: Program leaflet of the world premiere of Egon Wellesz, Symphony No. 1, © and with kind permission of
Archiv Berliner Philharmoniker
Fig. 5: Page with the text about Egon Wellesz, Symphony No. 1, from the program leaflet of the world premiere,
© and with kind permission of Archiv Berliner Philharmoniker
Fig. 6: Egon Wellesz with students at Lincoln College, Oxford, 1943, © and with kind permission of Egon-
Wellesz-Fonds bei der Gesellschaft der Musikfreunde in Wien
Fig. 7: The self-mastery of the movement, handwritten sketch of the first spiral by Bugeanu, © Jörg Bierhance
Fig. 8: The first spiral, handwritten sketch by Bugeanu, © Jörg Bierhance
Fig. 9: Sketch of the Solfeggio by Bugeanu in his own handwriting, © Jörg Bierhance
The publication of this work has been made possible by the generous support of
FONTYS SCHOOL OF FINE AND PERFORMING ARTS in Tilburg, The Netherlands.
©Jörg Bierhance, 2018
- ii -
Auf alle Weltsekunden hoffend und ihnen gewidmet,
in denen jemand oder etwas,
einschließlich Gedanken, dem Vergessen
entrissen wird oder werden konnte.
Hoping for and dedicated to all world’s seconds

which save or have saved
someone or something, including thoughts,
from oblivion.
- iii -
- iv -
My deep and particular gratitude to:
Ana and Aitana
and my parents, Ulla and Peter
For many different reasons, my heartfelt thanks also go to:
Nicole, Matthias, Isabel, Philipp, Arjan van Baest, Christa Bützberger, Víctor García Priego,
Daniel Gazon, Gerold Gruber, Hannes Heher, Raf De Keninck, Peter Kislinger, Patrick Lang,
Daniel Mallampalli, Ian Mansfield, Max Penninger, Renate Publig, Christoph Schlüren,
Stefan Schüz, Markus Steinmetz, Gracia Terrén, Marlon Titre, Joana and Andrej Vancea,
Katja Vobiller, Egon-Wellesz-Fonds bei der Gesellschaft der Musikfreunde in Wien,
Blutenburg Kammerphilharmonie München, Orquesta filarmónica de la Ciudad de México,
Orquesta filarmónica de Zacatecas, Lviv Philharmonic Orchestra,
from once: Sergiu Celibidache, Stefan Gheorghiu, Günther Theuring,
and, eternally, to
Constantin Bugeanu
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- vi -
Contents
Foreword ................................................................................................ 1
Summary ................................................................................................ 3
I. Egon Wellesz – a Biographical Outline ................................................... 5
A. 1945......................................................................................................... 5
B. Early Years .............................................................................................. 6
C. The Music Historian.................................................................................. 8
D. The Composer........................................................................................ 10
II. Constantin Bugeanu: Observation of Form as Movement .......................15
A. Preliminary Note..................................................................................... 15
B. Derivation .............................................................................................. 16
C. Form Types ............................................................................................ 23
1. Alfred Lorenz .........................................................................................................................23
a) Simple Forms ................................................................................................................................... 23
b) Potenzierte Formen (‘Exponentiated Forms’) ........................................................................................ 24
2. Constantin Bugeanu ...............................................................................................................25
a) Basic Form Types............................................................................................................................. 26
b) Origination....................................................................................................................................... 27
III. Egon Wellesz, Symphony No. 1 in C, op. 62 (1945) ................................29
A. 1st Movement: Largo – Allegro energico (473) .............................................. 31
1. Overview ................................................................................................................................31
2. Ramification: Hauptsatz, HS (163) ........................................................................................33
a) Ramification – 1St-1Th (70) ............................................................................................................ 38
b) Ramification – 2St-2Th (73) ............................................................................................................ 42
c) Ramification – Abg-SchlGr (20)....................................................................................................... 44
d) Overview HS.................................................................................................................................... 46
3. Ramification: Mittelsatz, MS (71) ..........................................................................................47
a) Ramification – 1St (25), 2St (24), Abg (22)....................................................................................... 47
b) Overview MS (71) ............................................................................................................................ 50
4. Ramification: Hauptsatz-Reprise, HS’ (166)..........................................................................51
a) Anticipation: HS’ vs. Coda ............................................................................................................... 51
b) Ramification – 1St-1Th (76) ............................................................................................................ 51
c) Ramification – 2St-2Th (75)............................................................................................................. 53
d) Ramification – Abg-SchlGr (19) ...................................................................................................... 54
e) HS and HS’ in comparative overview.............................................................................................. 56
f) Ramification – Coda (47) .................................................................................................................. 58
g) Overview HS’ and Coda .................................................................................................................. 60
5. Addendum: The Introduction, Einl (26) ................................................................................61
6. Final Overview of the 1st movement ......................................................................................62
B. Table: 2nd Movement: Allegro agitato, quasi Presto – Trio, comodo ............... 64
C. Table: 3rd Movement: Molto Adagio. Sostenuto ........................................... 67
IV. Egon Wellesz, Symphony No. 5, op. 75 (1955/56)..................................69
A. Preliminaries.......................................................................................... 69
B. 1st Movement, Maestoso (259) ................................................................... 73
1. Overview ................................................................................................................................73
2. Soundscapes ...........................................................................................................................74
3. Ramification: HS (162)...........................................................................................................76
a) 1St-Th (88) ....................................................................................................................................... 76
b) Parenthesis-ÜL (29).......................................................................................................................... 79
c) 2St-2Th (32)...................................................................................................................................... 79
d) Abg-SchlGr (10) ............................................................................................................................... 80
4. Ramification: MS (40) ............................................................................................................80
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a) 1St (17).............................................................................................................................................. 80
b) 2St (14) ............................................................................................................................................. 81
c) Abg (9) .............................................................................................................................................. 81
5. Ramification: HS’ (42) and Coda (15) ....................................................................................81
a) 2St-2Th (22) ..................................................................................................................................... 81
b) 1St-1Th (20) ..................................................................................................................................... 82
c) Coda (15) .......................................................................................................................................... 83
6. Final Overview of the 1st movement ......................................................................................83
C. Table: 2nd Movement: Intermezzo ............................................................. 86
D. Table: 3rd Movement: Adagio molto........................................................... 87
E. Table: 4th Movement: Allegro moderato, ma energico .................................. 88
V. Conclusion .......................................................................................91
A. The Method – and the Method of Conducting Studies ................................... 91
The Method of Conducting Studies ..............................................................................................92
a) Appearance ...................................................................................................................................... 92
b) ‘Körpergesang’ (Chant of the body)...................................................................................................... 92
c) Materialization ................................................................................................................................. 92
Excursus: Proportion ................................................................................................................................. 95
B. The Symphonist ...................................................................................... 98
C. Final Remark ........................................................................................ 100
Bibliography......................................................................................... 103
Manuscripts ......................................................................................... 105
Scores referenced.................................................................................. 106
Annex I: Glossary .................................................................................. 107
Annex II: ‘Solfeggio’ of Constantin Bugeanu .............................................. 108
Annex A: Egon Wellesz, Symphony No. 1, 1st Movement................................. A
Annex B: Egon Wellesz, Symphony No. 5, 1st Movement................................. B
Index of Photos and Figures

Fig. 1: Egon Wellesz, Portrait.................................................................................................. 12
Fig. 2: Constantin Bugeanu, Portrait ...................................................................................... 18
Fig. 3: Sketch by Bugeanu about the questions of Sein........................................................... 22
Fig. 4: Program leaflet of the world premiere of Egon Wellesz, Symphony No. 1 ................. 30
Fig. 5: Page with the text about Egon Wellez, Symphony No. 1 from the program leaflet
of the world premiere ....................................................................................................... 55
Fig. 6: Egon Wellesz with students at Lincoln College, Oxford, 1943.................................... 68
Fig. 7: The self-mastery of the movement, handwritten sketch of the first spiral by
Bugeanu............................................................................................................................ 90
Fig. 8: The first spiral (individual internalization), handwritten sketch by Bugeanu .............. 93
Fig. 9: Sketch of the Solfeggio by Bugeanu in his own handwriting ....................................... 94
Note:
Numbers associated with bars/measures are written as digits.
Unless otherwise stated, all translations are provided by the author.
- viii -
In der Kunst kommt alles darauf an, dass die Objekte
rein aufgefasst und ihrer Natur gemäß behandelt werden.
Goethe
Notre nature est dans le mouvement
Pascal
- ix -
-x-
Foreword
This study aims at contributing to a wider appreciation of both the Austrian composer Egon
Wellesz (1885-1974) and his symphonic oeuvre, and the Romanian conductor, conducting
teacher and thinker Constantin Bugeanu (1916-1998). For different individual reasons, but
both due to the ignorance of times, they share the fate of being known only to a few, albeit a
happy few, and both hardly known to the professional music world, let alone to the wider
public.
Egon Wellesz experienced the fate of so many European composers for whom the turmoil of
the two World Wars in the 20th century meant an existential rupture in their life, either
because of death, oblivion, or displacement from the cultural environments into which they
had been born.
What makes Egon Wellesz particularly interesting for this study is that he turned to the
symphonic form quite late in his life, concomitantly with the end of World War II. His
Symphony No. 1 op. 62 from 1945 was followed by eight more symphonies; all of which are
still greatly disregarded by conductors, orchestras and their audiences. Eventually, they
proved to be an important contribution to symphonic form in the second half of the 20th
century.
The German musicologist and conductor Alfred Lorenz (1868-1939) laid the foundations for
the method of formal analysis presented and applied in this work in his research on Richard
Wagner's operas.1 Constantin Bugeanu, of whom the author was one of his last students,
developed from Lorenz’s work as part of a general method of conducting studies the presented
method of formal analysis; the Observation of Form as Movement.
Egon Wellesz will be introduced with a biographical outline, followed by the presentation of
Constantin Bugeanu’s method of formal analysis. This method is here applied to Egon
Wellesz’s Symphonies No. 1 and No. 5. The analysis of the respective first movements is in
extenso, whereas the other movements are displayed as self-explanatory tables. For immediate
1 cf. Alfred Lorenz: Das Geheimnis der Form bei Richard Wagner: Der musikalische Aufbau des Bühnenfestspieles ‘Der Ring des
Nibelungen’ (Berlin, 1924), Der musikalische Aufbau von Richard Wagners ‘Tristan und Isolde’ (Berlin, 1926), Der
musikalische Aufbau von Richard Wagners ‘Die Meistersinger von Nürnberg’ (Berlin, 1931), Der musikalische Aufbau von Richard
Wagners ‘Parsifal’ (Berlin, 1933)
-1-
reference, the reader finds the scores of both 1st movements, with kind permission of their
respective publishing houses, Schott Music and Sikorski, as Annex A and B.
In a conversation between Gustav Mahler and Jean Sibelius about the essence of the
symphony, the latter stated that he admired ‘its severity and style and the profound logic that created an
inner connection between all the motifs.’ Mahler replied, ‘No, the symphony must be like the world. It must
embrace everything.’2
This exchange provokes the question: what indeed makes a symphony a symphony? The
author hopes to contribute to answering this and other questions therein: is symphonic form
still valid today? Is Egon Wellesz a true symphonist in the sense implied by Sibelius?
The author strives to contribute to ensuring that the symphonies of Egon Wellesz will no
longer be disregarded in the standard symphonic repertoire but recognized as dignified
exponents of their kind.
Constantin Bugeanu’s small study in his house in an old district of Bucharest was a temple of
wisdom. He did not have the opportunity to gain the international attention of a broader
public, nor that of a sizeable professional circle of conductors, nor of their schools, nor did his
work become a part of their intellectual background. With this study, the author hopes to
contribute to the dissemination of the very existence of his method of formal analysis and the
truth-seeking mind behind it, thus defining the discipline and methodology of the study of
conducting itself.
As Goethe wrote in a letter to Schiller, the author apologizes for not having had enough time
to condense all the following considerations into a shorter work.
Jörg Bierhance
Vienna, 18 May 2018
2 Nils-Eric Ringblom: Jean Sibelius, Olten, 1950, 125
-2-
Summary
Egon Wellesz was born in Vienna in 1885 into an extraordinarily rich cultural world. Gustav
Mahler was musically and artistically the most prominent figure who inspired Wellesz to
become a composer. Wellesz admired Arnold Schoenberg and was one of his first students,
but due to his independence of mind, and since he did not follow Schoenberg’s dodecaphony,
he is not counted a member of the Second Viennese School.
The conductor Bruno Walter encouraged Wellesz’s first compositional attempts. On March
12th, 1938, when Hitler’s troops marched into Austria, Wellesz and Walter were in The
Netherlands, where Walter was to conduct performances of Wellesz’s Five Symphonic Pieces
‘Prosperos Beschwörungen’ (Prospero’s Incantations) with the Concertgebouw-orkest (as it was
called at the time) in Amsterdam on March 13th and Rotterdam on March 16th. It was not
advisable or possible for either to return to Vienna. Wellesz found refuge in Oxford, where he
had been awarded an honorary doctorate in 1932.3

Wellesz had composed opera, ballet, chamber music, Lieder and some symphonic pieces for
orchestra, but he had always been reluctant to write symphonies. After the end of the Second
World War, the time had finally come for him to turn to this form which, for him, was ‘the
most sublime medium of musical expression.’4 Subsequently, symphony became his core
compositional field for the rest of his life.
Constantin Bugeanu, born in 1916, was a conductor and thinker from Bucharest. While
studying under Clemens Krauss, he became acquainted with the analytical work of Alfred
Lorenz, who had discovered several basic form types in Richard Wagner’s operas. Constantin
Bugeanu, driven by the will ‘to try to find the essence of the musical act’,5 continued to develop the
work of Alfred Lorenz, adapting it to the symphonic repertoire. He called his method of
formal analysis the Observation of Form as Movement. Whilst being highly comprehensive,
this method is not an academic end-in-itself, but is an integral first and opening step towards a
methodology of the study of conducting, a field of study whose method is often limited to the
exercise of merely practical aspects.
3 Sally Crawford, Katharina Ulmschneider, Jas Elsner (eds.): Ark of Civilization – Refugee Scholars and Oxford
University, 1930-1945, OUP 2017

4 Quoted after Robert Schollum: Egon Wellesz, Wien, 1964, 51
5 Quoted after Dominique Dejean: L’œuvre analytique de Constantin Bugeanu, Paris, 2006, 98
-3-
Applied to Egon Wellesz’s Symphonies No. 1 and No. 5, this method proves to be a concise
analytical and practical tool, also revealing the conciseness of the symphonic form itself.
In terms of form, the 1st Symphony by Egon Wellesz is composed in the Austrian symphonic
tradition, in contrast to his 5th Symphony, in which Wellesz has already left this tradition
behind, or better yet, has gone a step forward. Wellesz succeeds in changing his perspective,
looking ahead to a future of symphony well into the 20th century and beyond, proving that
symphony is timeless.
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I. Egon Wellesz – a Biographical Outline
Man muss seinen Weg gehen, ohne zu suchen

und ohne zu fragen und ohne sich beirren zu lassen
Egon Wellesz6
A. 1945
In 1945, at the age of sixty, Egon Wellesz was living and teaching at Oxford, where he had
found refuge from Nazi-occupied Austria in 1938.7
In the years of the turmoil during World War II, Egon Wellesz had composed very little after
a complete hiatus between 1938 and 1943.
Little imagination is needed to assume this was due to his uprooting caused by exile and war.
In the early 1930s, before ‘the common rule of terror had also ended the freedom of arts,’8 Wellesz had
been one of the most performed contemporary composers in Austria and Germany,9 but in
March 1938 he found himself ‘cut off from all these relations: for England he was not an Englishman,
and Europe, overrun by Hitler, had written him off. Wellesz found himself in total isolation.’10 As Amanda
Holden sums up: ‘five years of trauma.’11
From 1938 onwards, though for some time further displaced in the Internment Camp of the
Isle of Man,12 Wellesz was an active researcher, fellow and lecturer at Lincoln College at
Oxford, immersed in his work as ad personam chair of early Christian and Byzantine church
music and later re-organizing the curriculum for musicology at Oxford. To continue a concert
life during the war years, he organized and curated a series of subscription concerts for early
and contemporary music at Lincoln College.
6 Egon Wellesz, undated letter to Robert Schollum in: Robert Schollum, 6: ‘One must follow one’s path without
seeking, without asking, and without allowing oneself to be misled’.
7 A detailed history of the life of Egon Wellesz can be found in Micheal Haas: Egon Wellesz (1885 -1974) – the
Forgotten Modernist, in: https://forbiddenmusic.org/2014/06/04/egon-wellesz-1885-1974-the-forgotten-

modernist/ and: Caroline Cepin Benser: Egon Wellesz (1885-1974): Chronicle of a Twentieth-Century Musician, New
York, 1985
8 Hartmut Krones: Egon Wellesz – a classical of the modern age, in:
http://www.egonwellesz.at/wellesz_biographie.htm, para. 2
9 Hartmut Krones, l.c. para. 1
10 Robert Schollum, l.c. 49
11 Amanda Holden, in: http://www.amandaholden.org.uk/egon-wellesz/, para. 10
12 cf. Haas, Wellesz, para 45
-5-
His first composition after his hiatus from 1938 to 1943 was his String Quartet No. 5
‘In Memoriam’, op. 60 (1943), followed by The leaden Echo and the golden Echo, op. 61 (1944), a
chamber ensemble cantata after a poem by Gerald Manley Hopkins.
In the early autumn of 1945, he started composing his First Symphony op. 62, which he
completed on January 1, 1946.
B. Early Years
Egon Wellesz was born into a now vanished world whose cultural and intellectual richness,
concentrated in one city, is difficult to imagine nowadays.
It was the era preceding ‘the last prime’ 13 of the Austro-Hungarian Empire, which was soon to
collapse.14 That last heyday was full of extraordinary artistic accomplishments which broke
traditional borders and had a profound effect on someone as adaptive and open-minded as
the young Egon Wellesz.
Wellesz’s piano teacher, Carl Frühling, had been a student of Johannes Brahms. As a pupil at
Gymnasium Hegelgasse, Wellesz received his intellectual education from the classical philologist
Josef Stowasser,15 and the literary historian Eduard Castle.
To gain an idea about this environment, it is worth naming some luminaries who left their
footprints on the intellectual and artistic streets of Vienna. Contemporary writers included
Hugo von Hofmannsthal, Rainer Maria Rilke, Karl Kraus, Franz Werfel, Stefan Zweig,
Arthur Schnitzler and Jakob Wassermann, who later became a close friend of Egon Wellesz.
In the field of the visual arts, Oskar Kokoschka also befriended him; he later painted a superb
portrait of the composer.16

14 There is extensive literature on the subject; a eulogistic, feuilleton-style approach is found in Stefan Zweig: Die
Welt von Gestern (The World of Yesterday), first published in 1942, a comprehensive and more academic approach
can be found e.g. in William M. Johnston: The Austrian Mind, University of California Press, 1972, and
Österreichische Kultur- und Geistesgeschichte, Wien, 4th edition 2006)
15 Joseph Maria Stowasser (1854-1910), the author of the fundamental Latin-German Dictionary Der große
Stowasser (1894)
16 The portrait can be found at https://www.wikiart.org/en/oskar-kokoschka/not_detected_235859
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Contemporary composers who influenced the young man included Mahler, Richard Strauss,
Schoenberg, Debussy, Ravel, Schreker, Bartók, Stravinsky, Zemlinsky, and later, Krenek,
Hindemith, Milhaud, Honegger, Berg and Webern, with whom Wellesz studied the Viennese
classics and romantics. They once played the first four Mahler symphonies in four-hand
versions on the piano before attending Mahler’s rehearsals and performances: ‘we were both
frightfully bad pianists,’ stated Wellesz.17
The most prominent figure in Vienna’s music life who gained profound significance for the
keen, open-minded and versatile young Wellesz was Gustav Mahler, who became director of
the Vienna Hofoper in 1897. His performances were outshining events; they were heatedly
discussed for days and kept Vienna’s music public breathlessly attentive.
In a speech he held on 26 June 1960 in commemoration of Gustav Mahler’s centennial at the

Vienna State Opera, Wellesz stated:
‘The performances were from a different world to the one we live in. Music was ‘a sacred art’, as
Hofmannsthal has the young composer in ‘Ariadne’ say, and every performance an event affecting the
listeners for days. A few significant performances when Mahler used to be the director of the Vienna
Hofoper are still fresh in my mind, especially a performance of Weber’s Freischütz, so staggering that it
became determining for my life: it made me a musician ... the day after that performance I started to
compose.’18
Although the social class of his family presented a preference for studying law, Egon Wellesz
could not resist the inspiring presence of music and art that surrounded him. He first enrolled
in the law department of Vienna University, but soon changed to musicology under the
guidance of Guido Adler, who trained him academically. This period of his life and education
greatly affected his work as a composer.
When Arnold Schoenberg returned from Berlin in 1903, he began to take on private
composition students. Upon the advice of Karl Horwitz (1884-1925), a former schoolmate,
Egon Wellesz began private studies with Arnold Schoenberg, of whom he said:
17 Quoted in: Amanda Holden, l.c. para. 3

18 Egon Wellesz: Gustav Mahler und die Wiener Oper, Frankfurt/M., 1960, quoted after Robert Schollum, l.c. 9
-7-
‘Schoenberg was the best and most solid teacher of the old technique. He has never contented himself
with saying: “It is wrong,” but immediately considered all the possibilities of correcting it in order to
explain the freedoms of composing. He taught me to understand the classic composers, but he also
showed me that every era of music must have its own means of expression.’19
Wellesz himself pointed to Mahler as his ethical ideal: ‘From … Mahler a composer learns to take
responsibility for every written note.’20
Wellesz was torn between his work as a researcher and composer, a split that remained as an
apparent contradiction for the rest of his life. This duality emerged time and again, and his
‘existences’ became complementary and mutually inspiring in the way Jean Gebser said:
‘Something new one can only find if one knows the old one.’21
Wellesz finally showed the sketch of a composition to Bruno Walter, who recognized his talent
and encouraged him to continue to work independently to find his own style, warning against
Schoenberg’s dogmatic inflexibility.22 It proved crucial for Egon Wellesz to follow this advice
and form his own course as a composer from the very beginning.
C. The Music Historian
Wellesz finished his doctorate about the Gluck-coeval Giuseppe Bonno in 1908. A concise
portrayal by Andrea Harrandt of his career and achievements as a researcher can be found on
the website of the Egon-Wellesz-Foundation.23 An equally detailed summary would go
beyond the scope of this study. It may, however, be appropriate to highlight a few details.
Egon Wellesz was required to study masterpieces from the Middle Ages to the presents, and it
was taken for granted that he would also gain knowledge of related subjects, such as
‘palaeography, archival science, history of liturgy, arts and theatre.’24 which led to a comprehensive way
of looking at his fields of research. An initial special field of interest was the history of opera in
19 Quoted after Robert Schollum, l.c. 12

20 Quoted after Robert Schollum, l.c. 12
21 Jean Gebser, quoted in: William M. Johnston, Österreichische Kultur- und Geistesgeschichte, Wien, 4th edition 2006,
dedication page: ‘Etwas Neues kann man nur finden, wenn man das Alte kennt.’
22 Micheal Haas: https://forbiddenmusic.org/2016/10/29/heinsheimers-hidden-history/, para 45
23 Andrea Harrandt: Egon Wellesz, the Musicologist, in: http://www.egonwellesz.at/e_wellesz_frameset.htm, there
‘biography’
24 Andreas Harrandt, l.c. para. 2
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Vienna which had a productive impact on his own opera composition, a core area of his work
until the hiatus of 1938-1945.
By the beginning of World War I, for which he was declared unfit for military service as a
result of a serious surgery, he started to study Gregorian Chant, which soon led him to early
Byzantine church music. An epoch-making discovery occurred when he succeeded in
decrypting Byzantine church music notation in 1916. In the course of his studies, he further
discovered the greater importance of archetypical melodic formulas. Animated by this
discovery, he turned towards the study of the Urgründe of music.25
Robert Schollum points out that there were parallel developments in research undertaken by
Bela Bartók, who studied monadic music in Hungary, Romania, Bulgaria, and even North
Africa.26 Another example would be the Spanish composer Antonio José (1902-1936), who
extensively researched and collected the folk music of Castile/Burgos.27
Wellesz also researched the phenomenon of monody in Western and Eastern Church music, a
topic that would be of low interest for this study, if monody were not reflected so frequently in
his compositions: not only did he favour composing for solo instruments without
accompaniment, but he also instructed his composition students to compose for solo
instruments with the aim of concentrating all musical expression into a single and absolutely
monodic line.
He himself followed this principle in crucial moments of his compositions,28 something that
can be observed in different examples from his Symphonies Nos. 1 and 5. The first Allegro
theme of Symphony No. 1 re-appears at the beginning of the development as a fugue theme,
(as nothing less than an application of monody); the beginning of the last movement of this
symphony in a monody line in the violins pays tribute to the beginnings of the Adagios of
Bruckner’s Symphony No. 9 and Mahler’s Symphony No. 9 respectively. The use of monody
as unisono in several octaves characterizes the beginning of the 1st movement of Symphony
No. 5 with a tone row which again becomes a fugue theme in the development.
25 Robert Schollum, l.c. 15: Urgründe: ‘primordial grounds’

27 cf. Antonio José: Colección de cantos populares burgaleses – Nuevo cancionero burgales, Madrid, 1980. Antonio José is
another sad example of a forgotten composer. He was executed by Franco’s troops in 1936, and his oeuvre is
only slowly being re-discovered today, cf. http://antoniojose.org.
-9-
Due to his achievements and international reputation as an academic and a composer, the
Oxford University awarded him a doctorate honoris causae in 1932. He was the first Austrian
composer after Haydn to be granted this prestigious honour which was celebrated on the
anniversary of Haydn’s 200th birthday. This connection to Britain’s academic centres, which
had already started in 1906, when he first attended a summer course about 18th century
England at Cambridge University, became important in 1938.
D. The Composer
It has been mentioned that from the beginning Egon Wellesz was to find his own independent
style of composing. It was not only what Bruno Walter had suggested to him, but also a major
component of his personal mindset, as he implies in the above-quoted statement about
Mahler.29
‘Wellesz’s long life was divided in two by the Second World War.’30 His catalogue of compositions was
also divided in such a way into opus numbers 1-59, and 60-112.31
A core area of his composition in the first half of his life was opera, for which he preferred
subjects from classical antiquity; during this period, he also composed ballets, piano music,
chamber music, vocal music, Lieder, works for solo instruments, and a few works for chamber
orchestra. Compositions for symphonic orchestra are rare; there are Heldensang, Symphonic
Prologue op. 2 (1905), Vorfrühling, Symphonic Impression op.12 (1912), Suite for Orchestra op. 16
(1913) and Festlicher Marsch (1929), without any opus number.
In whatever he composed, Wellesz kept in mind Bruno Walter’s advice. In 1938, Bruno
Walter again played a decisive role in Wellesz’s life when he conducted the first performance
of Prosperos Beschwörungen, 5 Orchesterstücke nach Shakespeares ‘Der Sturm’ (Prospero’s Incantations,
Five Symphonic Pieces after Shakespeare’s The Tempest) for Orchestra op. 53 (1934-1936)
with the Vienna Philharmonic at Vienna’s Musikverein. The performance was a great success,
and Bruno Walter was enthusiastic about the composition which was hailed as a symphonic
masterpiece from the first half of the 20th century. Unfortunately, this lucid composition today
29 cf. reference in footnote 20

30 http://www.amandaholden.org.uk/egon-wellesz/, para. 2
31 A complete list of works can be found at http://www.egonwellesz.at/pdf/e_List_of_works.pdf
- 10 -
still suffers the fate of its composer and the hiatus that followed: hardly known and rarely
performed.
Prospero was premiered in Vienna on February 19th, 1938. Immediately afterwards, Bruno
Walter asked Dr. Rudolf Mengelberg, the secretary of the Concertgebouw Amsterdam, to
program the piece for Amsterdam on March 13th, replacing Tod und Verklärung by Richard
Strauss. Mengelberg agreed, and Wellesz and Walter travelled together to Amsterdam.
On March 12th, 1938, the day before the Amsterdam concert, Nazi-Germany invaded
Austria, and Wellesz could not return.32
He found himself exiled, but thanks to the immediate reactions of his friends at Oxford,
Dr. Colles and Prof. Dent, his refuge was promptly arranged by organizing an honorary
membership in London’s Athenaeum Club. A series of lectures on the history of opera helped
Wellesz to settle into a new albeit reasonably familiar environment. His wife, Emmy Wellesz,
managed to follow him into exile in June, but the apparent smoothness of the transition could
not veil the fact of displacement. As Wellesz himself stated:
‘The outbreak of war, the renewed insecurity of existence, the anxiety about old and new friends caused
a state of mind which is difficult to describe and which paralyzed creativity for the time being.’33
The end of the war and the composition of his First Symphony from October 1945 onwards,
completed on January 1, 1946, also marked the second half of his life as composer.
Perhaps the very displacement from his former world and the time of ‘paralyzed creativity’ finally
gave him the kind of distance he later said he needed to be able to compose a symphony:
‘Raised in the Austrian musical tradition, I didn’t dare to compose in this form, I did not have enough
distance from it so as to express something of my own in it, since I do not sense the form of the
symphony as something fixed, but as something highly vivid which evolves from the substance of every
new work and, therefore, always offers the stimulus for a new shaping.’34
32 cf. Robert Schollum, l.c. 48, Hartmut Krones, l.c. para. 2

33 Quoted after Robert Schollum: l.c. 49: ‘Der Ausbruch des Krieges, die erneute Unsicherheit der Existenz, die
Sorge um die alten und neuen Freunde schufen einen Seelenzustand, der schwer zu schildern ist und die
Schaffenskraft vorerst lähmte.’
34 Quoted after Robert Schollum: l.c. 51: ‘Aufgewachsen in der österreichischen Musiktradition ... hatte ich mich
nicht and diese Form herangewagt, weil ich zu ihr nicht die nötige Distanz gewonnen hatte, um etwas eigenes
darin zu sagen, denn ich empfinde die Form der Symphonie nicht als etwas Starres, sondern als etwas höchst
- 11 -
From now on, composing symphonies became a core area for him. As Sergiu Celibidache, the
conductor of the first performance of the First Symphony in Berlin on March 14th, 1948, liked
distinguishing composers of symphonies from other composers: now Egon Wellesz became a
‘symphonist.’35
Fig. 1: Egon Wellesz, Portrait
Lebendiges, das in jedem neuen Werk neu aus dem Inhalt erwächst und deshalb, für mich wenigstens, immer
neuen Anreiz zur Gestaltung bietet.’
35 ‘Er ist so ein konsequenter, scharfer Denker. Bruckner kann sowohl anfangen wie auch aufhören. Und
Bruckner kann uns dahin bringen, wo uns sonst niemand hinbringt. Er ist der größte Symphonist aller Zeiten.’
Quoted after Wolfgang Schreiber: Kompromißlos für die Musik - Sergiu Celibidache zum 80. Geburtstag, in: Süddeutsche
Zeitung, 28.06.1992, re-published in: http://www.hiller-musik.de/lau80.htm
- 12 -
At the age of 60, Wellesz made composing symphony a concern dear to his heart; and, in a
well-established tradition, he completed nine symphonies between 1945 and 1971,
complemented by a Symphonic Epilogue from 1969:
Symphony No. 1 op. 62 1945

Symphony No. 2, ‘Die Englische’ op. 65 1947/1948
Symphony No. 3 op. 68 1949/1951
Symphony No. 4, ‘Austriaca’ op. 70 1951-1953
Symphony No. 5 op. 75 1955/1956
Symphony No. 7 op. 102 1967/1968
Symphony No. 9 op. 111 1970/1971
Symphonischer Epilog op. 108 1969
Amanda Holden gives an account of a late conversation she had with Egon Wellesz:
‘... I remember asking Wellesz in 1970 how he planned to spend his holiday. He said he was in a
dilemma, ‘either I write a symphony, or I write my memoirs.’36
It was then his 9th Symphony. Wellesz died in Oxford in 1974.
From today’s point of view, there is a striking contrast to the stance taken up by the stance
taken up by the Darmstadt School influenced by Adorno´s dictum that ‘to write poetry after
Auschwitz is barbaric,’37 which – in the field of music – made the composition of a form like the
symphony inconceivable.
Wellesz was of an older generation than the protagonists of Darmstadt, and perhaps he did
not see himself living in that post-apocalyptic mood which then dominated the thinking of so
many philosophers, writers, and artists. For him, the act of composing in the form of
symphony was a ‘spiritual return to his forefathers,’38 and this may have even helped to overcome
his personal trauma of war and expulsion.
36 Amanda Holden, l.c. para. 12

37 cf. http://darmstadtschool.weebly.com/ for a general overview on the Darmstadt School.
38 Quoted after Robert Schollum: l.c. 51
- 13 -
Nevertheless, from now on he was convinced to dedicate his creativity to the form of
symphony which, for him, was ‘the most sublime medium of musical expression.’39
39 Quoted after Robert Schollum: l.c. 51: ‘Das höchste Medium der musikalischen Aussprache’
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II. Constantin Bugeanu: Observation of Form as Movement
A. Preliminary Note
In der Musik ist das Höchste an Einsicht musikalischer Natur.

George Steiner40
It is very difficult to touch the core of a truly creative work.

Otto Klemperer41
Henning Ritter, long-standing chief editor of the humanities section at Frankfurter

Allgemeine Zeitung, once wrote about Leonardo’s Mona Lisa that the painting poses a
psychological mystery, whose dissolution the painting demands and whose indissolubility it
seems to claim. This is why the painting has provoked rage: ‘It represents something that only exists
through its appearance and that remains undisclosed in this appearance. The observer stands in front of
something locked, to which the key has been thrown away.’42
Anyone who tries to disclose the secret of music faces the same dilemma. ‘When Schumann was
once asked to explain a difficult etude, he sat down and played it a second time,’ reports Steiner.43 In fact,
we could begin a description or any kind of analysis of what we hear or read in the score, but
who knows if we will disclose the substance of the composition? When he saw the analysis of
the Eroica by Schenker, Schoenberg supposedly exclaimed, ‘Where are my favourite moments?’44
This is a humorous exaggeration, of course, since Schenker contributed immensely to the
disclosure of the substance of music by analysing the actual musical material. But what would
be the point of an analysis if we did not try to disclose something essential by observing the
actual musical material and thus unveiling truth in the musical act – provided we are still
searching for truth in the music?
Hence, the question arises as to what leads to essence, to truth in music? By pursuing this
question, the inevitable next question might not to be evaded: what is music? And in the end,
we will find us again being trapped in Mona Lisa’s smile.
40 George Steiner: Von realer Gegenwart, München/Wien, 1990, 34

41 Otto Klemperer: Klemperer on Music, London, 1986, 151
42 Henning Ritter: Notizhefte, 4th edition, Berlin 2010, 22
43 George Steiner, l.c. 34
44 Quoted in Charles Rosen: Der klassische Stil, 3rd edition, Kassel, 1999, 36
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B. Derivation
Wir denken in rhythmischer Logik. Unsere Kraft ist,

immer zu entdecken, was die Kraft der Bewegung ist.
Constantin Bugeanu45
Constantin Bugeanu (1916-1998) has orally passed the method of analysis of form applied in
this study to his students.46 The method is called the Observation of Form as Movement.47
In this method, the appearance of the composition is condensed in a ‘Präsenzstrecke’ (‘range of

presence’; the term will be explained below) which is determined by human perception. Thus,
the observation of form is basically about human perception of the musical piece. Our
perception is not designed to follow separated single appearances of successive sound
phenomena; in fact, we group appearances into something coherent, such as phrases or
periods.
Constantin Bugeanu explained that we know what is past, and that we can imagine the future,
but that the problem of the present cannot be so easily solved: listening to or reading music is
quite the same, since both activities involve and are based on perception. These activities
present us with a range of presence, reducing the multiplicity of sound to a musical unit.48
To start with ‘movement’: already Pascal states ‘Notre nature est dans le mouvement.’49 In music,
the definition ‘melody is movement’50 which was developed by Alfred Lorenz to ‘forms are dynamic
45 Cahiers de Bugeanu: transcripts from his classes by the author.

46 References to the analytical œuvre of Constantin Bugeanu so far are Dragos Calin: Constantin Bugeanu – Un
savant al artei dirijorale, Bucharest, 2014 (the publication of the English version is planned for autumn 2018), and
outside Romania, Dominique Dejean: L’œuvre analytique de Constantin Bugeanu, Paris, 2006. After the death of
Bugeanu in 1998, Dejean obtained possession of the notes and complete analyses of the symphonic and opera
repertoire the deceased had kept in his study. It is though a legacy, which should certainly be accessible in the
archives of e.g. the National Library of Romania, or the Library of the National University of Music, both in
Bucharest. However, what had remained sealed since the death of Bugeanu is shown in parts in Dejean’s study.
Whether his assessment of Bugeanu's method of form analysis as a ‘bridge between the ‘abstract’ practice of
music analysis and the ‘concrete’ act of music performance’ (Dejean, l.c. Resume en anglais) represents either an
underestimation or a lack of understanding remains to be seen. Dejean ignores or misses the dimension of
cognition, which is opened up by this approach and the incorporating function of this form analysis as a first
methodical step in Bugeanu’s comprehensive method of the study of conducting for the practice of the metier
itself, cf. V.A.
47 Constantin Bugeanu called it in German: Beobachtung der Form als Bewegung, cf. Cahiers de Bugeanu
48 Cahiers de Bugeanu
49 Pascal: Pensées, Paris, 2000, 361, No. 529 bis
50 Ernst Kurth: Grundlagen des linearen Kontrapunkts, 2nd edition, Berlin 1922, 1: ’Melodie ist Bewegung’
- 16 -
progressions,’51 had been given by Ernst Kurth explaining that: ‘… firstly to come back to melodics,
we have to realize the essence of the melodic line in such way that it does not come to our musical mind as a
summation of tone impressions. … what spans the gap between these impressions is the energy of the act of
movement which lies deep under the line of notes … melody is a streaming energy.’ Before concluding that
the inherent state of tension in a melody can be called the ‘kinetic energy’ of the melodic act, he
makes the remarkable statement:
‘The real cause of a melodic line is its quest to become form.’52
The term ‘observation’ implies a certain restraint for the subject not to impose ideas onto the
object. That would certainly fail in respect to the complexity and diversity of musical forms,
considering the creativity of composers. Let us recall Egon Wellesz’s above-mentioned
statement that he did not regard ‘the form of the symphony as something fixed, but as something highly
vivid evolving from the substance of every new work.’53
Therefore, methodically, the actual composition is observed, since a method cannot be

imposed onto, e.g. a musical piece, as Husserl puts it in general terms: ‘Method isn’t something
which is or can be imposed to a domain from the outside … Method is a norm that originates from the
characteristics and structure of the object; thus apprehending this norm is intrinsically dependent on the cognition
of these structures in its comprehension.’54
Goethe puts it this way: ‘In art ... everything depends on the objects being perceived purely and treated
according to their nature.’55
This is the ground from which Constantin Bugeanu grew. Already in his early years at the
Lycée of Timișoara (Romania) he came in touch with philosophy ‘vers l’orientation
phénoménologique.’56 While a conducting student of Clemens Krauss in Munich and Salzburg in
51 Alfred Lorenz: Das Geheimnis der Form bei Richard Wagner, Band III: Der musikalische Aufbau von Richard Wagners ‚Die
Meistersinger von Nürnberg’ (Berlin, 1931), 2nd ed. 1966, 188
52 Ernst Kurth, l.c. 9ff
53 cf. reference to footnote 34
54 Edmund Husserl: Ideen zu einer reinen Phänomenologie und Phänomenologischen Philosophie I., 3rd ed., Halle a.d.S.,
1928, 144: ‘Methode ist ja nichts von außen an ein Gebiet Herangebrachtes und Heranzubringendes ... Methode
... ist eine Norm, die aus der regionalen Grundartung des Gebietes und seiner allgemeinen Strukturen entspringt,
also in ihrer erkenntnismäßigen Erfassung von der Erkenntnis dieser Strukturen wesentlich abhängig ist.’
55 Johann Wolfgang von Goethe: Maximen und Reflexionen, in: Johann Wolfgang von Goethe, Werke Hamburger
Ausgabe in 14 Bänden, München, 2000, Band 12, 492/900: „In der Kunst … kommt alles darauf an, dass die
Objekte rein aufgefasst und ihrer Natur gemäß behandelt werden.“
56 Constantin Bugeanu, ‘Meseria mea baza a fost cea de dirijor’, 5, quoted after Dejean: l.c. 88
- 17 -
the years 1940-1943, he discovered the analytic work of Alfred Lorenz.57 In his later years, he
was a professor at Bucharest Music Academy and, after retirement, he taught conducting
students in his home. This is not the place for a biography, however brief, of Constantin
Bugeanu.58 Nevertheless, it ought to be mentioned that his ultimate concern was
‘to try to find the essence of the musical act.’59
Fig. 2: Constantin Bugeanu, Portrait
57 cf.
footnote 1 of this study.
58 A biographical outline can be found in Dejean, l.c. 87ff
59 Quoted after Dejean, l.c. 98
- 18 -
His predecessor in terms of formal analysis was Alfred Lorenz, whose work was only rarely
discussed in secondary literature. He died in 1939, leaving not only an academic heritage, but
also a problematic political one.60 His achievements as a researcher have been considered
‘problematic,’61 but also as a ‘confluence of all fundamental developments in the matter of analysis.’62
However, ‘flussaufwärts zu den lebendigen Quellen ersten Seins,’63 Lorenz’ study is used here as
primary source for the analytic oeuvre of Constantin Bugeanu.
Alfred Lorenz called his fundamental monograph The Secret of Form in the music dramas of Richard
Wagner. The very title seems to reflect the hope of revealing the secret of a composition by the
cognition of form. This further implies that form is one of the essential grounds of music on
which the experience, Erlebnis, of music is based. Cognition of form hence results in gaining
knowledge about how a piece of music is structured, and how it develops Gestalt.64 It is not
surprising that some authors of program booklet texts explain the work to be heard to the
concertgoer through a few sentences about its form.65
With this in mind, we see that Hans Swarowsky, the doyen of the Viennese conducting school,
begins his monograph ‘Die Wahrung der Gestalt’ quoting Hegel: ‘As for in arts…we are dealing with
an unfolding of truth,’66 continuing: ‘Art is intrinsic representation … in a formal concentration. The artistic
act is “Gestalten”, the artistic result is “Gestalt”.’67
Nota bene: For the act of performance, the mere knowledge of form is naturally insufficient,
since knowledge, necessarily bound to the past,68 remains theory unless it merges into
practice, into the realization (Verwirklichung) of the piece. In this context belongs an otherwise
60 Lorenz was an ultra-rightist German nationalist even before World War I, and became an avid follower of the
Nazi Party, cf. William Kinderman, Das Institut für Musikwissenschaft in der NS-Zeit. Der Fall des Wagner-Forschers
Alfred Lorenz, in: https://lmuwi.hypotheses.org/alfred-lorenz-2.
61 Kinderman, l.c., whithout any reason being given.
62 Ian Brent/William Drabkin: Analysis, London, 1987, quoted after Dejean, l.c. p. 109. Another secondary
literature source construes his work as a metaphor of the organization of the German Nazi State: Steven
McClatchie, Analyzing Wagner-Operas: Alfred Lorenz and the German Nationalist Ideology, Rochester, N.Y., 1998. Dejean
points out that this work is, nevertheless, a comprehensive study of Lorenz.
63 cf. George Steiner, l.c. 61
64 Swarowsky: Die Wahrung der Gestalt, Wien, 1979: the very title of the book.
65 cf. Fig. 5, page with the text about the Symphony No. 1 by Egon Wellesz from the program leaflet of the
world premiere in Berlin, 14 March 1948

66 Quoted in Swarowsky, l.c. 9: ‘Denn in der Kunst haben wir es ... mit einer Entfaltung der Wahrheit zu tun,’
Hegel, Ästhetik III

67 Swarowsky, l.c. 9: ‘Kunst ist wesenhafte Darstellung…in formaler Konzentration. ... Das künstlerische Tun
heißt Gestalten, das künstlerische Resultat Gestalt.’

68 cf. Sergiu Celibidache, Interview mit Jan Schmidt-Garre, in: Celibidache, edited by Jan Schmidt Garre,
München, 1992, 52
- 19 -
misleading remark by Arthur Schnabel: ‘analysis comes after the piece, not before.’69 Analysis as a
cognitive process does not take place either before or after the piece, but rather accompanies
the entire relationship between a composition and the musician.
At this point, the author considers it necessary to state that at least in this study, if not in music
at all, the use of the term interpretation is obsolete. The term refers to literary suppositions
and visual or sentimental associations – with a typical Viennese sense of sarcasm, brought to
blossom e.g. by Thomas Bernhard,70 Hans Swarowsky denounces ‘the so-called interpreter’ as the
‘necessary evil for the realization of musical works’ 71 calling him ‘Sekundärkünstler.’72 In musical context
it is used as an arbitrary addition, superimposed on the text by performers as expression of
their unrelated subjectivity which is necessarily a non-articulation of the given Tonsatz. In
music, the term interpretation is simply worn-out, used too extensively, too ambiguously and
therefore not clearly defined enough to correspond to the given considerations.73
For as soon as we are capable of Verwirklichung and Gestaltung which refer to the objective
phenomena of musical material, we are beyond such ‘interpretation’.74 With this in mind, it is
not difficult to understand what Sergiu Celibidache meant when he said:
‘There is no alternative to music, and therefore, there is no interpretation.’75
The concept of the observation of form follows the line of the artistic act of gestalten, and may
be explained with a word of Goethe, who called his way of cognition ‘anschauliche Urteilskraft.’76
Difficult to translate into English, this mindset connotes an intense orientation and awareness
69 Quoted after Alfred Brendel, in: http://derstandard.at/2000028344248/Alfred-Brendel-Ich-bin-nie-ein-
Optimist-gewesen
70 cf. Thomas Bernhard: Holzfällen, Frankfurt, 1988, with a striking accumulation of the attribute ‘so-called’.
71 Swarowsky, l.c. 10: ‘Der sogenannte Interpret, das notwendige Übel zur Realisation musikalischer Werke’.
Unfortunately, Swarowsky is inconsistent when he uses ‘realization’ (Verwirklichung) but still continues to call
the musician ‘Interpret’ instead of excluding this term from his book altogether.
72 Swarowsky, l.c. 72
73 Patrick Lang, deliberately polemical, convicts the term 'interpretation' by means of the beautiful picture of two
children, who play a song on the recorder for their family, proudly announced as 'interpreters'. Cf. Patrick Lang:
Pulsation, mètre, période; Phénomenologie du vécu musical 2, in: Annales de Phénomenologie, Amiens 2014, 211
74 A very comprehensive overview about the problem of the term ‘interpretation’ is given by Rudolf Bockhold:
Über musikalische Interpretation, in: Sergiu Celibidache: Über musikalische Phänomenologie – Ein Vortrag, ed. Gundolf
Lehmhaus, Munich, 2001, 65ff
75 Sergiu Celibidache: Über musikalische Phänomenologie – Ein Vortrag, ed. Gundolf Lehmhaus, Munich, 2001, 63
76 Goethe: Sprüche in Prosa, quoted after: Rüdiger von Canal, Einführung zu: Über musikalische Interpretation, in: Sergiu
Celibidache: Über musikalische Phänomenologie – Ein Vortrag, ed. Gundolf Lehmhaus, Munich, 2001, 66
- 20 -
of the phenomenon, and finally an origination of experience which becomes actual
cognition.77
It will come as no surprise that Bugeanu applies the phenomenological reduction as defined
by Husserl: ‘The phenomenology is indeed a clearly descriptive discipline, researching the field of the
transcendental, clear awareness by pure intuition…’ being a justified norm ‘… to make demands on
nothing than what we can make essentially comprehensible to us with our very awareness in pure immanence.’78
With Pascal in mind,79 Constantin Bugeanu is quoted here:
‘I am alone with the score. The score is there, but it does not only notate the tones. It notates
movement.80 Everything related to that movement is written down in the score. There is time and space,
because the tones are located in space. Well, if I just read the score, I do not possess it. I have to
imagine the score to what extent the essence of its movement is. I must work with myself, to discover the
laws that lead to this movement. If I want to possess this movement, I must get a clear idea of it. I can
ask myself: which movement do I imagine, and which movement really exists. It comes from here and
leads to the future. What has been is now past and then comes to present. After the present, I know,
there comes the future. And then a new present appears. So, what time actually is, is difficult to say.
But I know what the past is. What the future is, I can imagine. But what is the present? Some say the
present is a point. But this is not true. In the present, I do not live at only one point. I live a time, a
span, a broad time. You see, this is the presence in time. From past to future, there is not only a point,
it is a span which I perceive: where does it start, where does it end. This is the Präsenzstrecke (‘range
of the presence’).’81
The constitutive element of the method of Observation of Form as Movement is thus

P r ä s e n z s t r e c k e, the range of the presence which is actually the observers’ perceiving
awareness grouping elements into Gestalt. In the case of a musical score, we measure these
elements by bars – then bigger units, like phrases or periods as numerable elements as
77 As explained by von Canal, l.c. 67

78 Edmund Husserl, l.c. 113: ‘Die Phänomenologie ist nun in der Tat eine rein deskriptive, das Feld des
transzendental reinen Bewusstseins in der puren Intuition durchforschende Disziplin’...’Nichts in Anspruch zu
nehmen, als was wir am Bewußtsein selbst, in reiner Immanenz uns wesensmäßig einsichtig machen können.’
79 cf. footnote 49
80 ‘Movement’ in the sense of sth. moving (Bewegung), not of movement (Satz) of a composition; author’s note
81 Cahiers de Bugeanu. On this topic see also Husserl, in: Heidegger (ed.): Edmund Husserl: Vorlesungen über die
Phänomenologie des inneren Zeitbewusstseins, Halle a.d.S., 1928, in particular ‘Beilage IV: Erschaffung des absoluten
Flusses, 463 ff
- 21 -
experienced, erlebte, presence. Seen from another angle, Präsenzstrecke constitutes formal
elements, indeed form itself.
If Präsenzstrecke is the range of awareness as the medium of the phenomenological reduction, its
expansion towards ‘integrating all details into one entirety’ is how Celibidache would define the
reduction in musical phenomenology.82 The required broadening of awareness to such an
expansion of Präsenzstrecke is, of course, a challenge to the performing artist. It is, however, the
function of the presented method of analysis to internalize the Gestalt, and it is one step
towards the Gestaltung of that ‘one’, the ‘entirety’ about which Celibidache speaks. Bugeanu’s
method of analysis has thus its place in a method of conducting as a reference point and first
step and opens up the opportunity to ‘re-build’ the piece, since every consecutive step is
connected to and based on it.83
When the phase of internalization, in which the validity of the analysis is repeatedly called
into question by ongoing work steps, has ended, it still remains the ground for the
Verwirklichung of the piece.
Fig. 3: Sketch by Bugeanu about the questions of Sein: Concrete appearance → Essence/Analysis → Sein as
explanation of unity → Truth (phenomenon = understanding of the world)
82 Sergiu Celibidache, Lehmhaus, l.c. 26

83 See also V.A.
- 22 -
C. Form Types
1. Alfred Lorenz
Alfred Lorenz has extracted several basic forms from Wagner’s operas and has shown that the
form of a particular opera does not derive from drama or text, but from the composed
periods. The basic form types can be found in the annexes of the respective volumes of his
study; the following brief overview is intended to convey an idea of his findings and refers to
Volume III.84
a) Simple Forms
• Strophenbau, Form of Strophe: m-m1-m2-m3, resulting also in what is called
‘variation-form’.
• Bogenform, Simple bow form: m-n-m. Also the type for in what is commonly called
the Liedform: Hauptsatz – Mittelsatz – Hauptsatz-Reprise (abbr.: HS-MS-Rp), also
possible: Rahmensatz with opening and closing Rahmensatz, possibly ‘frame’.
• Vollkommene Bogenform, Ideal bow form: m, n, o – MS – o, n, m, a Bogenform where
the MS mirrors the HS elements.
• Rondo form: m-x-m-y-m-z-m, in certain cases called Refrain Form.
• Barform: m-m-n, also called: Stollen-Stollen-Abgesang which is a form known from the
old German Minnesänger-Lied, but also from Roman times as due piedi – una volta.
Lorenz states that this form was used and developed also in the classical and pre-
classical period, but has not been recognized by the music theorists of the
19th century.85 Lorenz continues with
• Reprisen Bar: m-m – n-m-(o), Stollen-Stollen-Abgesang, the latter containing
development and recapitulation in a sonata-form.
Lorenz refers here to the second Stollen as a repetition of the exposition

in sonata form which is a matter of course for him. Considering the
general complexity of the issue of the repetition of a sonata exposition,
this is problematic, apart from sonata forms which do not provide
repetition signs, e.g. Mozart, Sinfonia in D, KV 385, ‘Haffner’, (where
the repetition sign has even been removed by the composer) or notably
Egon Wellesz, Symphony No. 1, 1st movement. It appears to be more
84 Lorenz: Meistersinger, 184

- 23 -
appropriate to consider here the ‘Bogenform’, as he concedes for ‘modern
sonatas without repetition,’86 see also below Excursus under III.A.2.c).
• Gegenbar (‘Counter-bar’): m-n-n, or: Aufgesang, erster Nach-Stollen, zweiter Nach-Stollen

(Auf+1NSt+2NSt). This is a form that he has identified in his study of the early
operas by Alessandro Scarlatti and named as 'Seicento'-form.87
A very good example of its application can be found in the first

movement of Joseph Haydn, Sinfonia No. 92, ‘Oxford’.88 The first
4 bars of the introduction group as Auf (1) + 1NSt (1) + 2NSt (2), the
group is repeated identically (in terms of Gestalt). The beginning of the
Allegro also unfolds so within its first 12 bars: Auf (4) + 1NSt (4) +
2NSt (4), here reflecting the form of the first 4 bars of the Adagio-
introduction as its basic principle of Gestalt.
b) Potenzierte Formen (‘Exponentiated Forms’)

Lorenz then explains potenzierte Formen (‘exponentiated forms’) which actually manifest as the
above-explained forms on a higher level, containing these simple forms as inner elements of
their construction. It is not necessary to explain this in more detail here, as the principle
remains the same and becomes apparent after a closer look at Egon Wellesz’s symphonies.

87 Alfred Lorenz: Alessandro Scarlattis Jugendoper, Augsburg, 1927, 213 ff, in particular 214 with the derivation of
this form from Bar-form.
88 Joseph Haydn, Sinfonia No. 92, ‘Oxford’, Critical Edition of the Complete Symphonies, ed. H.C. Robbins
Landon, Volume X, revised edition, Wien-London, 1981
- 24 -
2. Constantin Bugeanu
Constantin Bugeanu extended the basic findings of Alfred Lorenz to the symphonic
repertoire. He stated about his beginnings:
‘By the time I discovered these laws (of form), I got rid of the old musicology that we know and use at
the Conservatory. I got rid of everything I had learned from Hugo Riemann and Vincent d'Indy, who
were still slaves of the thinking that music is modelled on the literary phrase. I abandoned this path.
I said: no, music is evidence that human thought and action in this field have a perfect correspondence
in the constitution of certain logical forms which are “kinetic” musical forms.’89
It is worth noting that Bugeanu applies here Ernst Kurth’s above-mentioned term kinetic90 to
form.
Bugeanu’s form types do in general not differ from Lorenz’s. The conditio sine qua non for the
grouping of the material, of musical elements to a unit, is, however, the ability of the
observer’s perception – the ‘cannot help but perceive’ – to reduce, or to integrate the single
appearances into a musical unit, applying the musical and the above-mentioned rhythmic
logic.
Bugeanu deduces the basic forms as follows:
What is actually a musical unit, a unit of musical logic? If we always repeat patterns, we cannot have
a unit: we repeat and repeat and repeat, and we don’t know when it ends. Or, we could have, let’s say:
A, B, C, D, E, F, and so on, a line or row of dissimilarity; this, as well, leads nowhere. Yes, the
movement91 lives as movement, but not as a unit of movement, not in musical logic. Now then, when
does musical logic emerge? When do we have a unit of movement?92
Firstly, ABA: we have a beginning, then something different, and then something that is repeated. But,
those da capo forms are not the best solution for music, if we want to progress. This means, for large
forms, like the sonata form, ABA is actually good. The large forms, however, have certain smaller
89 “Au moment où j’ai découvert ces lois (de la forme), je me suis débarrassé de la vielle musicologie que nous connaissons et utilisons
au Conservatoire. Je me suis débarrassé de tout ce que j’avais appris de Hugo Riemann et de Vincent d’Indy, qui étaient encore
esclaves de la pensée selon laquelle la musique est calquée sur la phrase littéraire. Je me suis écarté de ce chemin. J’ai dit: non, la
musique représente une évidence du fait que la pensée et l’action humaine ont dans ce domaine un correspondant parfait en la
constitution de certaines formes logiques, qui sont des formes musicales ‘cinétiques’. Constantin Bugeanu, ‘Meseria mea baza a
fost cea de dirijor’, 5, quoted after Dejean: l.c. 94
90 Ernst Kurth, l.c. 11
91 cf. footnote 80
92 ‘Einheit der Bewegung’
- 25 -
units. In turn, they are built of smaller forms, and if I have again ABA, I come to the end; the musical
energy remains closed, even completed.
Hence, there are more suitable forms to go on, like AAB. Here, I have a unit, a repetition, and/or a
dissimilarity, and at the end of B, I can say: yes. Now I have a unit, it is done, but I feel I want to go
on, it is an open form, unlike the completed form ABA. This is the form which in Meistersinger is
called Bar-form: Stollen, Stollen, Abgesang. This form is the best form to go on.
Now we have another law: I can go from the larger form to the smaller one, ramification, and back
from the smaller to the bigger larger, that is exponentiation, (‘Potenzierung’). This is always a law,
a principle. There is also another form, ABB. This is called Gegenbar: ‘Aufgesang, erster Nachstollen,
zweiter Nachstollen.’93
a) Basic Form Types

By condensing the basic forms, Bugeanu consistently applies what Lorenz has shown as more
varied and diverse possibilities of form, refraining, however, from using forms that would be
integrated into one of the three basic forms anyway:
• Barform: Stollen – Stollen – Abgesang (1St, 2St, Abg)

• Gegenbar: Aufgesang – Erster Nachstollen – Zweiter Nachstollen (Auf, 1 NSt, 2 NSt)
• Bogenform: Hauptsatz – Mittelsatz – Hauptsatz-Reprise (HS, MS, HS’)
All other appearances can be subsumed under these three models. The way the forms are
displayed will be demonstrated in detail in the following chapters in which Symphonies Nos. 1
and 5 by Egon Wellesz will be analyzed.
A comprehensive overview of the terms used in the analysis of Wellesz's symphonies can be
found in Annex I.
- 26 -
b) Origination
Bugeanu explains how these form elements evolve into principles with the term Präsenzstrecke:
‘Here, this is one Präsenzstrecke, here the repetition of that Präsenzstrecke, or an opposition, a
Präsenzstrecke which is no repetition – these are the two principles of Präsenzstrecke.’94
Lorenz was aware of the apparent problem that not every detail can be included in this
analysis as overview of the form: ‘A “tangled mass” of details would cloud the overview, nothing would be
gained for the big architectural aspects.’95 In this sense, a comprehensive overview is only provided
by the score itself.
Wilhelm Furtwängler bore witness to the fact that such an approach meets the needs of
reality: ‘By directing the attention to detail, musicians have more and more become incapable of seeing larger
connections and of taking account of the organic relationship between the whole and the detail in the musical
works which in reality are a musical entity.’96
Bugeanu, too, was aware of deliberately omitting details for the sake of keeping the overview,
but going a step further by putting with his method of the Observation of Form as Movement
‘…everything that is in a row into a flow. This is another point of view on form and analysis. We
analyze, but what is crucial is that we already possess the flow, the current.’97
In the course of the internalization of the score, to which this method is the fundament and
the framework, all musical parameters are gradually integrated; the problem of the omission
of details is therefore only a temporary one.98
Applying the method of analysis to the context of his method of the study of conducting,
Bugeanu concludes:
95 Alfred Lorenz: Das Geheimnis der Form bei Richard Wagner: Der musikalische Aufbau von Richard Wagners ’Tristan und
Isolde’ (Berlin, 1926), 189
96 Wilhelm Furtwängler: Gespräche über Musik, 10. Auflage, Wiesbaden 1979, 25: ‘Durch Lenkung des Blicks auf
das Detail hin wurden die Musiker mehr und mehr unfähig, größere Zusammenhänge überhaupt zu sehen und
dem natürlich gewachsenem Verhältnis zwischen Ganzem und Einzelnem in den Werken, die in Wirklichkeit
ein musikalisches Ganzes sind, Rechnung zu tragen.’
98 cf. footnote 110
- 27 -
‘It is a very important point of the study to find what holds the piece together as movement. I cannot fix
movement. What can I do? Inside this movement, I do a movement, a double movement. I possess the
movement which is exposed in this score through my own movement. And now: there are three
movements. There is the movement of the world that is in the score, and then there is the movement of
body – the gesture, and the movement of my awareness: cogito! – my thinking is also movement. The
unification of these three movements is the secret of the first step of the conductor.’99
Hans Ulrich Gumbrecht states that the point of phenomenology is the ‘impossibility for the subject
to say something definitively cognitive about an object.’100 Bugeanu describes this perennial problem of
objectivity, while also illuminating Mahler's famous dictum that everything is written in the score,
but not the essence,101 as follows:
‘What we perceive is that the signs in the score only translate the tones, only the sound, but not what is
essential: the potency of the tones, their self-expanding nature.102 I write the score to fix the movement,
but I cannot write the movement; I have to re-build the movement on my own again, I need to re-
discover it. You have discovered it, and now you can re-build it with the movement of your body, to
objectify it.’103
The re-building of what has been perceived is the humanized articulation of the object.
Without this articulation, it would be impossible to appropriate the object.104 Replying to the
author’s question as to how one would know whether the identified form was correct,
Bugeanu answered that this is experienced in the phase of the realization of the piece, whereas
a wrong perception, consequently a wrong form-analysis, immediately appears as wrong in
reality.105
Thus in the ideal case, this – and only such – humanized articulation is Verwirklichung, meaning
that, in Bugeanu’s terms, t h e r e a l i z a t i o n o b j e c t i f i e s t h e p e r c e p t i o n .
100 Hans Ulrich Gumbrecht: Die Aufgabe der Geisteswissenschaften heute in: Präsenz, Berlin 2012, 145–168, there 159.
101 Quoted in: Sergiu Celibidache, Über musikalische Phänomenologie, in: Celibidache, edited by Jan Schmidt Garre,
München, 1992, 69: ‘Alles steht in der Partitur – nur das Wesentliche nicht’
102 cf. also Ernst Kurth, l.c. 10
104 Sergiu Celibidache, Interview mit Jan Schmidt-Garre, in: Celibidache, edited by Jan Schmidt Garre, München,
1992, 60: ‘Der Mensch artikuliert sie, um sich das alles anzueignen’ ‘Man articulates them in order to acquire all
this.’
- 28 -
III. Egon Wellesz, Symphony No. 1 in C, op. 62 (1945)
Es war die aufregendste Arbeit meines Lebens, und

ich schrieb sie gleichsam in einem Trancezustand106
Egon Wellesz
The analysis of the first movements of Symphonies No.1 and 5 will be explained in detail,
applying both Bugeanu’s method and terminology, whereas the analysis of the other
movements are presented in then self-explaining tables.
The method of Observation of Form as Movement demands ex rerum naturam an approach in

keeping with the direction of the human perception: we proceed from the larger entities to the
smaller ones.107 Since Constantin Bugeanu always used the German terms and abbreviations
of the form types, the author does the same.
The history of the composition of the 1st Symphony was briefly explained above in the section
‘The Composer’. There is not much to add. As for the composition period, the score shows
October 5th, 1945, to January 1st, 1946. The symphony has rarely been performed to date.108
106 Quoted after Schollum, l.c. 51: about the work of composing his 1st Symphony: ‘It was the most exciting work
of my life, and I wrote it as if in a state of trance’.
107 This is notably a different, if not contrary approach to the perfectly recommendable ‘Taktgruppenanalyse’
used by Hans Swarowsky, cf. l.c. 145 which, since viewing from the details to the whole, is the opposite direction
to the human mind’s perception, showing but a series of bar groups, not identifying form types, and so, not
leading to Gestalt.
The direction of perception can be shown in a simple example: if we walk a yet unknown route from A to B, we
start with a rough idea of how to go, and we perceive and later remember some landmarks. When we walk the
same way again and again, we perceive more and more details, until we may know every individual paving stone.
Of course, our perception will be filled with details and knowledge, and ultimately we might stop perceiving
anything, because we walk the way subconsciously, ergo without active awareness. That would be the moment
that routine kills the arts, because our capacity for spontaneity has vanished, cf. Sergiu Celibidache, Lehmhaus,
47: ‘Nur (des schöpferischen Aktes) offenes, spontanes Sich-Verhalten garantiert sein uneingeschränktes
Funktionieren.’ ‘Only the open, spontaneous self-behaviour (of the creative act) guarantees its unconditional
functioning.’
108 According to information from the Egon Wellesz Foundation and the archives of the Berlin Philharmonic,
this symphony has rarely been performed: the first performance on 14 March1948 under Sergiu Celibidache
(quite precisely 10 years after the ‘Anschluss’) was repeated three times. Also in 1948, the Vienna Symphony
Orchestra performed it under Joseph Krips, and soon afterwards Hermann Scherchen conducted the symphony.
In the 1990s, there was a performance under Pinchas Steinberg and the Vienna Radio Symphony Orchestra. In
October 2015 the author of this study had the honour in a concert with Blutenburg Kammerphilharmonie
München as well as in 2018 in two concerts with the Mexico City Philharmonic Orchestra as American first
performance in Mexico City, on March 10 and 11, and in one concert with Zacatecas Philharmonic Orchestra
in Zacatecas/Mexico, on March 25. The Vienna Radio Symphony Orchestra under Gottfried Rabl recorded
the symphony for the meritorious complete recordings of all the symphonies, but without holding a concert
performance.
- 29 -
Fig. 4: Program leaflet of the world premiere of Egon Wellesz, Symphony No. 1
- 30 -
A. 1st Movement: Largo – Allegro energico (473)
Egon Wellesz has marked at the end of the autograph of the 1st movement:109
5th October – 14th December 1945, Oxford
Our first view of the score, starting from an overview and then turning to the details, shows us
that the movement is composed in C, first in minor, and then in major.
Also in this method, bars are the unit of measurement; the score must therefore be provided
with bar numbers. Then bars must be counted: here the first movement has 473 bars.
1. Overview
Und nun geschwind vom Äußeren ins Innere
L. v. Beethoven
The second look tells us that there is a Largo of 26 bars, followed by an Allegro energico of
400 bars which undergoes some slight changes in expression, although not in terms of tempo
as velocity, with no noteworthy tempo change before a concluding Maestoso section of 47 bars.
Proceeding with our analysis, we will now identify the main parts of the Allegro energico: there is
a moment where a part ends on ‘g’ which implies that, considering the tonality ‘C’, an
exposition of a sonata form might end in bar 189. It is followed in bar 190, Allegro moderato, by
the appearance of the material from the beginning of the Allegro energico which is developing
into a fugato. It goes without saying that other integrated phenomena cannot go unnoticed,
but for now we will leave this detail aside for later consideration. In other words: In the course
of this elaboration, it will become clear that Bugeanu goes one step further than Lorenz in
that his method of the Observation of Form as Movement enables us to integrate ‘an infinite
horizon of imminent co-operating values’ into the study of the score.110
In bar 261, the material from the beginning of the Allegro energico appears again in ‘C’, marked
a tempo (Allegro energico). Turning the pages forward, we arrive in bar 451 at a Maestoso,
indicating three naturals, ergo C major; the movement ends at bar 473. Including the Largo
109The score provided as rental material by Schott is a facsimile of the composer’s manuscript, see Annex A.
110Husserl writes: ‘Jeder noch so einzelne Akt des Bewusstseinserlebens ist nicht isoliert, sondern impliziert einen
unendlichen Horizont inaktueller mitfungierender Geltungen’. In English about: ‘Every single act of the
conscious experience is not isolated, but implies an infinite horizon of imminent co-operating values,’ quoted
after: Sergiu Celibidache, in: Lehmhaus, l.c. 44
- 31 -
which is likely to be the slow introduction to the first movement, and having counted the bars
thoroughly, we can summarise what we have so far observed:
(Bar-No.)
1 Largo (26)
27 Allegro energico (163)
190 Allegro moderato (71)
261 a tempo (Allegro energico) (190)
451 Maestoso (23)
We can now assume that we are dealing with a sonata form with a slow introduction
(Einleitung, Einl) and a coda at the end.111 Remarkably the supposed recapitulation seems to be
nearly 30 bars longer than the exposition.
According to the basic form types of Bugeanu, this is evidently a Bogenform, HS-MS-HS’, with
the distribution of:
1 Einl (26)
27 HS (163)
190 MS (71)
261 HS’ (190)
451 Coda (23)
Note: Considering the method of observation, i.e. a subject perceiving an object, this
observation can be expected to gradually lose its preliminary character in proportion to its
objectifying realization through the ‘movement of the subject.’112 As Bugeanu stated, the validity of
subjective observation is proved by the realization of the piece. Here and now the subject is
confronted with that reality which he could only have imagined before.
111 The reader may forgive the author for not immediately defining terms that are assumed to be general
knowledge. It is crucially important that at this and any point the method is applied w i t h o u t p r e s u p p o s i t i o n ,
even if matters of course are derived or a need for amendments might occur at a later stage.
- 32 -
2. Ramification: Hauptsatz, HS (163)
Continuing our observation, we will now have a closer look at the section from bar 27 to 189,
the Hauptsatz, in this case being the equivalent to the exposition of the sonata form. We have
already identified the thematic material that forms the first theme, and we find an obvious
second theme beginning with animato in bar 97. This theme has a melodic, i.e. horizontal,
appearance, unlike the first theme which may be called vertical (and will later be used as
material for a fugato). A third theme does not emerge, but towards the end material from the
first theme evolves from the appearance of the second theme in bar 170. This announces a
final section, lasting until bar 189. An overview shows the following allocation:
27 1 Th (70)
97 2 Th (73)
170 Schlussgruppe/Final section (SchlGr) (20)
At this level of ramification,113 there is not much argument for a Bogenform, even though there
is some interval/motific material from the first theme in bar 170, also, there is no quantitative
equilibrium between 1Th and SchlGr, although such a phenomenon would generally not be
impossible. A Gegenbar can be excluded due to the lack of balance of the second and third
parts.
It seems that the Barform is the most likely one in this instance. We might argue that both
themes are clearly not similar, even from different, even contrasting material which might also
exclude the Barform. But what is decisive is the Gestalt-function the parts own: not equal as
material appearance, they both expose something of equal significance in musical expression;
hence they are e s s e n t i a l l y e q u a l . In other words: e q u a l and u n e q u a l can be the
same.
The closing SchlGr is then a classic Abgesang. For the sake of clarity, we may note the form,
integrating it into the earlier findings as follows:
27 HS (163) 1St-1Th (70)

97 2St-2 Th (73)
170 Abg-SchlGr (20)
113 ‘Now, we have another law: I can go from the bigger form to the smaller, this is ramification,’ cf. footnote 93
- 33 -
Further ramifying from the bigger aspects to the more detailed ones, we can now observe how
the parts of the theme unfold:
The first theme appears in three sections, the first part from bar 27 for 24 bars, when it
reappears in bar 51 on a different tonal level. This part carries on the expansion of the
material for 26 bars. In bar 77, it can be noticed that the direction, so far forward, has come
to a first point of exhaustion; it seems to change; not in terms of returning, but perceivable is a
kind of exhalation transferring the musical current into the appearance of the second theme.
Here again, we have two equal parts, completed and continued by a third: a Barform.
The second theme starts at bar 97. Its melodic line is appearing three times until it finds itself
in development-like appearance in a section from bar 125 on. It replies to this with the re-
appearance of the melodic line in bar 147 in the initial tonality, quite repeating what, looking
back, was the exposition of the theme. We find a Bogenform on a ramified level,114 notating it in
small letters hs-ms-hs’ which then flows into the use of thematic material from the first theme,
where we arrive in the final section, as mentioned above. This group is too small to be
ramified at this stage of the analysis into yet bigger subdivisions like 1st and 2nd themes, so it
will be looked at in the next step.
Following our analysis, we can display the form of HS as:
27 HS (163) 1St-1Th (70) 1 St (24)

51 2 St (26)
77 Abg (20)
97 2St-2Th (73) hs (28)

125 ms (22)
147 hs' (23)
170 Abg-SchlGr (20)
Getting into even more details: how does the 1St-1Th ramify? We have three parts of 1St (24),
2St (26) and Abg (20), forming a Barform.
114 cf. Swarowsky, l.c. 26 and Hans Gál: Franz Schubert oder die Melodie, Frankfurt, 1992, 96 ff. Gal shows the
problems arising from the predominance of melody in a symphonic composition, comparing Schubert and
Beethoven. Beethoven actually did not work predominantly with melodies, but with themes, which were subject
to thematic work through splitting-up, inversions etc. These techniques are difficult to apply on predominantly
melodic subjects. To apply those to the form of symphony, which requires a certain potential of thematic
development, other techniques need to be used. A Bogenform, per se an ideal, or perfect, or vollendete form (Lorenz,
also Bugeanu, see chapter Form Types above) is not easy to be integrated into the kinetic-dynamic needs of such
a structure.
- 34 -
The first Stollen of 24 bars subdivides a first unit of 7 bars, a second one of 12, and a third one
of 5 bars. The second unit does not repeat the theme from the first 7 bars, nor does it establish
a contrast; it seems rather to complete (and continue) the first unit, whereas the third part of
5 bars concludes and leads over to the second Stollen. It is a Barform, but it has to be specified
due to the answering character of the second part. It was mentioned above that other formal
appearances could be subsumed under the basic form types identified by Bugeanu. This is the
case here: the two-part form of Vordersatz (VS) and Nachsatz (NS) is integrated, hence we have
1St-VS and 2St-NS, completed by an Abgesang of 5 bars:
27 1 St (24) 1St-VS (7)

34 2St-NS (12)
46 Abg (5)
The second Stollen relates to the first one in so far as the 1St-VS is identically repeated as the
second manifestation of the theme, but, of course, continued differently: in a 2St of 11 bars,
and with the exposition of a metrical contrast by the use of hemiola. This metrical contrast
overlaps with the Nachsatz-character, whereby the Vordersatz-character has disappeared from
1St. So, we have two pure Stollen. The next large form unit appears in bar 77, and the Abgesang
leading to it has 8 bars.
51 2 St (26) 1St (7)

58 2St (11)
69 Abg (8)
The Abgesang of the first theme is divided in partes duas: the actual Abgesang of 10 bars, followed
by a transition of same extension with the function of lightening up the tempo.
77 Abg (20) Abg (10)

87 ÜL (10)
Arguably, the ÜL could be allotted to the next exponentiated level of the bar which builds the
1St-1Th, but this would lend it a too substantial meaning.
- 35 -
The group of 1St-1Th can now be summarized, and it becomes visible that the dimension of
the direction of ramification (→), Ramifizierung, and the other direction of exponentiation
(←), Potenzierung, makes a constant correlation between the different levels possible:
27 1St-1Th (70) 1 St (24) 1St-VS (7)

34 2St-NS (12)
46 Abg (5)
51 2 St (26) 1St (7)

58 2St (11)
69 Abg (8)
77 Abg (20) Abg (10)

87 ÜL (10)
The second theme, 2St-2Th with 73 bars, unfolds, as seen above, into a Bogenform, with
hs (28), ms (22) and the recapitulation hs’ (23). We are dealing here with a truly melodic line
which under the aspect of musical developability is essentially different from a theme, as
explained above.115 But here Wellesz finds a solution that was also applied by one of his great
forefathers, Franz Schubert, in the second theme of the first movement of his ‘Unfinished’
Symphony.116
The hs (28) ramifies into the first appearance of the melody of 10 bars, followed by a varied
repetition of the melody of 8 bars, concluded and continued by another such repetition of the
melody of 10 bars, appearing, whilst corresponding to its energetic distribution, as Barform:
97 hs (28) 1St (10)

107 2St (8)
115 Abg (10)
The ms (22), in which the dynamic expression develops with the use of bigger intervals and
metric contradictions, generating agitated dynamics, appears as a Gegenbar: the melody is
exposed in 4 bars and is then responded to with two corresponding parts of 6 and 8 bars,
essentially equal by demounting step by step to the hs’:

116 Schubert uses a bow form for the second theme of his ‘Unfinished’ Symphony. Beginning with an
introduction of 2 bars in bar 42, the hs (19) starts with two strophes of 9 bars each, the second ends in an addition
of a Generalpause. In bar 63, the ms (30) starts as a Barform (10+12)+8, returning to hs’ (11) in bar 93, ramified into
one bar of introduction, followed by two strophes of 5 bars each: Einl (1)+1Str (5)+2Str (5), (cf. score Franz
Schubert, Sinfonie Nr. 7 in h ‘Unvollendete’, ed. by Werner Arnhold, Bärenreiter-Urtext, Kassel etc.,
4th printing 2003)
- 36 -
125 ms (22) Auf (4)
129 1NSt (6)
135 2NSt (12)
The hs’ recapitulates the melody theme in modifications to hs which will be regarded in the
next step, and is again applying to Barform – if this were not the case, the actual Bogenform of
the 2St-2Th would not appear since it would lack the necessary equivalent to the hs. The 1St
appears in 9 bars, the 2St in 8, and the concluding Abg in 6 bars:
147 hs' (23) 1St (9)

156 2St (8)
164 Abg (6)
The 2St-2Th appears now as:
97 2St-2Th (73) hs (28) 1St (10)

107 2St (8)
115 Abg (10)
125 ms (22) Auf (4)

129 1NSt (6)
135 2NSt (12)
147 hs' (23) 1St (9)

156 2St (8)
164 Abg (6)
The final section, Abg-SchlGr (19), appears in a bar form, restating the more extensive
interval disposition of the first theme, a compressed 1St (3), conformed by an extended 2St (6),
and concluded by an Abg (12):
170 Abg-SchlGr (20) 1St (3)

2St (5)
Abg (12)
- 37 -
a) Ramification – 1St-1Th (70)
(1) 1 St (24) | 1St-VS (7)

It is now the first appearance of the theme, bar 27 ff, 1St-VS which is under review, a Gestalt
of 7 bars. We observe an exposure in 3 bars with an answer-like following group of 4 bars, an
easily perceivable Präsenzstrecke.117
To be sure to avoid possible misunderstandings it would seem highly appropriate to

point out the fact that the derivation of the three basic forms by Bugeanu does not
mean that the existence of simple forms like strophes or Vordersatz-Nachsatz would no
longer exist. Bugeanu’s argument is that for being able to move on in building larger
forms we need a third part, otherwise the small, per se vollendete form, cannot
develop.118 Indeed, simple forms form parts of bigger units as their constructive
elements.
(2) 1 St (24) | 2St-NS (12)

2St-NS, indeed a Nachsatz to 1St-VS, unfolds the material in impacting 4 bars, continued in
two further four-bar units. This energetic disposition results in a true Gegenbar which can also
be noted as: 4+(4+4); the brackets evidently implying the associated form type.
(3) 1 St (24) | Abg (5)

The 5 bars of Abg subdivide into a small Barform of 1St (1) and 2St (2), and these 2 bars show a
repetition of the first bar and a compression of the material into what can be called Engführung.
We can apply for this 2St the writing: 2St (2) = 1+½+½.
The subdivision of a bar into parts is here a way to notate a compression of musical
material. Moreover, it may be reminded that this method of analysis needs to reflect
the actual score as it is written, and with this it has relevance for memorising, or more
precisely: internalizing, the score. Perhaps this is what Otto Klemperer meant when he
insisted, that a conductor should conduct ‘inwendig’, rather than ‘auswendig.’119

119 ‘Vor allem kommt es nicht darauf an, auswendig zu dirigieren, sondern inwendig zu dirigieren. Das ist
wichtig!’ quoted after Norbert Hornig: Otto Klemperers markantes künstlerisches Profil, in:
http://www.deutschlandfunk.de/historische-aufnahmen-otto-klemperers-
markantes.727.de.html?dram:article_id=373663
- 38 -
The 2 following bars of Abg (2) show the 1st bar and its repetition in the 2nd bar, the applied
writing for that instance is: |:1:|.
Nota bene: The fact that the 2nd bar shows another instrumentation, and another
register, is without importance for the observation of Gestalt; to quote Bugeanu:
‘That here plays the violin for four bars, and then the cello plays for another four bars, is just
a coincidence.’120
Finally, this is what 1St (24) looks like:
27 1 St (24) 1St-VS (7) = 3+4

34 2St-NS (12) = 4+(4+4)
46 Abg (5) = (1+ (1+½+½)) + |:1:|
(4) 2 St (26) | 1St (7)

2St (26) starts by resuming 1St-VS (7) from 1St (24). It is noticeable that the theme now
appears in another tonality, but this time again it is ‘just a coincidence.’ Decisive is here, apart
from tonality, instrumentation and the addition of a counterpart voice, that the theme is
unfolding identically to 1St-VS (7); as such, it is notated as ‘id’.
(5) 2 St (26) | 2St (11)

Here, Wellesz splits and isolates an interval from the 2nd bar of the first theme and builds a
metric contrast using hemiola. He confirms their strong contradiction to the alla breve metrum by
repeating it twice, allowing the material to breath 1 bar long and closing and preparing for
another 2 bars, just to reiterate once more the alla breve with a quasi-repetition of this collision,
leaving out the ‘Auftakt-bar’ from the unit before. Also, the absence of this bar in the second
strophe is a constructive element which appeared in an antecedent Gestalt and, seen that way,
is therefore also constitutive for the thus altered following Gestalt. It is helpful to notate such an
ellipsis; it will be marked here and in similar occasions, as ‘√’.
Wellesz stated in a lecture about his 5th Symphony: ‘The essence arises in the …
intertwining and contrasting of the theme.’121 This confirms once more that music is not
120cf. Cahiers de Bugeanu

121Quoted after Robert Schollum, l.c. 59: ‘Das Wesenhafte entsteht im … Ineinandergreifen und dem Kontrast
der Themen’.
- 39 -
about solely successive appearances of sound, but about the correlation between the
appearing phenomena, otherwise no form-building contrast, hence no form at all
would appear. This means that a varied repetition receives its identity from the
unvaried ante-type. In consequence of this actuality, Schubert said: ‘The duration of a
piece depends on the contrariness of its elements.’122
This quasi-repetition draws attention to another simple form which is in turn integrated into
the basic forms: the form of strophes which appears here as 1Str (6) and 2Str (5).
(6) 2 St (26) | Abg (8)

The metrical drama that has been witnessed needs to calm, and therefore it is no surprise that
the next appearing part comes in rather even groups of 2 bars, to be displayed as a Gestalt of
four units of 2 bars each. The fact that the musical expression in terms of dynamics and range
of intervals is still strong is not a contradiction. Yet, what is even more interesting is the fact
that the calming down takes place independently of the aesthetic appearance, but because of
the distribution of energy in motion.123
There are two possibilities to notate this, as always depending on individual perception: either
(2+2)+(2+2) or introducing a new possible notation, here: 4x‘R2’, with the meaning: four times
‘ritmo de due battute.’124 Being a sequence the Gestalt notated as (2+2)+(2+2) seems, however,
more appropriate.
Note: there is indeed quite a difference between those two views: the element of 2 bars
is repeated three times, but how does it appear? Does it build two parts of 2+2 bars
each or a sequence? Consequentially, one must see how objective (or how subjective-
limited) any process of perception can be. We prove our perception in the act of
realization (Verwirklichung) showing what we have perceived and hence, showing what
we have not perceived.125
122 Quoted in: Sergiu Celibidache, Über musikalische Phänomenologie, in: Celibidache, edited by Jan Schmidt Garre,
München, 1992, 69: ‘Die Länge eines Satzes hängt von der Gegensätzlichkeit seiner Gedanken ab.’ (Franz
Schubert)
123 Bugeanu stated in a comparable issue: ‘This is an aesthetic question, and aesthetics is not essential.’
cf. Cahiers de Bugeanu

124 cf. the usage of this term at Ludwig van Beethoven, Symphony No. 9, 2nd movement, bar 177, cf. score
Beethoven, Symphonie Nr. 9 in d-moll, ed. by Jonathan del Mar, Bärenreiter Urtext, Kassel etc., 2nd printing
2001 and also Egon Wellesz, Symphony No. 1, 2nd movement, bar 209, see below III.B.
- 40 -
Summarizing what was said above, we notate the 2St of 1St-1Th as follows:
51 2 St (26) 1St (7) = id

58 2St (11) 1 Str (6) = (2 x 3/2+1)+2
64 2 Str (5) = (2 x 3/2+√) + 2
69 Abg (8) = (2+2)+(2+2), ossia 4x'R2'
(7) Abg (20) | Abg (10) + ÜL (10)

We have seen that the Abg (20) first contains the actual Abg of the two preceding Stollen with
10 bars which resume the Auf (4) of 2St-NSt the 1St of the 1St-1Th. The elements group as a
Barform with 1St (3), 2St (4=2+2) and Abg (3).
As seen above, the function of the following transition is to lighten the tempo to arrive at the
animato of the second theme. It displays a small Barform of 1St (4) = 4x’R1’, 2St (2+2), Abg (2).
In Abg starts with an accompaniment of quarter note triplets, preparing the actual beginning
of 2St-2Th in bar 97. The Abg (20) looks as follows:
77 1St-1Th (70) Abg (20) Abg (10) = (3+(2+2))+3

87 ÜL (10) = 4+4+2
In overview, the exposition of 1St-1Th shows as follows, again enabling to pass from the
whole to the details and vice versa:
27 HS (163) 1St-1Th (70) 1 St (24) 1St-VS (7) = 3+4

34 2St-NS (12) = 4+(4+4)
46 Abg (5) = (1+ (1+½+½)) + |:1:|
51 2 St (26) 1St (7) = id

58 2St (11) 1 Str (6) = (2 x 3/2+1)+2
64 2 Str (5) = (2 x 3/2+√) + 2
69 Abg (8) = (2+2)+(2+2), ossia 4x'R2'
77 Abg (20) Abg (10) = (3+(2+2))+3

87 ÜL (10) = 4+4+2
- 41 -
b) Ramification – 2St-2Th (73)
(1) hs (28) | 1St (10)

1St (10) of hs (28) exposes the 2nd theme: the appearance is regular with 2+2 bars, set in
motion with an Auftakt-bar, all in all 5 bars, responded to by the following 5 bars, also being a
regular 2+2, whose last bar is extended by repetition, resulting in 2+3. The responding
appearance creates a VS-NS Gestalt:
97 2St-2Th (73) hs (28) 1St (10) VS (5) = Auft (1)+4 (=2+2)

NS (5) = 2+3 (=1+|:1:|)
(2) hs (28) | 2St (8)

2St (8) is built as a VS-NS Gestalt as 4+4, both repeating, of course on a different tone level,
the VS from 1St:
107 2St (8) = 4+4
(3) hs (28) | Abg (10)

The second, hence twofold appearance, of VS of 1St in 2St has created the need for another
progress: the initial 2+2 of VS now appears only with its first 2 bars, the next 2 bars expose
another variation, chanting on for 2 bars, then being closed and continued by 4 bars:
115 Abg (10) = (2+4)+4
(4) ms (22) | Auf (4)

The ms (22) starts again with VS (4) of the second theme as a melodic initiation, or impact, to
a now development-like Gestalt. It would neither be wrong, nor necessary, to notate
VS (4) + NS (√), this may be decided on by the observer in case he feels a lack of the NS. But
it appears that the unfolding form of Gegenbar anyway implies the responding, but here in the
same moment straight ongoing of the movement:
125 ms (22) Auf (4) = VS (4)
- 42 -
(5) ms (22) | 1NSt (6)
It is again remarkable that a dramatic musical expression in terms of metric tension and big
intervals does unfold in such regular Gestalt; also as a Gegenbar, the 6 bars expressed as:
129 1NSt (6) = 2+(2+2)
(6) ms (22) | 2NSt (12)

A split rhythmical motif, from bar 129 on, but with a melodic, more even use of intervals is
used in a kind of 4x‘R1’, leading to a change of direction back to the hs’ of the 2nd theme;
that phase is unfolding in 4+4 bars, in the latter with a bass line reminding us of the gravity of
the first theme. The change of direction leaves us no doubt about this Gestalt is a Gegenbar as
well:
135 2NSt (12) = 4+(4+4)
(7) hs’ (23) | 1St (9)

The recapitulation in a Bogenform always draws attention to and needs the observer, or listener,
to keep in mind the hs, because the now markedly changed appearances can be seen which
transformation the material has undergone in the course of its development. The theme re-
appears without the Auft (1) which anyway would have lost its function here, but with great
emphasis, since what was played by a solo oboe at the beginning is now played in two octaves,
enriched by a melodic counterpoint in the horns and an Aufschwung in the violas. Apart from
the Auft, the theme appears like before in hs:
147 hs’ (23) 1St (9) VS (4) = Auft (√)+4 (=2+2)

NS (5) = 2+3 (=1+|:1:|)
ossia:
147 hs' (23) 1St (9) = √+(2+2)+(2+3 (=1+|:1:|))
(8) hs’ (23) | 2St (8)

hs’-2St is identical to its predecessor in hs:
156 2St (8) = 4+4(id)
- 43 -
(9) hs’ (23) | Abg (6)
Abg (6) recapitulates only the first 6 bars of the hs-Abg, whose omission is again marked by
‘√’, and thus cut by the entering of the final group, i.e. SchlGr:
164 Abg (6) = (2+4)+√
(10) Overview 2St-2Th

The exposition of 2St-2Th shows this display of exponentiation and ramification:
97 2St-2Th (73) hs (28) 1St (10) VS (5) = Auft (1)+4 (=2+2)

101 NS (5) = 2+3 (=1+|:1:|)
107 2St (8) = 4+4
115 Abg (10) = (2+4)+4
125 ms (22) Auf (4) = VS (4)

129 1NSt (6) = 2+(2+2)
135 2NSt (12) = 4+(4+4)
147 hs' (23) 1St (9) = √+(2+2)+(2+3 (=1+|:1:|))

156 2St (8) = 4+4(id)
164 Abg (6) = (2+4)+√
c) Ramification – Abg-SchlGr (20)

The themes have been thoroughly presented, the musical material is known, and not much is
needed anymore to arrive at a first halt:
A unit of three bars, combining material from both themes, is repeated in 2 bars with another
3 bars following, resulting in two Stollen of 3 and 5 bars respectively and concluded by 12 bars.
The first three bars form a group of (2+1), the second 5 bars of (2+3x’R1’), coming to a
temporary halt with Abg and its remarkable grouping of (4+6)+2 – remarkable, because
4 enlarges to 6, ramifying into ((2+2)+(3+3))+2:
170 Abg-SchlGr (20) 1St (3) = 2+1

2St (5) = 2+3x'R1'
Abg (12) = ((2+2)+(3+3))+(2)
- 44 -
Excursus: One may now well imagine what would happen if the exposition were
repeated: the whole elaborate process of exposition which has been comprehensively
unfolded and experienced, erlebt, as Gestalt, would have to be experienced again. But
Wellesz spares us the repetition sign anyway.
Here a thought to the general problem of the repetition of a sonata form exposition, as
Lorenz brings it up:126 ‘Hagerer, it’s time that you finally know the themes!’,127 Brahms said to
Hagerer, who had reproached him for not having repeated an exposition.
The consequence of making a repetition or not is that it creates a different Gestalt. With
repetition, the piece unfolds as a Reprisenbar:
1St-HS
2St-HS-repetition
Abg Development
HS’
Coda
Without repetition, Lorenz calling it moderne Sonate, the piece unfolds as a Bogenform:
HS-MS-HS’128
This point of view might be worth considering even for sonata forms, in which the
composer writes the repetition sign, also reflecting the meaning of the title of Hans
Swarowsky’s monograph Die Wahrung der Gestalt.
Does not the repetition of a contrast which has duly been established in the exposition
for leading into the crisis of the development naturally decrease that contrast, leaving it
eventually too weak to consistently lead to the development? Would this now still lead
to Gestalt ? It should not be left unconsidered that the answer leads to consequences.

127 Quoted in: Sergiu Celibidache, Schmidt Garre, 69: ‘Hagerer, es wird Zeit, dass Sie die Themen kennen!’
128 Alfred Lorenz: Meistersinger, 185ff
- 45 -
d) Overview HS
The overview of HS shows the relation between the bigger and smaller forms, and puts each
Gestalt into its place:
All. energico
27 HS (163) 1St-1Th (70) 1 St (24) 1St-VS (7) = 3+4
34 2St-NS (12) = 4+(4+4)
46 Abg (5) = (1+ (1+½+½)) + |:1:|
51 2 St (26) 1St (7) = id

58 2St (11) 1 Str (6) = (2 x 3/2+1)+2
64 2 Str (5) = (2 x 3/2+√) + 2
69 Abg (8) = (2+2)+(2+2), auch 4x'R2'
77 Abg (20) Abg (10) = (3+(2+2))+3

87 ÜL (10) = 4+4+2
Animato
97 2St-2Th (73) hs (28) 1St (10) VS (5) = Auft (1)+4 (=2+2)
101 NS (5) = 2+3 (=1+|:1:|)
107 2St (8) = 4+4
115 Abg (10) = (2+4)+4
125 ms (22) Auf (4) = VS (4)

129 1NSt (6) = 2+(2+2)
135 2NSt (12) = 4+(4+4)
147 hs' (23) 1St (9) = √+(2+2)+(2+3 (=1+|:1:|))

156 2St (8) = 4+4(id)
164 Abg (6) = (2+4)+√
170 Abg-SchlGr (20) 1St (3) = 2+1

2St (5) = 2+3x'R1'
Abg (12) = ((2+2)+(3+3))+(2)
- 46 -
3. Ramification: Mittelsatz, MS (71)
The tempo is modified to Allegro moderato, slightly calmer than the Allegro energico, and with
reason: the MS starts with the first theme which is now used in a fugato. The complexity of
this polyphonic situation requires such a modification in tempo marking for the sake of clarity
and audibility of the details of the counterpoint.129
In a first overview, we see entrances of the theme in bars 190, 199, 215, 230 and 239. The
entrances appear in c, f, c, f and then in b-flat. The tonal regularity implies a regular fugato
exposition with the use of Dux and Comes; a first Dux with 9 bars and Comes with 16 bars, a
second Dux with 15 bars and Comes with 9. The third Comes starts with its own inversion in
stretto, and again this inversion itself in stretto; it keeps that dense leading of voices, but
abandons the polyphonic character after 11 bars, returning to a homophonic structure which
finally leads back to HS’.
The tonal disposition and the similar pairs of Dux and Comes a indicate a Barform of two
Stollen of 1St (25) and 2St (24), followed by the both concluding and continuing Abg (22):
190 MS (71) 1St (25)

215 2 St (24)
239 Abg (22)
a) Ramification – 1St (25), 2St (24), Abg (22)

As stated above, 1St (25) consists of two form-building parts, Duxc (9) and Comesf (16), as well
as 2St (24), whose arrangement is Duxc (15) and Comesf (9). Abg (22) is also composed in two
parts: the third Duxb-flat (11) and the transition Abg (11). There are appearances imaginable in
which this Duxb-flat can be considered as 3St, i.e.: 1St, 2St, Abg (3St+Abg). But in this case the
stretto of the musical material and its certain change of direction speaks against this option,
therefore it appears as first parts of Abg. A Bogenform can obviously be excluded for reasons of
harmony.
129 cf. Swarowsky, l.c. 66 for Allegro con spirito in its classical meaning: ‘Allegro con spirito ist ein langsames Allegro
und besagt, dass ein Satz mit kontrapunktischen Kunststücken vorliegt (das nämlich besagt „con spirito“),’ cf.
also Brahms, Symphony No. 2, 4th movement, ‘Allegro con spirito’
- 47 -
190 MS (71) 1St (25) Duxc (9)
199 Comesf (16)
215 2 St (24) Duxc (15)

230 Comesf (9)
239 Abg (22) Duxb-flat (11)

250 Abg (11)
(1) 1St (25) | Duxc (9)

It is the first theme, now used as a fugato-theme. It starts with the familiar first 3 bars-VS,
followed by the immediate beginning of its NS, but creating two sequenced elements of 3/2,
all of which are closed by 3 bars completing the appearance of a fugue theme.
The former Gestalt of VS-NS (3+4) in bar 27 now appears as a Barform:
190 Duxc (9) = (3+2x3/2)+3
(2) 1St (25) | Comesf (16)

Comesf exposes the theme identically to Duxc until its ninth bar, from where on the Abg motif
is prolonged by 7 bars, carrying the development and using splitting and compression as
construction techniques in what can be called Zusatz (abbr. Zus), i.e. addendum:
199 Comesf (16) 1+2St = (3+2x3/2)

Abg (3)+Zus(7)
(= (2+3(=2x’R1’+2x’R½)+2))
(3) 2St (24) | Duxc (15)

Conversely, nearly mirror-inverted, Duxc now appears in the same Gestalt as Comesf before:
two Stollen of (3+2x3/2), continued by an Abg (3+Zus(6)),
215 2 St (24) Duxc (15) 1+2St = (3+2x3/2)

Abg (3+Zus(6) (= (2+2+2))
- 48 -
(4) 2St (24) | Comesf (9)
whereas Comesf appears in the pristine Gestalt of the first Duxc (9):
230 Comesf (9) = (3+2x3/2)+3 (id)
(5) Abg (22) | Duxb-flat (11)

The fugue theme now undergoes further developments: the first Stollen appears in 3 bars with
three entrances of the fugue theme: in its first bar two entrances of first violins/first trumpet
with the theme and celli/bass/bass-trombone with its inversion, and the third entrance with
the inversion 1 bar later in second violins/oboes/first clarinet in stretto with the bass group’s
inversion.
In a homophonic situation, this would be annotated as (1+2), but the polyphonic appearance
ought to be reflected due to the importance of the counterpoint subjects and is therefore here
written as: 1∫2. The second Stollen (2x3/2) is extended by 3 bars which have the function of
resolving the metrical tension of the hemiola (3/2) by appearing in the alla breve metrum, and the
preceding prolonged Abg appears only in 2 bars:
239 Abg (22) Duxb-flat (11) = (1∫2+(2x3/2 + Zus(3))+2
(6) Abg (22) | Abg (11)

The Abg (11) continues the fugue theme’s Abg upwards, in the opposite direction to before.
Also using splitting/stretto/compression techniques, it appears as Barform, with its Abg as
enhancement for the upcoming resolution of the recapitulation:
250 Abg (11) 1St (2) = 1+1

2St (3) = 1+4x'R½
255 Abg (6) = (2+2)+2
- 49 -
b) Overview MS (71)
In overview, the MS appears in this exponentiation and ramification:
All. moderato
190 MS (71) 1St (25) Duxc (9) = (3+2x3/2)+3
199 Comesf (16) 1+2St = (3+2x3/2)
Abg (3+Zus(7)
(= (2+3(=2x’R1’+2x’R1/2)+2))
215 2 St (24) Duxc (15) 1+2St = (3+2x3/2)

Abg (3+Zus(6) (= (2+2+2))
230 Comesf (9) = (3+2x3/2)+3 (id)
239 Abg (22) Duxb-flat (11) = (1∫2+(2x3/2 + Zus(3))+2

250 Abg (11) 1St (2) = 1+1
2St (3) = 1+4x'R½'
255 Abg (6) = (2+2)+2
- 50 -
4. Ramification: Hauptsatz-Reprise, HS’ (166)
a) Anticipation: HS’ vs. Coda

In the first overview of the Bogenform-Gestalt, HS’ 190 bars were counted, considering the
following Maestoso-part as being identical to the Coda of the movement.
Before undertaking an in-depth observation of HS’, a closer look at this transition is needed.
As stated above, ‘the recapitulation in a Bogenform always draws attention to and needs the
observer, or listener, to keep in mind the hs, because in the now markedly changed
appearances can be seen which transformation the material has undergone in the course of its
development.’130
Corresponding to HS which was:
170 Abg-SchlGr (20) 1St (3) = 2+1

2St (5) = 2+3x'R1'
Abg (12) = ((2+2)+(3+3))+(2)
we can locate HS’-Abg-SchlGr, beginning in bar 408. What is same, or similar, lasts until
bar 415, from where the material is extended until a short accelerando, slightly reminiscent of
the 4 bars of 91ff with the same function of lightening the tempo which had become
ponderous in the phase before. However, we find the tempo indication Allegro moderato. This
part plays with the compression of bar 2, 2nd unit, of the first theme as the leading motif over
an ostinato chain of quavers. This, clearly of transitive character and changing the direction of
the movement, has already a coda-effect as an introduction to the coda. Therefore, it is
attributed to the coda, leaving to HS’ 166 bars, and to the coda 47 bars.
The detailed Gestalt will be regarded below at f)(1).
b) Ramification – 1St-1Th (76)
(1) 1St (24)

This 1St (24) is identical to its antecedent HS/1St-1Th/1St (24).
(2) 2St (28) | 1St (7)

This part is identical to its equivalent in HS.
130 cf. above, III. A. 2. b) (7): hs’ (23) | 1St (9)
- 51 -
(3) 2St (28) | 2St (13)
This part unfolds in almost identical form to HS, built as two strophes, the first identical to
HS, the second also identical, except for an extension of 2 bars:
285 2St (28) 1St (7) = id

292 2St (13) 1Str (6) = (2 x 3/2+1)+2 (id)
298 2Str (7) = (2x3/2)+2 (id)+2 (new!)
305 Abg (8) = 4x'R2' (id)
(4) 2St (28) | Abg (8)

After the 2 bars inserted from before, the Abg is also identical to the correspondent Abg from
HS.
(5) Abg (24) | Abg (9) + ÜL (15)

Due to the constitutive difference between HS, where contrasts are established, and HS’,
where contrasts are equilibrated after the musical drama of development, it is here where the
Gestalt actually does change; to be precise, into a bar of two Stollen (2+2), followed by an
Abgesang of 5 bars, with the grouping of (2+3) equivalent to (2+(2+Zus (1)).
The following transition to 2St-2Th seems to be without equivalent in terms of expression,

character of sound and thematic material. The corresponding situation’s function in HS was
to lighten the tempo, and the Gestalt-function of this connection remains the same as before.
But it is a surprisingly different Klangfläche, a new appearance of orchestra sound, light, and as
if from far away. We are surprised by this nouveauté exactly because it sounds familiar: Wellesz
is here re-exposing the initial tone row from the Lento-Adagio-Introduction (see below
III.A.5). The form unfolds as a Barform of 12 bars ((4+4)+4), with an Auftakt Auft at the
beginning and a 2-bar transition to the second theme:
313 Abg (24) Abg (9) = (2+2)+5 (=2+2+Zus(1))

322 ÜL (15) Auft (1)
Bar (12) = (4+4)+4 (Reihe Einl)
ÜL (2)
- 52 -
c) Ramification – 2St-2Th (75)
(1) hs (28)
As the beginning of 1St-1Th was identical to the corresponding part in HS, this part is
identical to its first appearance.
(2) ms (34) | Auf (4)

Identical to HS.
(3) ms (34) | 1NSt (11)

In contrast to the correspondent 1NSt of HS with its 6=2+(2+2) bars, there are now in HS’
11 bars; by keeping the thematic material, the former Gestalt, is now distributed differently as a
Barform of 1St (4) and 2St (3) plus Abg (4). A powerful effect is created by the non-
correspondence of both Stollen: whereas their musical material is the same – being in HS the
first 4 bars of the corresponding place – they could nearly be called identical, unless the
second one lacked the first bar of the first Stollen.
369 1NSt (11) 1St (4) = 2+2

2St (3) = (√+1)+2
Abg (4) = 2+2
The kinetic energy created by this ellipsis, especially in regard to the former regular
appearance in HS, is immense and nourishes the – in relation to HS – further extension of the
following 2NSt.
(4) ms (34) | 2NSt (15)

In this part, Wellesz also varies the corresponding passage in HS by omitting 1 bar and thus
creating what we perceive as an irregularity – resulting from what we were previously
conditioned by in HS: that the former Gegenbar has now been transformed into a Barform:
380 2NSt (15) 1Str (3) = (1+1)+1 (+√)

2Str (4) = (1+1)+2
387 Abg (8) = (2+2)+4
(5) hs’ (13)

The hs’ is the last and concluding articulation of the second theme. It responds to all former
appearances of that theme: all has been said and is now consolidated. This also explains, why
this part does not mirror its preceding in HS.
- 53 -
1St (9) is still identical, but for 2St which was an eight-bar unit consisting of 4+4(id), the return
is passing with the first 4 bars, whereas the former Abg does not appear again:
395 hs' (13) 1St (9) = id

404 2St (4) = 4+√
Abg (√)
d) Ramification – Abg-SchlGr (19)

Initially, the final section Abgesang-Schlussgruppe appears like in HS: 1St (3) is identical, as well
as 2St, with the exception of an addendum of 1 bar. This single bar could also be seen as ‘2∪’,
meaning 2 mit Ring: a group of 2 bars, where the second bar marks the end of the bar-group,
but also the beginning of the next one. This is clearly perceivable because of the ‘one’ which
here ushers in the effect of the phrase. The second bar is therefore deleted and thus not being
counted in the summary. The concluding Abg appears as Gegenbar with the impact-bar as Auf,
2 bars of 1NSt and the same material twice, as 2 NSt in 4 bars. Both Nachstollen together
appear as 3x‘R2’, but the sequence they create does not function to arrange the units: the
actual change of register of the main voice creates the Gestalt; the main voice of the first 2 bars
falls more than an octave to the second group of 2 bars, from there just a fifth down to the
next two-bar group. The last 3 bars splitting up the motif of the preceding bars before are a
transition with the aim of lighten the tempo towards the upcoming coda:
408 Abg-SchlGr (19) 1St (3) = id

411 2St (6) = (5)id+Zus (1) or 2∪
417 Abg (10) Auf (1)
418 1NSt (2)
420 2NSt (4) = 2x'R2'
424 ÜL-Accel. (3)
It should be noted that the ÜL does not create a unit on the level of the NSt-Gestalt before; its
function is solely to connect two parts, in so far as they are integrated in the frame of that
function. On a side note, another possible type would be here what Bugeanu terms Scheidung
(separation, also: parenthesis).131 However, as it is not applicable to any part of this
movement, such a part would have the appearance of forming a block between two parts – a
kind of disconnecting connection.
131 cf. Dejean, l.c. 31ff and 179ff
- 54 -
Fig. 5: Page with the text about Egon Wellez, Symphony No. 1 from the program leaflet of the world premiere
- 55 -
e) HS and HS’ in comparative overview
HS
27 HS (163) 1St-1Th (70) 1St (24) 1St-VS (7) = 3+4

34 2St-NS (12) = 4+(4+4)
46 Abg (5) = (1+ (1+1/2+1/2)) + |:1:|
51 2St (26) 1St (7) = id

58 2St (11) 1 Str (6) = (2 x 3/2+1)+2
64 2 Str (5) = (2 x 3/2+√) + 2
69 Abg (8) = (2+2)+(2+2), also 4x'R2'
77 Abg (20) Abg (10) = (3+(2+2))+3

87 ÜL (10) = 4+4+2
Animato
97 2St-2Th (73) hs (28) 1St (10) VS (5) = Auft (1)+4 (=2+2)
NS (5) = 2+3 (=1+|:1:|)
2St (8) = 4+4
Abg (10) = (2+4)+4
125 ms (22) Auf (4) = VS (4)

129 1NSt (6) = 2+(2+2)
135 2NSt (12) = 4+(4+4)
147 hs' (23) 1St (9) = √+(2+2)+(2+3 (=1+|:1:|))

2St (8) = 4+4(id)
Abg (6) = (2+4)+√
170 Abg-SchlGr (20) 1St (3) = 2+1

2St (5) = 2+3x'R1'
Abg (12) = ((2+2)+(3+3))+(2)
- 56 -
HS’
261 HS' (166) 1St-1Th (76) 1St (24) id
285 2St (28) 1St (7) = id

292 2St (13) 1Str (6) = (2 x 3/2+1)+2 (id)
298 2Str (7) = (2x3/2)+2 (id)+2 (new!)
305 Abg (8) = 4x'R2' (id)
313 Abg (24) Abg (9) = (2+2)+5 (=2+2+Zus(1))

322 ÜL (15) Auft (1)
Bar (12) = (4+4)+4 (Reihe Einl)
ÜL (2)
337 2St-2Th (75) hs (28) id
365 ms (34) Auf (4) = id
369 1NSt (11) 1St (4) = 2+2
370 2St (3) = (√+1)+2
Abg (4) = 2+2
380 2NSt (15) 1Str (3) = (1+1)+1 (+√)

2Str (4) = (1+1)+2
387 Abg (8) = (2+2)+4
395 hs' (13) 1St (9) = id

404 2St (4) = 4+√
Abg (√)

411 2St (6) = (5)id+Zus (1) or 2∪
417 Abg (10) Auf (1)
418 1NSt (2)
420 2NSt (4) = 2x'R2'
424 ÜL-Accel. (3)
- 57 -
f) Ramification – Coda (47)
(1) Einl (24) | 1St (7) + 2St (13) + Abg (4)

Where a regular appearance of the remaining kinetic energy would be expected, Wellesz plays
with our habitual expectations, just like his ancestor Joseph Haydn liked playing with them.132
As noted above under III.A.4.a), the material is a split of the first theme, starting in the
original rhythm with an underlying chain of quavers. Wellesz here confuses the listener by
allowing the second horn133 to enter seemingly disrupting 1 bar too early, into the eighth bar
of this so far regularly built part, now opening another apparently regular period. The
entrance of the clarinets 1 bar later does not articulate the rhythmical figure which is
characteristic of this part and does therefore not enter with sufficient impact to correct
immediately what might be just a mistake by the horn player, who continues insisting on that
motif for 4 bars. The horn has won, and the new regularity continues with high woodwinds
and their counterpart in celli and bassoons, until finally the metrical debt has to be paid when
the last bar of this irregularly initiated twelve-bar period is repeated, reconstituting the due
order of even bar groups. The following last 4 bars heighten the musical line for the
introduction of the final choral.
On the basis of what was said above, the pleasant-spirited development of this part is
concealed behind these ramifications:
All. moderato
427 Coda (47) Einl (24) 1St(7) = (4+4∪)
434 2ST (13) 1St = 4x'R1'
438 2St = 2x'R2'
442 Abg (5) = 3+|:1:|
447 Abg (4) = 4x'R1'
A beautiful example of that play with bar groups and false periods is Haydn’s Symphony No. 60, ‘il distratto.’
132
Making a second player of horn or trumpet protagonist was a favourable joke used by Haydn, cf. his
133
Symphony No. 100, ‘Militär’, 2nd movement, bar 153.
- 58 -
(2) Choral (23) | Bar (15) & Cadenza (8)
Preliminary note: A chorale-ending in major of a movement in minor which has
unfolded such both strong and concise musical drama is likely to be experienced as an
apotheosis. This would not be without precedents; the respective endings of the first
and last movement of Mahler’s Symphony No. 1 and some Bruckner Symphonies are
cases in point. Wellesz did not deny the fact that he was raised in their tradition, and
that Mahler was an inspiration for him.134 Considering the biographical situation of
Wellesz, who might have come to experience his first composition after the nightmare
of World War II as a release the association with an apotheosis seems to suggest itself.
‘Immer sagt die Niederschrift alles,’ says Swarowsky, meaning: only the score says it all.135
So, what stands against that interpretation, is the rather literary notion of
interpretation itself which can’t be the concern of a musician who seeks to realize,
verwirklichen, a composition. Cause and effect should not be confused here. It cannot be
denied, that the chorale can spark off associations with apotheosis, but it would still
remain the effect of a pure musical cause – and associations are no such musical cause.
Moreover, it would speak against the coherence of this movement, where the chorale
appears at the end as an immanent consequence of Tonsatz and its inherent kinetic
energy; comparable to Bruckner, but less so to Mahler, where the impression cannot
always be avoided that such an appearance is predominantly the consequence of a
dramatic concept inspired by literature, rather than of Tonsatz.
The chorale (CH) recapitulates the first theme in major. It appears as Barform, in 1St-VS (6)
and 2St-NS (9) appearing as a Gegenbar, whose Auf reminds us of the hemiola elements, now
without metrical drama, in the disposition of 2x3/2, resolved in two NSt of 2 and 4 bars.
The rest is the final cadence, Abg-Kad (8), remarkably plagal, as a Gegenbar:
Maestoso
451 Ch (23) 1St-VS (6) = 3+3
456 2St-NS (9) Auf (3) = 2x3/2
1NSt (2)
2NSt (4)
466 Abg-Kad (8) = 2+((1+1)+(1+3))
134 cf. references in footnote 34 and footnote 20

135 cf. Swarowsky l.c. 12: ‘Always the score says it all.’
- 59 -
g) Overview HS’ and Coda
Allo energico
261 HS' (166) 1St-1Th (76) 1St (24) id
285 2St (28) 1St (7) = id

292 2St (13) 1Str (6) = (2 x 3/2+1)+2 (id)
298 2Str (7) = (2x3/2)+2 (id)+2 (new!)
305 Abg (8) = 4x'R2' (id)
313 Abg (24) Abg (9) = (2+2)+5 (=2+2+Zus(1))

322 ÜL (15) Auft (1)
Bar (12) = (4+4)+4 (Reihe Einl)
ÜL (2)
337 2St-2Th (75) hs (28) id
365 ms (34) Auf (4) = id

369 1NSt (11) 1St (4) = 2+2
370 2St (3) = (√+1)+2
Abg (4) = 2+2
380 2NSt (15) 1Str (3) = (1+1)+1 (+√)

2Str (4) = (1+1)+2
387 Abg (8) = (2+2)+4
395 hs' (13) 1St (9) = id

404 2St (4) = 4+√
Abg (√)

411 2St (6) = (5)id+Zus (1) or 2∪
417 Abg (10) Auf (1)
418 1NSt (2)
420 2NSt (4) = 2x'R2'
424 ÜL-Accel. (3)
All. moderato
427 Coda (47) Einl (24) 1St(7) = (4+4∪)
434 2ST (13) 1St = 4x'R1'
438 2St = 2x'R2'
442 Abg (5) = 3+|:1:|
447 Abg (4) = 4x'R1'
Maestoso
451 Ch (23) 1St-VS (6) = 3+3
456 2St-NS (9) = Auf (3) = 2x3/2
1NSt (2)
2NSt (4)
466 Abg-Kad (8) 2+((1+1)+(1+3))
- 60 -
5. Addendum: The Introduction, Einl (26)
To introduce the application of the method of Constantin Bugeanu it seemed adequate to first
analyse and display the Allegro-part. Before the whole movement can be surveyed, the
Introduction, from which the Allegro arises, also needs to be analyzed.
The whole range of 26 bars starts as a Largo, then, closing from bar 18 on, followed by an
Adagio. Wellesz marks a quaver as pulse for the Largo, and a quarter that equals the initial
quaver as a pulse for the Adagio (the later Allegro’s pulse is always alla breve, i.e. half notes).
We see a recurring element in bar 14 which was presented in bar 4. The first 3 bars do not
return as Gestalt, but their underlying tone row reappears later in bar 322 seqq.,
c.f. III.A.4.b)(5). What can be further observed is that both four-bar units, from bar 4 and
bar 14, are followed by phases of different musical material of 6 bars and 9 bars. However, it
is these four-bar units that constitute the Gestalt.
The first 3 bars appear as Auf (3) which creates two Nachstollen, one with 10 bars, one with
13 bars, with two inner parts each: a first part each with the 4-bar unit, and a respective
second complementary part. The complementary parts are of different musical material, but
are characterised by the fact that they both respond to those preceding 4 bars. Hence, the
inner Gestalt of the Nachstollen is a VS-NS form, where VS always has 4 bars, and the respective
have NS (6) and (9). It is again remarkable that two parts of such different musical material,
even with different tempo markings, can unfold as same Gestalt. What is equally remarkable is
the appearance of a quasi-3St inside the Abg of NS (9):
Largo
1 Einl (26) Auf (3) = (1+1)+1 (Reihe)
4 1NSt (10) VS (4) = (1+1)+2
NS (6) = (2+2)+2
14 2NSt(13) VS (4) = id
18 Adagio NS (9) 1St (2)
2St (2)
Abg (5) = q.3St (2)+ÜL(3)
- 61 -
6. Final Overview of the 1st movement
Egon Wellesz, Symphony No. 1 in C, op. 62, 1st mvt. (473)
Largo
1 Einl (26) Auf (3) = (1+1)+1 (Reihe)
4 1NSt (10) VS (4) = (1+1)+2
NS (6) = (2+2)+2
14 2NSt(13) VS (4) = id
18 Adagio NS (9) 1St (2)
2St (2)
Abg (5) = q.3St (2)+ÜL(3)
All. energico
27 HS (163) 1St-1Th (70) 1St (24) 1St-VS (7) = 3+4
34 2St-NS (12) = 4+(4+4)
46 Abg (5) = (1+ (1+½+½)) + |:1:|
51 2St (26) 1St (7) = id

58 2St (11) 1 Str (6) = (2 x 3/2+1)+2
64 2 Str (5) = (2 x 3/2+√) + 2
69 Abg (8) = (2+2)+(2+2), also 4x'R2'
77 Abg (20) Abg (10) = (3+(2+2))+3

87 ÜL (10) = 4+4+2
Animato
97 2St-2Th (73) hs (28) 1St (10) VS (5) = Auft (1)+4 (=2+2)
NS (5) = 2+3 (=1+|:1:|)
2St (8) = 4+4
Abg (10) = (2+4)+4
125 ms (22) Auf (4) = VS (4)

129 1NSt (6) = 2+(2+2)
135 2NSt (12) = 4+(4+4)
147 hs' (23) 1St (9) = √+(2+2)+(2+3 (=1+|:1:|))

2St (8) = 4+4(id)
Abg (6) = (2+4)+√
170 Abg-SchlGr (20) 1St (3) = 2+1

2St (5) = 2+3x'R1'
Abg (12) = ((2+2)+(3+3))+(2)
All. moderato
190 MS (71) 1St (25) Dux (9) = (3+2x3/2)+3
199 Comes (16) 1+2St = (3+2x3/2)
Abg (3+Zus(7)
(= (2+3(=2x’R1’+2x’R½)+2))
215 2St (24) Dux (15) 1+2St = (3+2x3/2)

Abg (3+Zus(6) (= (2+2+2))
230 Comes (9) = (3+2x3/2)+3 (id)
- 62 -
239 Abg (22) Dux (11) = (1∫2+(2x3/2 + Zus(3))+2
250 Abg (11) 1St (2) = 1+1
2St (3) = 1+4x'R½'
255 Abg (6) = (2+2)+2
Allo energico
261 HS' (166) 1St-1Th (76) 1St (24) id
285 2St (28) 1St (7) = id

292 2St (13) 1Str (6) = (2 x 3/2+1)+2 (id)
298 2Str (7) = (2x3/2)+2 (id)+2 (new!)
305 Abg (8) = 4x'R2' (id)
313 Abg (24) Abg (9) = (2+2)+5 (=2+2+Zus(1))

322 ÜL (15) Auft (1)
Bar (12) = (4+4)+4 (Reihe Einl)
ÜL (2)
337 2St-2Th (75) hs (28) id
365 ms (34) Auf (4) = id
369 1NSt (11) 1St (4) = 2+2
370 2St (3) = (√+1)+2
Abg (4) = 2+2
380 2NSt (15) 1Str (3) = (1+1)+1 (+√)

2Str (4) = (1+1)+2
387 Abg (8) = (2+2)+4
395 hs' (13) 1St (9) = id

404 2St (4) = 4+√
Abg (√)

411 2St (6) = (5)id+Zus (1) or 2∪
417 Abg (10) Auf (1)
418 1NSt (2)
420 2NSt (4) = 2x'R2'
424 ÜL-Accel. (3)
All. moderato
427 Coda (47) Einl (24) 1St(7) = (4+4∪)
434 2ST (13) 1St = 4x'R1'
438 2St = 2x'R2'
442 Abg (5) = 3+|:1:|
447 Abg (4) = 4x'R1'
Maestoso
451 Ch (23) 1St-VS (6) = 3+3
456 2St-NS (9) = Auf (3) = 2x3/2
1NSt (2)
2NSt (4)
466 Abg-Kad (8) 2+((1+1)+(1+3))
- 63 -
B. Table: 2nd Movement: Allegro agitato, quasi Presto – Trio, comodo
It is the mirror-like Bogenform of the Trio which is remarkable here: a Vollkommene Bogenform
according to Lorenz and Rahmensatz according to Bugeau136 as a exponentiated form-type:
Egon Wellesz, Symphony No. 1 in C, op. 62, 2nd mvt. (753)
Allegro agitato, quasi Presto

1 Einl (36) Auf (8) 1Str (4) = 1+3
2Str (4) = id
9 1NSt (16) 1St (6) = (2+2)+2

2St (6) = (2+2)+2
Abg (4) = 2+2
26 2NSt (12) 1St (4) = 2+2, q. 2x'R2'

2St (4) = id
Abg (4) = id, q. 4x'R1'
37 HS (309) 1St (66) 1St-1Id (26) 1St (8) = 4+4

45 2St (6) = 4+2
51 Abg (12) = 3x'R4'
63 2St-2Id (12) = (4+4)+4
75 Abg (28) 1St (8) = 4+4
2St (12) = 3x'R4'
Abg (8) = 4+4
103 2St (106) 1St-1Id (38) 1St (8) = 4+4

111 2St (14) = 3x'R4'+Zus (2)
125 Abg (16) = 4x'R4'
141 2St-2Id (36) 1St (8) = 4+4

149 2St (8) = id
157 Abg (20) Auf (4)
161 1NSt (8) = (2+2)+4
169 2NSt (8) = id
177 Abg (32) 1St (8) = 4+4
2St (16) = 4+3x'R4'
Abg (8) = 4+4
209 Abg (94) 1St-VS (16) = 8+8 ('Ritmo di 4 battute')
225 2St-VS (16) = 8+8
241 Abg (62) 3St-NS (16) = 8+8
257 Abg (46) 1St (16) = 4+4x'R3' ('Ritmo di 3 battute')
273 2St (12) = 6+6
285 Abg (18) = 1St (6) = 3+3
2St (6) = 2x'R3'
Abg (6) = (2+2)+2 (=3x'R2')
136 cf. above II.C.1.b) and below IV.B.2.
- 64 -
303 Coda (43) 1St-1Id' (22) 1St (8) = 4+4
2St (6) = 4+2
Abg (8) = 2x'R4'
325 Ia volta 2St-2Id' (12) 1St (8) = 4+4

2St (8) = id
Abg (5) = 4+Schluss (1)
Trio, Comodo
1 MS (83) hs (31) 1St-VS (8) = (2+2)+4
9 2St-NS (8) = (2+2)+4
17 Abg (8) = (2+2)+4
25 poco rall. Parenthesis (7) = 2+(3+2)
32 a tempo ms (32) Df-Abg (14) 1St (4) = id
36 2St (6) = 3x'R2'
42 Abg (4) = 2+(1+1)
46 Df-1St (18) 1St (4) = (2+2)+4

50 2St (4) = 2+2
54 Abg (10) 1Str (4) = 2+2
58 2Str (6) = 2+2+ Zus(2)
64 hs' (20) Abg' (8) = (2+2)+4
72 1St' (8) = (2+2)+4
80 Rückl (4) = (1+1)+2
attacca Scherzo (2a volta)

37' HS' (325) 1St (66) 1St-1Id (26) 1St (8) = 4+4
45' 2St (6) = 4+2
51' Abg (12) = 3x'R4'
63' 2St-2Id (12) = (4+4)+4
75' Abg (28) 1St (8) = 4+4
2St (12) = 3x'R4'
Abg (8) = 4+4
103' 2St (106) 1St-1Id (38) 1St (8) = 4+4

111' 2St (14) = 3x'R4'+Zus(2)
125' Abg (16) = 4x'R4'
141' 2St-2Id (36) 1St (8) = 4+4

149' 2St (8) = id
157' Abg (20) Auf (4)
161' 1NSt (8) = (2+2)+4
169' 2NSt (8) = id
177' Abg (32) 1St (8) = 4+4
2St (16) = 4+3x'R4'
Abg (8) = 4+4
- 65 -
209' Abg (94) 1St-VS (16) = 8+8 ('Ritmo di 4 battute')
225' 2St-VS (16) = 8+8
241' Abg (62) 3St-NS (16) = 8+8
257' Abg (46) 1St (16) = 4+4x'R3' ('Ritmo di 3 battute')
273' 2St (12) = 6+6
285' Abg (18) = 1St (6) = 3+3
2St (6) = 2x'R3'
Abg (6) = (2+2)+2 (=3x'R2')
303' Coda (59) 1St-1Id' (22) 1St (8) = 4+4
2St (6) = 4+2
Abg (8) = 2x'R4'
325a 2a volta 2St-2Id' (37) 1St (16) = |:8:|

341a 2St (8) = 8 (id)
349a Abg (13) = (4+4)+4+Schluss (1)
- 66 -
C. Table: 3rd Movement: Molto Adagio. Sostenuto
Egon Wellesz, Symphony No. 1 in C, op. 62, 3rd mvt.(86)
Molto Adagio. Sostenuto

1 HS (25) 1Th (17) 1St (3) = Auft (1)+1+1
4 2St (6) = (1+2)+4∪
10 Abg (6) 1St (2)
2St (2)
Abg (2)= 1+1
16 ÜL (3) = (1+1)+1
19 2Th (8) VS (3) = 2+1

22 NS (5) = (1+1)+3
27 MS (18) 1St (7) Auft (1)

1St (1)
2St (2)
Abg (3) = (1+1)+2
34 2St (7) 1St (1)

2St (2)
Abg (4) = (1+1)+2
41 Abg (4) 1St (1) = ½+½

2St (1½) = ½+1
Abg (½1) = ½+½+½
45 HS' (22) 1Th (16) 1St (5) Auft (1)

Bar (1+1)+2
2St (5) = (1+1)+4∪
Abg (2) = 1+1
ÜL (4) = (1+1)+1+ Zus (1)
61 2Th (6) VS (3) = id

NS (3) = (1+1)+1
67 Coda (20) 1St-1Th (6) = (1+2)+3

2St-2Th (5) = 2½+½2
Abg (9) Abg (3)
Schluss (6) = (2+2)+2
- 67 -
Fig. 6: Egon Wellesz with students at Lincoln College, Oxford, 1943
- 68 -
IV. Egon Wellesz, Symphony No. 5, op. 75 (1955/56)
A. Preliminaries
Daher ist alles, was wir über das Werk sagen können, unwesentlich,
selbst, was man über das thematische Material sagen könnte.
Das Wesenhafte entsteht im …
Ineinandergreifen und dem Kontrast der Themen.
Egon Wellesz
Compared to his five symphonic pieces Prosperos Beschwörungen from 1934-1936, Wellesz had
arrived at very different style of expression in his Symphony No. 1. He stated that
‘… the symphonic expression needs a certain broadness, since it addresses a big audience…which
resulted in a bigger and simpler treatment of the lines which explains that my new style appears so
much more elementary. I sense it as a break-through from a period of struggling for “Gestaltung” into a
new one, in which all that has formerly been achieved receives a clear expression.’137
Quite obviously, he also had to work his way towards a symphonic form that needs langer Atem
which, compared to the orchestral suite Prosperos Beschwörungen, needs more space, or time, to
unfold its musical material: atmospheric and picturesque, playfully portraying Shakespeare’s
characters, the suite is based on smaller forms. It had been his most important pre-war
orchestral piece, but now his first symphony stood unique in its clarity and rigour, as
demonstrated in the above analysis.
After such a strong and almost monolithic impact of No. 1, the following Symphonies
Nos. 2, 3, and 4 create a certain unit of work progress in seeking different approaches to the
attempt of stating something personal and definitive. It is no coincidence that two of the
symphonies have somehow retrospective subtitles, No. 2, Die Englische, and No. 4, Austriaca,
and that all three symphonies only slowly open up scope for new development.
Wellesz’s musical ancestry, the symphonists of the Austrian tradition, had left such a profound
impression on him that it was difficult to liberate himself. In other genres, like in his string
quartets, he had much more time, and perhaps freedom, to develop his own idiom. For him,
137 Wellesz in 1948, quoted after Robert Schollum, l.c. 60
- 69 -
the symphony was the ‘most sublime medium of musical expression,’138 and it stood in front of him
with all footsteps and shadows from the past a composer of his artistic and intellectual horizon
could not ignore. After all, he was not the first one to face that challenge. Brahms took ten
years to complete his first symphony in Beethoven’s shadow, and Bruckner needed four
attempts to find his own diction in his third symphony, having even abandoned a first
symphony in f minor and naming the next one Die Nullte, in the meaning of annuliert. Wellesz
was well aware of the fact that he needed to find a new and necessarily personal way to leave
those well-trodden paths.
‘It is noticeable that Wellesz is not anymore satisfied with the common sonata form. He is trying new pathways
to find quite different solutions,’ Robert Schollum writes139 about Wellesz’s 3rd Symphony. It stands
to reason that, because of its link in the history of the symphony, the sonata form is so often
and somehow inaccurately equated with symphony.140
The key to that issue might indeed be not the term Form which also can suggest a mere process
in the dimension of time, but Gestalt which draws our attention rather to a different, i.e. three-
dimensionally moving view on a musical process. We even dare to say with Bugeanu, that
music is G e s t a l t appearing in t i m e , hence: s p a c e i n t i m e .141 Far from claiming to
have found the definitive definition of music, this abstraction can at least help us to keep
distance from established paradigms.
The traditional dramatic process of the sonata form, principally constituted by the contrast
between the tonic and its contrasting fifth, might finally not be the sole criterion for the
emergence, of a symphonic movement. Essential is contrast, and such is not necessarily the
tonic-fifth relation, indeed this relation might be replaced by another contrast. But there must
be contrast established, without such there is, see Schubert,142 no duration possible.143
138 cf. 39
140 cf. Swarowsky, 20: ‘Die Sonatenform ist die Krone aller Formen’
142 cf. footnote 122
143 This also explains an issue in the Symphony No. 1 by Gustav Mahler. The exposition is conditioned by a
tonal contrast, all successively appearing Klangflächen cannot ignore and deny the imperative of the connection of
D as tonic and A as fifth. Shortly after the beginning of what the listener senses as the development, the tonic
appears in bar 207 as tonally anticipating the recapitulation; the contrast is balanced out. Strictly spoken, the
movement is over, and all the rest is sewed on.
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Celibidache defined the criteria needed to make such a contrast valid in musical terms:
‘Oppositeness is the invigorating source of power that is responsible for the emergence, maintenance and
limitation of duration. But not every opposition is power generating and constitutive for duration. Only
oppositions that are complementary to each other or, in other words which have one or more common
parameters when activating or diminishing expansion are equilibrated in the reduction.’144
This means that the fifth or its locum tenens conditions each contrast and that neither duration
nor form nor Gestalt is possible without such an appropriate contrast.
We have seen that the primary manifestations of Gestalt were Barform, Gegenbar and Bogenform,
of which the sonata form is one possible occurrence. Hence, Bogenform is just one possible
Gestalt, in which contrasts can form a musical process: something is expressed and returns after
a central section which may be a development, or just a part different enough from the first
part not to be the same, after which the first part is basically repeated.
As noted above, Wellesz himself stated that he did not ‘sense the form of the symphony as something
fixed, but as something highly vivid which evolves from the substance of every new work.’145 With the
5th Symphony, he seems to have finally arrived at the point he had been seeking in his
previous symphonies. It takes an exceptional position in the development of Wellesz’s
symphonic oeuvre: ‘An elementary eruption … It is the opus into which the directly earlier compositions had
developed and which summarizes his previous achievements as a composer.’146
On the occasion of the premiere in Düsseldorf, Wellesz held a lecture about this symphony,
explaining its most important parameters.147 He uses an eight-tone row which is expanded to a
twelve-tone row in the development. He observed that Schoenberg and Hauer had only
extended the phenomenon tone row to twelve tones, but that the principle of tone row
composition was much older than had been thought. He also stated that a tone row must have
one same quality as a fugue theme: they must be developable. For him, it was important to
144 Sergiu Celibidache in: Lehmhaus, 47: ‘Gegensätzlichkeit ist die belebende Kraftquelle, die für die Entstehung,
Aufrechterhaltung und Einschränkung der Dauer verantwortlich ist. Aber nicht jede Gegensätzlichkeit ist Kraft
generierend und Dauer konstituierend. Nur Oppositionen, die komplementär ergänzend zueinander stehen
oder, anders gesagt, die beim Aktivieren oder Diminuieren der Expansion einen oder mehrere gemeinsame
Parameter haben, gleichen sich in der Reduktion aus’.
145 cf. footnote 34
147 The crucial parts are quoted in: Robert Schollum, l.c. 59ff
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word an expression arising from his musical imagination as simply as possible as well to avoid
all episodic appearances in individual movements. He was presumably referring to
appearances which would not be contrast-building, unlike the above-mentioned
complementary oppositions after Celibidache.
In this symphony, he postulated an inner connection between the first and the last
movements, implying that the latter contained the Durchführung of the first movement.148
But even if this is the case in terms of tone row and further musical material, every movement
will appear alone and thus has its own Gestalt, apart from possible thematic or other links.
Perceiving the Gestalt of a whole symphony, be it of three or four movements, would certainly
stretch the limits of perception, of the Präsenzstrecke, posing the question as to whether such a
range can really be experienced, erlebbar, and realized as a One, or such Gestalt of a whole
symphony would be merely theoretical and even imposed.
The Präsenzstrecke actually does not refer to a range of time, but to a range of presence in
awareness. It is up to awareness to arrive at this reduction in terms of musical phenomenology
and according to Celibidache’s definition.149
However, a certain level of abstraction may always be involved when the listener is confronted
with tone rows, be they of twelve or eight tones. So it is understandable that Schollum,
probably bearing in mind that such themes must be singable appearances, cautiously
remarked that Wellesz avoided traditional themes. He is right in assuming that groups of
tones, related to other groups of tones, are amalgamated or contrasted. His caution further
assumes that significant blocks created this way would form equilibrium on a higher level,
leading to a balance which we finally sense to be ‘form per se.’150 What else, we would ask, or in
Viennese: No na, we would state, but better let the word to Hans Gál: ‘Music is inconceivable
without form.’151
148 The desire to internally connect the movements of a symphony closely right up to composing symphonies in
one movement is an old aim often found in the Romantic period, cf. Mendelssohn, Symphony No. 3 with attacca
connections and a summarizing Coda, Schumann, Symphony No. 4, see both versions from 1841 and 1851, up
to Sibelius, Symphony No. 7. Other attempts are quotations of themes from previous movements, like the last
movements of Beethoven, Symphony No. 9 and Bruckner, Symphony No. 5, and Wellesz, Symphony Nr. 1 with
1st Movement, Introduction and 3rd Movement, beginning of MS.
149 See reference in footnote 82
150 Robert Schollum, l.c. 61. This is without doubt the most phenomenological non-phenomenological Gestalt-
approach that is imaginable.

151 Hans Gál, l.c. 97
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Assuming the law of contrasts which determines the duration of a piece, and the principles of
the Präsenzstrecke as defined by Bugeanu:
‘Here, this is one range of presence, here the repetition of that range of presence, or an opposition, a
range of presence which is not a repetition – these are the two principles of Präsenzstrecke.’152
the Observation of Form as Movement can begin.
B. 1st Movement, Maestoso (259)
1. Overview
The movement has 259 bars. As often, it is difficult to go from the whole to the details,
because the larger form is not revealed easily. However, this ‘Punkt Null,’153 alone with the
score, is the best precondition for a perception without any presuppositions.
At first glance, an opening of 15 bars can be seen, the main elements of which reappear in the
course of the score. Strongly rhythmic material which dominates with a few accompanying
voices, even appearing unisono in octaves, is exposed for a remarkable length of bars from
bar 15 to 88; then a calmer section appears in bar 89 until the rhythmic material re-appears in
bar 153, lasting 10 bars.
Bar 163 starts a section with consecutive entrances. A clearly defined theme cannot be
identified at first view, since the new material differs, but we perceive some similarity in a
certain regularity of the entrances. This phase lasts until a calmer part begins at bar 190.
This part expands broadly and ends in another appearance of the powerful rhythmic section
in bar 225. In bar 234, elements re-appear from the introduction, and the end of the
movement is tranquil in alla breve from bar 245 to the end.
Cahiers de Bugeanu
152
Perfectly put by Christa Bützberger in her lecture ‘Instrumentalpraxis im Licht der Phänomenologie’ hold at the
153
Symposium ’Wesensstrukturen des Musik-Erlebens,’ Universität für Musik und darstellende Kunst Graz, April
2018
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2. Soundscapes
To help out, the elements noted in the first overview will for a start be termed soundscape, or
Klangfläche. The term is also used in Knut Eckhart’s doctoral thesis about this symphony,
where he analyses the relationship between soundscape and form.154
In the present study, the term is, however, only temporarily used to summarize the
impressions of similar or diverse manifestations of the musical material. Moreover, a theme
and its related form units in any composition are, generally speaking, nothing but
soundscapes. So, relationship between the soundscapes forms the Gestalt.
From what has been said above, a first overview can be sketched, using alphabetical letters to
denote different and similar soundscapes:
1 A (14)
15 B (73)
89 C (29)
121 D (32)
153 B (10)
163 E (28)
191 D (24)
225 B (9)
234 A (11)
245 Z (15)
Remarkable is the central position of soundscape E which only appears once, even more
evident when seen in horizontal line:
A–B–C–D–B–E–D–B–A–Z
A seems to be a kind of frame, especially since its material appears on several occasions
throughout the movement, especially in B, see bar 29 and bar 69.
Also remarkable is the apparent disproportion of B which first appears for 73 bars, and then
in 9 bars. However, it was seen on other occasions that the mere quantity of manifestations is
less important for the Gestalt than their actual function.
154 Knut Eckhart: Das Verhältnis von Klangfarbe und Form bei Egon Wellesz, Eine Studie am Beispiel seiner 5. Symphonie,
Göttingen, 1994.
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Barform and Gegenbar can already be excluded, since the arrangement of the soundscape
elements reveals a Bogenform similar to what Alfred Lorenz calls Vollkommene Bogenform,155 which
he annotates as
m, n, o – MS – o, n, m,
correspondingly for this movement:
a–b–c–d–b–E–d–b–a–z
Constantin Bugeanu subsumes such a Gestalt as a Rahmensatz156 under Bogenform.
A closer view shows that A re-appears in B as a constructive element of it. C is a soundscape

with no re-appearance after E that has already been identified as MS. D experiences a
recapitulation before B and A, and Z has a conclusive character. Always aware that this
process is conditioned by the progress of perception, the observer must bear in mind that he is
at the first and still fragile stage of a spiral-circle and will probably have to re-enter the spiral-
iterative process157 which is, again, a constitutive and constructive character of this method.
In view of the above, it seems no longer speculative to notate the Gestalt of this movement as:
1 HS (162) AB (88)
89 c (29)
121 D (32)
153 b (10)
163 MS (40) E (28)
191 HS’ (44) D’ (24)

225 AB’ (20)
245 Z (15)
Now the quantitative balance also appears in another light. Whereas AB appears in 88 bars
and reappears in only 20 bars, D appears in 32 and reappears in 24 bars. It will have to be
155 cf. Alfred Lorenz: Tristan und Isolde, 184

156 cf. Cahiers de Bugeanu. Such a Rahmensatz can be found e.g. in Maurice Ravel, Ma mère l’Oye, II. Petit Poucet.
157 cf. Malpas, Jeff, Hans-Georg Gadamer, The Stanford Encyclopedia of Philosophy (Winter 2016 Edition), Edward N.
Zalta (ed.), URL = <https://plato.stanford.edu/archives/win2016/entries/gadamer/>
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seen whether the exact quantity of the parts stands up to closer examination, but so far their
quality seems to fit.
3. Ramification: HS (162)
The attempt to find solutions other than a sonata form for a symphonic structure does not
mean that general laws of form or Gestalt have become invalid. The form parts identified
function as form-building units; the term soundscape can now be left away.
So, it would not seem speculative to assign the formal quality of a first theme to AB, the
transitive character of a Überleitung to c, the contrasting element D to a second theme and the
concluding character of b to a Schlussgruppe.
Hence, the Gestalt appears as:
1 HS (162) 1Th (88)

89 ÜL (29)
121 2Th (32)
153 SchlGr (10)
a) 1St-Th (88)
The first 14 bars (Maestoso) expose an element which creates and releases powerful energy to
the following manifestations, also becoming part of them later. Seen as a unit of kinetic
energy, the impact of the first 14 bars influences the following 73 bars, whose two-part
structure is evident at the beginning, in which the forceful beginning of a dotted quaver and
semiquaver re-appears at bar 15 as a constitutive rhythmic element. The unit of these 73 bars
is characterized by the re-appearance of the material from the first 15 bars which thus forms
two corresponding units with 41 bars first and 32 second.
This is a beautiful example of the kinetic quality of the Aufgesang in the Gestalt of the Gegenbar.
The Aufgesang opens as an impact, creating two following units which are equal in function,
the Nachstollen. Given the above framing function and quality of this Aufgesang, it is termed here
as a Rahmen-Aufgesang (Ra-Auf). The appropriate ramification is therefore:
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1 HS (162) 1St-1Th (88) Ra-Auf (14)
15 1NSt (41)
56 2NSt (32)
(1) Ra-Auf (14)

The Gestalt of this Ra-Auf is perhaps the most self-explaining in this movement: An Aufschwung,
starting with a chain of semi-quavers exposing the tone row d-f-c#-c-e-g#-eb-f#, initiates the
first 4 bars, followed by an articulation of 6 bars and one group of 4 bars. The four-bar group
(2+2) repeats the constituting 4 bars of the six-bar group (|:2:|+2). Following two bar groups
similar to Nachstollen, the Aufschwung can now be referred to as an Aufgesang, developed into a
smaller Gegenbar of 1+(1+2):
1 HS (162) 1St-1Th (88) Ra-Auf (14) Auf (4) = 1+(1+2)

5 1NSt (6) = |:2:|+2
11 2NSt (4) = 2+2
(2) 1NSt (41) | 1Str (20)

Preliminary remark: The impact of the motif from bar 2, the dotted quaver and
semiquaver, was the first ‘one’ of the movement in terms of Gestalt. The formative
quality of this rhythmic unit becomes evident with the one in bar 15, and its
correspondence in bar 35. The parts form two strophes. This also applies to the next
NSt (32) with two strophes of 21 and 12 bars. Both first strophes end with the
reappearance of elements from Ra-Auf.
Now in tempo Moderato, the first strophe of 20 bars begins with a group of 6 bars which
appears as a Barform of (2+2)+2, exposing the basic music material in this section. The
following articulation develops the material, initiated by the rhythmic impact element, in
8 bars also as a Barform in (2+2)+4, the latter ramifying into (1+1)+2. The concluding section
of 6 bars consists of the elements from Ra, appearing as VS-NS of 3 bars each:
15 1NSt (41) 1Str (20) 1St (6) = (2+2)+2

21 2St (8) 1St (2)
2St (2)
Abg (4) = (1+1)+2
29 Abg (6) VS (3) - from Ra-Auf1

NS (3) - from Ra-NSt1
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(3) 1NSt (41)| 2Str (21)
The second strophe begins like the first one, but with different energy creating two units
arising from it as a Gegenbar in 7+(6+8). The elements of this Gestalt unfold as follows:
35 2Str (21) Auf (7) = 3+(2+2)

42 1NSt (6) = 2+(2+2)
48 2NSt (8) = 3+(2+3)
(4) 2NSt (32)| 1Str (21)

The tempo eases slightly under Poco più mosso, re-exposing the rhythmic element with its
energetic consequences, but now shaping the musical material differently. The first strophe
develops into a Barform, with the familiar elements from Ra in its Abgesang (8), forming a VS-
NS unit of 3+5 bars. The first Stollen appears in 5 bars in a certain metrical tension as a
Gegenbar: its 1NSt of 2 bars in a 3/4 metrum is dominated by a 3x2/4 contradiction in the low
register of woodwinds and strings, resulting in 1+(2 (=3x2/4)+2). These last 2 bars as 2NSt
compensate this tension. 2St (8) widens the density of the previous expression in a regular
2+(2+4):
56 2NSt (32) 1Str (21) 1St(5) = 1+(2(=3x2/4)+2)

61 2St (8) = 2+(2+4)
(5) 2NSt (32)| 2Str (12)

Another Poco più mosso indicates a more forwarding direction of the movement. A new type of
development occurs in these 12 bars which show up as a Barform: the Stollen share a bar,
grouping 1St (3½) + 2St (½2), the Abgesang in a typical structure.
77 2Str (12) 1St (3½)

2St (½2)
Abg (6) = (2+2∪)+4
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b) Parenthesis-ÜL (29)
From bar 15 on, the movement keeps the tempo Moderato, but with the beginning of this
transition, a handwritten Allegretto,158 replacing the metronome indication, shows a change in
character and weight of the movement. The section is not recapitulated in HS’, but omitted
without substitution. Since it has no further consequences in terms of re-appearance in the
further course of the movement, it can be assumed that its only function is to lead over to the
2St-2Th. With this kind of non-recurring manifestation, it is what Bugeanu called Scheidung in
terms of parenthesis, cf. III.A.4.d).
An introduction of 3 bars has the function of again easing the material of the Klangmasse, the
moving mass of sound, until a giocoso in the clarinet, the bass clarinet which Wellesz uses, like
the English horn, for the first time in a symphony159 and bassoon of Auf (5) splits into two
NSt (8)+(16). As it can be expected from these parameters, the movement calms down,
distancing us from the elementary force of 1St-1Th. 1NSt (8) plays with a stretto of the giocoso
motif, and 2NSt broadens the manifestations by enlarging the bar groups, phasing out in poco
rallentando:
89 Parenthese-ÜL (29) Einl (3)

92 Auf (5) = 2+(2+1)
97 1NSt (8) (2+2)+4 (=stretto in 1/4)
105 2NSt (16) 1St (2) =1+1
107 2St (4) = 2+2 (1St*2)
111 Abg (10) = (3+3)+4
c) 2St-2Th (32)
The second theme applies to what is to be expected after such compressing of energy as from
1St-1Th: it is slow, wide and cantabile. It is initiated by an Einl (2), appears in 5 bars and is re-
exposed for another 5 bars, of which the last is already counted with the entrance of another
appearance of it. So, we have a Barform with a 1St-VS integrating two strophes of (5+5∪).
2St-NS has 8 bars appearing in Barform, a typical intensifying Gestalt grouping as (2+3)+3.
158 The score used for this study is a printed conductor’s score from Musikverlag Hans Sikorski (see below
Annex B). The author owns a study score of String Quartet No. 8 by Wellesz, suggesting the composer’s former
ownership by the handwritten name. Due to the similarity of the handwriting, it can be assumed that Egon
Wellesz himself inserted this Allegretto-indication. Another quick observation: in this symphony, Wellesz annotates
the tempo markings together with metronome numbers until the respective form part returns, when only the
metronome numbers are restated.
159 cf. Robert Schollum, l.c. 59
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The following Abg (13) completes the phase of 2St-2Th, a descending line of 1St (5) =
(1+2)+2, a widening of the bar with a change of metrum to 6/4 and 5/4 for 2St (2), all
continued and terminated by Abg (8), regularly displaying (2+2)+4:
121 2St-2Th (32) Einl (2)

123 1St-VS (9) = (5+5∪)
132 2St-NS (8) = (2+3)+3
140 Abg (13) 1St (5) = (1+2)+2
2St (2)
145 Abg (8) = (2+2)+4
d) Abg-SchlGr (10)
The final section of HS renews the powerful rhythmic energy and also concludes it. Unlike its
agitated aesthetic expression on the surface, its Gestalt does appear regular and seems typical of
this classical situation in a symphonic movement:

155 2St (3)
159 Abg (5) 1St (1)
2St (1) id
Abg (3) = (q.3St(1)+2)
4. Ramification: MS (40)
In his Düsseldorf lecture, Wellesz stated that a tone row must have a same quality as a fugue
theme: they must be ‘developable.’160 He now demonstrates the strictness of this requirement in
tone row composition by using it as material for a fugato.
a) 1St (17)
The fugue theme exposes 4 bars as Dux and is followed by his Comes for a further 4 bars plus
Zus (1). Dux and Comes here create two Stollen which are completed by an Abg (8).
The per se regular Barform is formed by two Stollen of 2 bars each which appear in stretto. As
already suggested above under III.A.3.a)(5), this is annotated as: 2∫2, summarized as 2St for
two Stollen. The following Abg offers no surprises while unfolding as Barform of (3+2)+3:
160 cf. Robert Schollum, l.c. 59ff
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163 MS (40) 1St (17) 1St-Dux (4)
167 2St-Comes (5) = 4 id + Zus (1)
172 Abg (8) 2St-stretto (3) = 2∫2
175 Abg (5) = (3+2)+3
b) 2St (14)
Here, 2St follows the example of its antecedent, but without a stretto, and Abg leads to a more
tranquil section, with its Nachstollen returning to the atmosphere of the second theme:
180 2St (14) 1St-Dux (3)

183 2St-Comes (4)
187 Abg (7) = 4+(2+2)
c) Abg (9)
Abg (9) is articulated as a Barform. Both Stollen expose a three-bar line in a one-bar stretto, albeit
no longer as part of a fugato. The Abg (5) is similar to HS-2St-2Th-Einl and leads back to
HS’:
194 Abg (9) 2St-stretto (4) = 3∫3

198 Abg (5) = (1+1)+3
5. Ramification: HS’ (42) and Coda (15)

What Lorenz termed as vollkommene Bogenform and Bugeanu as Rahmensatz161 emerges here. The
MS functions like a mirror, and the movement returns from MS to the form element which
last appeared in HS, in our case, as the second theme. Next comes the NSt of Ra-Auf, then
the Ra’-Auf frames the movement.
a) 2St-2Th (22)
1St(9) is identical to its HS precedent, and the following 2St is just the same, merely extended
by 1 bar. Abg is built differently with 2+2 bars:
203 HS' (42) 2St-2Th (22) 1St (9) = (5+5∪)

2St (9) = (2+3)+4
Abg (4) = 2+2
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b) 1St-1Th (20)
(1) Bar (9)

The energy of this powerful material is now rather exhaled, not least because it was used so
extensively in HS. What remains unfolds in a single Barform (9) with equivalent 1St (9) which
ramifies into another small Barform of (1+2)+5. This Abg (5) integrates a quasi 3St (3) and the
very Abg (3) with (1+1)+1. It is remarkable how these three Stollen expand the units. Seen in
terms of rhythmic logic as opposed to stretto, Engführung, this is a composed ritardando.
The exponentiated unit 1St (9) has no continuation into a 2St or Abg:
225 1St-1Th (20) Bar (9) 1St (9) 1St (1)

2St (2)
Abg (5) q. 3St (3) = (2+1)
Abg (3) = (1+1)+1
2St (√)
Abg (√)
(2) Ra’-Auf (11)

The reappearance of this part here is the final key to the Gestalt conceived. The recapitulation
of the second theme before the reappearance first theme is only understandable – i.e. only
leads to a whole, to a musical entity, to Gestalt – because the very first, determining section
concludes the HS’.
Form types are manifestations of rhythmic logic: Would this have otherwise been
possible without the special impact-quality of the form type of Gegenbar which here
enables such an explosive and far-reaching effect?
Ra’-Auf now only needs 1 bar as its own Auf, whereas the two NSt recapitulate in full
extension:
234 Ra'-Auf (11) Auf (1)

235 1NSt (6) = |:2:|+2
241 2NSt (4) = 2+2
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c) Coda (15)
All energy is exhausted, and the drama can come to an end. The ending appears in the
lightest possible metrum, if appearing in piano and slow: alla breve. Wellesz’s tempo marking
requires quarters as pulse, but they must appear as subdivisions of an alla breve Schlagfigur in
order to form the calm of this conclusion.162
245 Coda (15) Auf (2) = 1+1

1NSt (4) = (1+2)+1
2NSt (4) = 2+2
Kad (5) = (1+2)+1
6. Final Overview of the 1st movement

No tone too much, no tone too little: Wellesz uses the musical material until everything has
been said that can be said and nothing can be added. There is a similarity in this movement
by Wellesz to e.g. Sibelius and the first movement of his Symphony No. 4: for the common
listener rather abstract material is used in a most economical, almost minimalistic way, and
when the end comes, so does the surprise: it seemed so short, and yet so complete.
The overview is displayed on the next double page:
162 cf. V.A. Excursus Proportion
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Egon Wellesz, Symphony No. 5, op. 75, 1st mvt. (259)
1 HS (162) 1St-1Th (88) Ra-Auf (14) Auf (4) = 1+(1+2)

5 1NSt (6) = |:2:|+2
11 2NSt (4) = 2+2
15 1NSt (41) 1Str (20) 1St (6) = (2+2)+2

21 2St (8) 1St (2)
2St (2)
Abg (4) = (1+1)+2

35 2Str (21) Auf (7) = 3+(2+2)

42 1NSt (6) = 2+(2+2)
48 2NSt (8) = 3+(2+3)
56 2NSt (32) 1Str (21) 1St(5) = 1+(2(=3x2/4)+2)

61 2St (8) = 2+(2+4)
77 2Str (12) 1St (3½)

2St (½2)
Abg (6) = (2+2∪)+4
89 Parenthese-ÜL (29) Einl (3)

92 Auf (5) = 2+(2+1)
97 1NSt (8) (2+2)+4 (=stretto in 1/4)
105 2NSt (16) 1St (2) =1+1
107 2St (4) = 2+2 (1St*2)
111 Abg (10) = (3+3)+4
121 2St-2Th (32) Einl (2)
123 1St-VS (9) = (5+5∪)
132 2St-NS (8) = (2+3)+3
140 Abg (13) 1St (5) = (1+2)+2
2St (2)
145 Abg (8) = (2+2)+4

155 2St (3)
159 Abg (5) 1St (1)
2St (1) id
Abg (3) = (q. 3St(1)+2)
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163 MS (40) 1St (17) 1St-Dux (4)
167 2St-Comes (5) = 4 id + Zus (1)
172 Abg (8) 2St-stretto (3) = 2∫2
175 Abg (5) = (3+2)+3
180 2St (14) 1St-Dux (3)

183 2St-Comes (4)
187 Abg (7) = 4+(2+2)
194 Abg (9) 2St-stretto (4) = 3∫3

198 Abg (5) = (1+1)+3
203 HS' (42) 2St-2Th (22) 1St (9) = (5+5∪)

2St (9) = (2+3)+4
Abg (4) = 2+2
225 1St-1Th (20) Bar (9) 1St (9) 1St (1)

2St (2)
Abg (5) q. 3St (3) = (2+1)
Abg (3) = (1+1)+1
2St (√)
Abg (√)
234 Ra'-Auf (11) Auf (1)

235 1NSt (6) = |:2:|+2
241 2NSt (4) = 2+2
245 Coda (15) Auf (2) = 1+1

1NSt (4) = (1+2)+1
2NSt (4) = 2+2
Kad (5) = (1+2)+1
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C. Table: 2nd Movement: Intermezzo
Egon Wellesz, Symphony No. 5, op. 75, 2nd mvt. (114)
Intermezzo, Vivace
1 HS (47) Auf (11) Auf-Th1 (5)
6 1NSt (3)
9 2NSt (3)
12 1NSt (17) Einl (7)

19 Gegenbar (10) Auf-Th2 (3)
22 1NSt (4)
26 2NSt (3)
29 2NSt (19) Einl (9) = (2+2)+ 5 (=2+3)

38 Gegenbar (10) = 4+(2+4)
48 MS (40) 1St (13) hs (5) = 2+3 (=1+(1+1))

53 ms (5) = 1+(2+2)
57 hs' (3) = 1+1+1
61 2St (14) 1Str (7) = (2+2)+3

68 2Str (7) = (2+2)+3
75 Abg (13) 1St (4) = 2+2

79 2St (5) = 2+3
84 Abg (4) = 2+2
88 HS' (27) 1St (11) Einl (4)

92 Auf-Th1' (7) = 4+3
99 2St (12) Einl (8) = (2x'R2')+2+2

107 Auf-Th2' (4) = 2+2
111 Abg (4) = (1+1)+2
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D. Table: 3rd Movement: Adagio molto
Egon Wellesz, Symphony No. 5, op. 75, 3rd mvt. (93)
1 1 St (28) 1St-Th (7) VS (3) = (1+1)+1

4 NS (4) = 2+2
8 2St (8) 1St (3)

11 2St (3)
14 Abg (2)
16 Abg (13) 1St (2)

18 2St (2)
20 Abg (4) = (1+1)+2
24 ÜL (5) 1St (1)

2St (1)
Abg (3) = 1+(1+1)
29 2St (31) 1Str-Th (17) hs-stretto (4) = 3∫3

33 ms (4) 1St (½)
2St (½)
Abg (3) = q3St
(½)+Abg (½ 2)
37 hs' (4) = (1+1)+2
41 ÜL (5) = (2+1)+2
46 2Str (14) 1St (4) = 2+2

50 2St (4) = 2+2
54 Abg (6) = (2+2)+2
60 Abg (34) Abg (22) Einl (4)

64 1St-VS (4) = 2+2
68 2St-NS (4) = (1+1)+2
72 Abg (10) 1St (3)
75 2St (2)
77 Abg (5) = 1+(2+2)
82 1St-Th (12) 1St (4) = (1+1)+2
86 2St (5) = (2+2)+1
90 Abg (3) = (1+1)+1
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E. Table: 4th Movement: Allegro moderato, ma energico
Egon Wellesz, Symphony No. 5, op. 75, 4th mvt. (221)
Allegro moderato, ma energico

1 HS (106) 1St-1Th (51) 1St (10) Einl (2)
3 VS (4) 1St (1)
2St (1)
Abg (2)
7 NS (4) = id
11 2St (24) 1St (14) = (3+3)+(4+4)

25 2St (6) = 3x'R2'
31 Abg (4) = (1+1)+2
35 Abg (17) 1St (3) = 2+1

38 2St (3) = 1+2
41 Abg (11) = 2+(4+5)
Lento
52 2St-Th (42) hs (10) 1St (2)
2St (2)
Abg (6) = (2+2)+2
62 ms (17) Auf (5) = 2+3

1NSt (7) = (2+2)+3
2NSt (5) = (2+3/2)+1
79 hs' (15) 1St (2)

2St (2)
Abg (8) = (2+2)+4
ÜL (3)
Allegro (Tempo I)
94 Abg (13) Auf (5) = 3+2
1NSt (4) = 2+2
2NSt (4) = (1+1)+2
Tempo I (of first movement)
107 MS (41) 1St (17) Auf (8) 1St (2) = 1+1
2St (2) = 1+1
Abg (4) = (1+1)+2
1NSt (4) = (1+1)+2

2NSt (5) = 2 ½+½ 2
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124 2St (11) Auft (1)
Auf (3) = (1+1)+1
1NSt (2) = 1+1
2NSt (5) = (1+1)+3
135 Abg (13) 1Str (4) = (2+1)+1

138 2Str (5) = 2+1+2
144 Abg (4) = 2+2
Tempo I
148 HS' (73) 1St-1Th (44) 1St (13) Einl (2)
150 VS (7) 1St (4) = 4x'R1'
2St (1)
Abg (2)
157 NS (4) = id
161 2St (24) 1St (14) = (3+3)+(4+4) (id)

175 2St (11) 1Str (5) = 3+2
180 2Str (6) =
(2+2)+2
Abg (√)
186 Abg (7) Auf (2) = 1+1

1NSt (2)
2NSt (3)
Lento
193 2St-Th (16) hs (16) 1St (4) = |:2:|
197 2St (4) = |:2:|
201 Abg (8) = (2+2)+4
ms+hs' (√)
poco più Maestoso
209 Abg (13) Auf (6) 1St (2) = 2x'R1'
2St (2) = 1x'R2'
Abg (2) = 2x'R1'
215 1NSt (3) = (1+1)+1

218 2NSt (4) = (1+1)+2
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Fig. 7: The self-mastery of the movement, handwritten sketch of the first spiral by Bugeanu
- 90 -
V. Conclusion
A. The Method – and the Method of Conducting Studies
In der Wirklichkeit gibt es keine Vielheit,

sondern nur ein einziges unveränderliches und
unzerstörbares Ganzes, und die Alltagswahrnehmung
von Vielfalt und Bewegung ist bloßer Schein.
Accredited to
Parmenides from Elea
On the basis of the method used, the Gestalt of the movements under investigation could be
seen into details and contexts. The place and moment as well as the Gestalt-function of every
bar are evident. Every detail is placed in correlation to its correspondents. The overview
allows a survey of and insight into the form. This method will neither compel nor seduce the
observer to search for extra-musical explanations, but focus the view on the musical material
itself, as only this provides gestaltbare quality.
The act of realization of music per definitionem integrates all parameters of a composition into its
flow, and a sheet of this analysis may seem not to show all the parameters of the score.
However, it needs to be specified that an act of realization that does not integrate all
parameters of a composition cannot really be termed as an act of realization of music, more
like ‘an execution in terms of decaptatio.’163 The strictness of this view is not to be misunderstood,
because at one point a criterion needs to be established – ‘Doch einmal kommt der Moment, wo sich
der Verrat am Geiste blutig rächt’, knows Swarowsky.164
So, it seems fair to ask whether if something is good enough for practice, is it also good
enough for theory? The practice of music must be anchored in its theory; theory expressively
standing for the written musical material, and the relationship between that theory and
practice is absolutely reciprocal.
The thorough application of the method to the 1st movements of Symphonies No. 1 and No. 5
certainly showed not only that an analysis cannot be made without integrating all the
parameters of a score, but also that this integration is a process of full condensation of the
163 Swarowsky, l.c. 7: ‘eine Exekutive im Sinne der decaptatio’

164 Swarowsky, l.c. 17: ‘But once the moment comes when the betrayal of the spirit takes blood revenge.’
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material. In this sense, the analysis reflects a process in which all the details and parameters
get integrated.
Bugeanu is even one step ahead: his method is not theoretical exercise or a practice of theory
for preparing the practice of conducting, it is really practice of conducting; the Observation
of Form as Movement is really Realization of Form as Movement, is really
Gestaltung.
It has been mentioned that this method is the initial and referential part of a more complex
method for the study of conducting by Constantin Bugeanu. Although a due exposition of this
method would deserve and fill a whole book – actually the book that Bugeanu always
intended, but never came to write – a short overview is presented here.
The Method of Conducting Studies

The method is to start from the perception of the composition and move to its realization. It is
guided by the natural sequence of perception. What we perceive first is assessed first, what we
perceive then, gets integrated into the previous steps. The individual steps that appear
consecutive develop a spiral with three main circles correlating to each three steps:
a) Appearance
• Form as observation of the movement
• Choice of melos
• Musical imagination, still as first and preliminary synthesis of a. and b.
b) ‘Körpergesang’ (Chant of the body)

• Singing the melos (solfeggio)
• Application in body movement to the three dimensions of conducting gesture:
Height: tension – Depth: dynamics – Width: participation
• Choice of tempo
c) Materialization
• Concretization: entrances, dynamics, practical (=instrumental) articulation
• The three proportions: rhythm, Schlagfigur, bar groups
• Synthesis/realization of movement in irreversibility
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The three main circles of Appearance, Chant of body, and Materialization correlate as subject
objectifications to the flow of the movement, Fluss der Bewegung. After the individual
internalization, the spiral is repeated with the orchestra in rehearsals and then again with the
audience in concert.
Fig. 8: The first spiral (individual internalization), handwritten sketch by Bugeanu
The melos denotes the thread of appearances that are responsible for the progress of the
movement. Whether they are melodic, harmonic or rhythmic, they share the k i n e t i c energy
reminiscent of Ernst Kurth, who remarked that ‘The real cause of a melodic line is its quest to become
form,’165 may now be extended to:
The real cause of a musical element is its quest to become form.
165 Ernst Kurth, l.c. 9ff
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The singing of the melos is carried out with the system of solfeggio which was developed by
Bugeanu. Its striking advantage is that it represents the chromatic as well as the diatonic
manifestations of the tones, giving every tone its fix consonant and every possible situation its
specified vowel. The consonants are taken from Arezzo’s system, in which the problem of the
double appearance of ‘s’ in ‘sol’ and ‘si’ is resolved by replacing ‘sol’ with ‘g’ as a loan from the
alphabetical system. The same vowel follows a diatonic halftone; the same consonant shows a
chromatic halftone. Since there are seven tones, consonants, with five possible variations each,
nothing is simpler than using the five vowels of our alphabet a-e-i-o-u. A, as first vowel,
naturally starts; see also the typed overview in Annex II.166
The lenient smile that comes to most beginners during their initial attempts at this solfeggio
always quickly yields to astonishment at the preciseness and straightforwardness of the
internalization of even complicated musical lines.
Fig. 9: Sketch of the Solfeggio by Bugeanu in his own handwriting
166 cf. also Jörg Bierhance: ‘Solfeggio: The Next Step’ in: Podium Notes of The Conductors Guild, Chicago,
Summer/Fall 2000, 4-7
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Excursus: Proportion
In one context, the term proportion refers to the form-constituting tempo-relation between
parts of a composition, e.g. a movement with a slow introduction and a following Allegro-part,
or a Finale of a Mozart opera.167
In the context at hand, proportion is called the relation between the impact of a gestural
movement and the resolution of that impact.
The ground for this law of proportion, i.e. the law of impact and resolution, is the
fundamental physical law of the inertia of masses. It looks surprising that this profound law
appears so late in this study since it seems also the cause for what we perceive as
rhythmical logic.168 It may be excused that the author introduces it, to speak with Thomas
Mann, ‘zur elften Stunde’169 of this work.
For moving an inert mass a reason is needed which cannot be the mass itself. When now the
inert mass comes into movement by a reason which is not the mass itself, it doesn’t move as an
entirety, but subdivides when it comes to rest, following its natural tendency.170
This reason is called the ‘impact’, and it causes subdivisions of the moving mass, as we can
observe e.g. with the vibration of a piano string which visibly subdivides into its harmonics.
In a word, this subdivision of the swinging/vibrating mass is the resolution of the impact. The
relation between that impact and its subdivision is the proportion, whereby this relationship is
qualitatively unique: one impact causes its unique, quantifiable resolution.
This law manifests itself in the gestural movement as beat of pulse first of all in rhythmic
quality, e.g. in a proportion of one impact with three resolutions,1:3 (e.g. Beethoven,
Symphony No. 5, 1st movement), or in a proportion of one impact with three resolutions,
1:2 (e.g. Beethoven, Symphony No. 5, 3rd movement). We have as many possibilities as there
are rhythmical impulses, and the possibilities are manifold, but inherently absolutely
unequivocal.
167 cf. Swarowsky, 62ff

168 cf. Bugeanu, quotation under II.B.
169 Thomas Mann: Der Zauberberg, chapter ‘Mynheer Peeperkorn’
170 Celibidache: La musique n’est rien, Arles, 2012, 183
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On the next level this principle of impact and resolution manifests in Schlagfigur, a term whose
movement-formative quality is only insufficiently translated with the rather static term beating
pattern: one impact with one resolution corresponds to alla breve, one impact with two
resolutions corresponds to triangle, one impact with three resolutions corresponds to Kreuz
(cross). The special characteristic of the latter is, that a further subdivision of the swinging mass
occurs; therefore, the three of the Kreuz forms an opposition to the one. That is also the
difference to alla breve, where the second beat forms the resolution of the one. This becomes
crucial when we subdivide a slow alla breve, e.g. in the introductions of the ouvertures
Die Zauberflöte and Don Giovanni by Mozart, or the Coda of the of the 1st movement of the
5th symphony of Egon Wellesz (see above IV.B.5.c). All other metrical appearances can be
subsumed under these three Schlagfiguren. 171
On the further level, the law of impact and resolution manifests in bar groups, as seen in the
presented method of the Observation of Form as Movement, as well seen in the phenomenon
of the classical Presto whose bars form bar-groups as consequence of its weightlessness.172
A quick look back on the beginning of the 1st movement of the 5th symphony of Egon Wellesz
is recommendable: an impact causes the setting in motion of the movement, feeding it as long
as the next impact is necessary in terms of rhythmical logic.
In its application to the study of any composition, the method of Observation of Form as
Movement provides the possibility of Fernschauen or Fernwahrnehmen in terms of what
Furtwängler said about Fernhören in the context of Heinrich Schenker:
For Schenker, classical music is distinguished by Fernhören (‘far-listening’), that is the listening, the
orientation to a far distance, to a large context that often goes over many pages. With the concept of the
requirement of Fernhören, Schenker has uncovered a fact that is objectively present beyond everything
historical, beyond all only subjective taste. In the Beethoven Symphony the first bar already points to the
fifth, eighth, twentieth, thirtieth, even to bars until the end, and so it goes through the whole piece.173
171 For more information about the subject of pulse, proportion and metrics, the treatise by Patrick Lang, l.c.
211, is highly recommended.

172 cf. Swarowsky, l.c. 67
173 Wilhelm Furtwängler: Heinrich Schenker (1947), in: Ton und Wort, 7th ed., Wiesbaden, 1956, 202ff: ‘Das
Fernhören, das heißt das Hören, das Ausgerichtetsein auf eine weite Ferne, auf einen großen, oft über viele
Seiten weggehenden Zusammenhang, kennzeichnet für Schenker die ... klassische ... Musik. Mit dem Begriff der
Forderung des Fernhörens hat Schenker ... einen Tatbestand aufgedeckt, der jenseits alles Historischen, jenseits
allen nur subjektiven Geschmacks objektiv vorhanden ist ... In der Beethoven-Symphonie ... weist der erste Takt
bereits auf den fünften, achten, zwanzigsten, dreißigsten, ja auf Takte bis zum Schluß, und so geht es das ganze
Stück hindurch.’
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In summary, the method of Observation of Form as Movement provides – methodologically,
cognitively and experientially – the basis for the internalization of the score and also for its
realization in rehearsal and concert. It allows us to find a quality in a composition leading to
an understanding of the piece beyond its purely aesthetic appearance.
So, it allows us to find a criterion for perceiving something essential beyond the sensually
perceivable appearance of its surface, and to use this criterion. Thus, it enables us to render
the sound appearance and realization of compositions into a consequence of this Gestalt basis.
A grammar school teacher from Wuppertal called Hoske taught his students that no
assignment is more difficult and exigent than to condensing a tangled mass of information into
its essence: ‘Alles Denken ist Verdichten.’174
Re-disclosing such essence is the highest discipline of thinking. Revealing the essence of a
composition into the flow of the movement is thus the highest discipline of the musician, and
the method of Observation of Form as Movement is doubtlessly a very appropriate way to
achieve that goal.
In ideal terms, this analysis can never end. In reality, it ends, of course, when the realization in
the musical act imparts to it its final form. But every performing musician can testify that such
a final state will always be the pre-final state of the next realization.
174 Marco Wehr: ‘Das wusste unser Lehrer aber besser’, in: Frankfurter Allgemeine Zeitung, 09.02.2016: ‘Für
ernsthafte Denker gebe es keine schwierigere, anspruchsvollere Aufgabe, als einen Wust von Informationen auf
die existenziellen hin zu verdichten. Das Wesentliche vom Unwesentlichen zu scheiden, Wissen immer weiter zu
komprimieren, bis man es gedanklich fest in der Hand halt, um dann im Umkehrverfahren den gesammelten
Stoff wieder zu entfalten, war nach Hoske die Königsdisziplin des Denkens ... Alles Denken ist Verdichten.’ ‘For
serious thinkers, there is no more difficult and demanding task than to condense a mass of information towards
the existential. Separating the essentials from the insignificant, compressing knowledge further and further until it
is held firmly in one's mind, and then unfolding the collected material in the reverse process, is the supreme
discipline of thinking…All thinking is condensing.’
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B. The Symphonist
Egon Wellesz started his orientation towards the form of symphony with the utmost respect
for the difficulties and dimensions he would be facing. However, it seems that this momentum
was a result of all his prior work.
He started with the impact of his 1st Symphony, seeking then a new way, and was convinced
he had found it in the 5th Symphony. This was the basis for his following symphonies.
As a result of his profound studies of early music and his self-imposed obligation only to
pursue his own style of composition, he was homme libre enough to keep his distance to
convention anything ending in -ism: his oeuvre does not fall into the categories of classicism,
romanticism, modernism or eclecticism.
Wellesz stated his clear opinion on New Music in an essay which is partly quoted in Schollum.
It does not concern what is commonly known as Neue Musik, but an ideal of ‘New Music’ as
he imagined it to be, so it is a statement about himself and his ethos as a composer:
The composition must speak instead of the composer, he states, and music should
express what stands eternally behind the coincidences of life. Only in such a way music
can find back to itself… The fear of not being modern enough, of not including
sufficient ‘effects’ ‘pour épater le bourgeois’ would result in self deception: ‘Betrogene Betrüger!’
And he challenges whether the ethos of arts should really be subject to the domination
of external factors. It requires courage, he goes on to say, to resist the mass of
orchestral sound determined by ‘pseudo-Strindbergian self-confessions’ and the deprivation
of the rights of the orchestra, polyphony and form… No sacrifice can be too big,
however, when it is a matter of bringing music back to a pure art free of the
randomness of the psychological state of mind. 175
Hans Gál, who stated that music was not conceivable without form, can confirm this
statement.176 He wrote that objectifying musical expression was a feature of the Classics,
conceding that the desire for expression even in Romantics did not necessarily pose a
175 Robert Schollum, l.c. 34ff

176 Hans Gál, l.c. 97
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contradiction to form, as could be seen in the cases of Schumann and Brahms. In this sense,
Wellesz is their true and direct descendant.
This fact, his ism-lessness, and the circumstance that his tonal diction was not conditioned by
the aesthetical expectations on the part of the public but rather by being the result of the
internal principles of the musical material itself, caught him between two stools. He was, and
probably is, ‘too modern for the traditionalists and too traditional for the modernists.’177 An unprejudiced
understanding on the ground of a free perception of his compositions is needed to be able to
perform his works in the way they deserve.
Be it in his 1st or his 5th Symphonies, Wellesz succeeds in giving form to musical expression,
and he succeeds in observing form, in creating prerequesites which can, dependent on the
realization, make Gestalt appear, also in the rigour a symphonic work requires, as Sibelius had
pointed out.178
N.B.: After 1945, e.g. in Darmstadt,179 form per se was challenged and even negated,180 also as
a consequence of mankind’s self-destruction, put in a nutshell by Adorno in his dictum that
‘writing poetry after Auschwitz is barbaric.’181 Without fear of the odium of simplification the
consequence of this might lead to an ultimate deconstruction. But would negating something
arising from human perception not imply negating human perception altogether? This
argument might also simplify what cannot be simplified; the author will, however, consider
the question answered, if there is still a justification for composing a symphony.
The aim of this study is finally not to give a personal opinion. So, the author will refrain from
stating his conviction that Egon Wellesz is a great symphonist. But the author hopes to have
been able to demonstrate that Egon Wellesz was a true symphonist.
177 The author knows this from hearsay, a source cannot be quoted here.
178 Although ‘Wellesz despised Sibelius, claiming that the Finnish composer had only written sketches for
symphonies’, cf. Paul Conway in: Egon Wellesz, An Austrian Symphonist in Britain, http://www.musicweb-
international.com/wellesz/wellesz.htm, 1999. This article also contains a general descriptive overview of his
symphonic oeuvre.
179 cf. http://darmstadtschool.weebly.com/
180 cf. Walter Griesler: Komposition im 20. Jrd., Celle, 1975, e.g. 7
181 cf. a relevant article in Wikipedia with further discussion:
https://de.wikipedia.org/wiki/Nach_Auschwitz_ein_Gedicht_zu_schreiben,_ist_barbarisch
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C. Final Remark
Denn Eines und Dasselbe ist Erkennen und Sein.

Parmenides, Fragmente IV
It is indeed difficult, even impossible, to state something or talk about music – not because
there is not a lot to say, but because the words we use have such broad meanings and because
language is not music and vice versa. By this reason, it is also very difficult to find criteria to
assess a composition. The method explained shows a way to perceive and understand the
Gestalt of a composition beyond its aesthetic manifestation. By this, it creates a terminology
which actually enables us to speak about music unequivocally.
If still in doubt at all, the question may also remain unanswered whether the symphony is ‘the
most sublime medium of musical expression,’182 as Wellesz stated. But it seems unimportant to this
study, since Wellesz was convinced about it, and the striking succinctness of the symphonies
which were subject to this study, bear witness to it as well as to the timelessness of the
symphony as a form.
For the performing artist and the decision-makers in programming, the important question
concerns why the compositions by Wellesz, like those of other ‘outlawed’ composers, are still
so blatantly disregarded.
The world of classical music is supposed to be in a crisis. One of the reasons might be a
certain redundancy of programming, sometimes making concerts self-assuring and exclusive
events, in terms of excluding. There is obviously still a lot of music to be discovered even by
performers, and a lot of music to be presented to the audience, especially from vanished
worlds. This requires curiosity and courage, and therefore it is a challenge and a duty for
today’s musicians. It might even represent an existential contribution to keeping the world of
classical music open and vibrant.
Also in this context, the discovery and appreciation of Egon Wellesz’s symphonies has long
been overdue.
182 cf. footnote 39
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The method of the Observation of Form as Movement has shown its clarity and value as a
real practice to the performing musician, also as a beautiful example for the fact that there
cannot be any theoretical solution for a musical problem.183 There is a crucial difference
between playing successive notes or actually forming the piece in terms of Gestalt. Preparing
any piece on the ground of this method enables the performing artist to internalize all the
other elements, such as harmony, melody, rhythm, dynamics, tempo and instrumentation into
the mind; the mind integrates these other parameters into the frame of the form as formative
elements. The process of this integration is a constant point of reference for this truth.
If we want to bring a score to its realization, the foundations provided by this method seem
most appropriate to re-build the piece in the very act of musical performance. Arriving now at
the end of our considerations, the question may be raised for future thoughts whether and to
what extent the realization of form is the precondition for real presence.
Bugeanu, as seen above, explained the secret of the first conductor’s step in unifying the three
movements: the movement of the world (score), the movement of the body (gesture) and the
movement of awareness (cogito).184 It is, to use Parmenides’ words, one way of making
Erkennen and Sein one, or ‘Eines und Dasselbe.’185
The final word may go to the synthesis of two elementary thoughts by Egon Wellesz and
Constantin Bugeanu, as an advice for and a demand on us, the performers, always to try to
find, and to realize, verwirklichen,
the essence of the musical act in the most sublime medium of musical expression.
***
183 cf. Lang, l.c. 214: ‘il ne saurait y avoir de réponse théorique à un problème musical’.
185 Parmenides, Fragmente IV., in: Parmenides, Übersetzung, Einführung und Interpretation von Kurt Riezler, Frankfurt, 3rd
edition, 2001, 27
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- 102 -
Bibliography
Bernhard, Thomas Holzfällen, Frankfurt, 1988
Benser, Caroline Cepin Egon Wellesz (1885–1974): chronicle of twentieth-century musician. New
York, 1985
Bierhance, Jörg ‘Solfeggio: The Next Step’, in: Podium Notes of The Conductors Guild,
Chicago, Summer/Fall 2000, there 4-7
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Phänomenologie – Ein Vortrag, edited by Gundolf Lehmhaus, Munich, 2001
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forgotten-modernist/
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Frankfurt, 3rd edition, 2001
Ringblom, Nils-Eric Jean Sibelius, Olten, 1950
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Schollum, Robert Egon Wellesz, Wien, 1964
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Süddeutsche Zeitung, 28.06.1992, re-published in: http://www.hiller-
musik.de/lau80.htm
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Swarowsky, Hans Die Wahrung der Gestalt, Wien, 1979
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09.02.2016
Wellesz, Egon Gustav Mahler und die Wiener Oper, Frankfurt/M., 1960
Zweig, Stefan Die Welt von Gestern, Frankfurt, 2006
Manuscripts
Bierhance, Jörg Cahiers de Bugeanu, manual transcripts from his classes
- 105 -
Scores referenced
Egon Wellesz Symphony No. 1, op. 62, Schott, Facsimile of the Autograph
Egon Wellesz Symphony No. 5, op. 75, Musikverlag Hans Sikorski
Egon Wellesz Vorfrühling, op. 12 (1912), Universal Edition (reprint in Repertoire

Explorer, Munich, 2005)
Egon Wellesz Heldensang, op. 2 (1905), Doblinger, Wien
Egon Wellesz Suite für Orchester, op. 16 (1913), Doblinger, Wien
Egon Wellesz Prosperos Beschwörungen, op. 53 (1934-1936), Fünf symphonische Stücke

nach Shakespeare’s Der Sturm, Doblinger, Wien
Egon Wellesz Festlicher Marsch (1929), Universal Edition
Egon Wellesz Stringquartet No. 5 op. 60 (1943), Schott
Egon Wellesz “The Leaden Echo and the Golden Echo”, op. 62 (1944), Schott
Johannes Brahms Symphony No. 2, in: Complete Symphonies, The Vienna Gesellschaft der
Musikfreunde Edition, edited by Hans Gál, re-edited by Dover Publications,
New York, 1974
Anton Bruckner Symphony No. 5, Musikwissenschaftlicher Verlag der Int. Bruckner

Gesellschaft, 1951
Anton Bruckner Symphony No. 9, Musikwissenschaftlicher Verlag der Int. Bruckner

Gesellschaft, 1951
Joseph Haydn Symphonies 60, 92, 100, all: Critical Edition of the Complete Symphonies,
Edited by H.C. Robbins Landon, Revision 1981
Gustav Mahler Symphony No. 1 ‘Titan’, Universal Edition after Critical Edition of the
Complete Works (1992), Wien, 2009
Gustav Mahler Symphony No. 9, Philharmonia at Universal Edition, no year
Felix Mendelssohn Bartholdy Symphony No. 3, “Schottische”, Breitkopf & Härtel
Franz Schubert Sinfonie Nr. 7 in h “Unvollendete”, ed. by Werner Arnhold, Bärenreiter-

Urtext, Kassel etc., 4th printing 2003
Wolfgang Amadeus Mozart Il dissoluto punito ossia Don Giovanni, KV 527, ed. by Wolfgang Plath and
Wolfgang Rehm, Bärenreiter Urtext, NMA, Kassel 1968
Wolfgang Amadeus Mozart Die Zauberflöte, KV 620, ed by Gernot Gruber and Alfred Orel, Bärenreiter
Urtext, NMA, Kassel 1970
Robert Schumann Symphony No. 4, Versions 1841 and 1851, Breitkopf, 2003 and 1998
Jean Sibelius Symphony No. 4, Breitkopf & Härtel, 1998
The complete List of Works by Egon Wellesz can be found at:

http://www.egonwellesz.at/wellesz_werkverzeichnis.htm
- 106 -
Annex I: Glossary
Glossary of terms and abbreviations used
Abg Abgesang
accel accelerando
Auf Aufgesang
Auft Auftakt
Bar ‘Gestalt’ of Barform
Ch Choral
Einl Einleitung/Introduction
HS, hs Hauptsatz
HS’, hs’ Hauptsatz-Reprise
id identical
Id Idee/Idea
Kad Kadenz/Cadenza
MS, ms Mittelsatz
mvt. movement
NSt Nachstollen
Par Parenthesis/Scheidung
q. quasi
Ra Rahmen
Rückl Rückleitung / return
SchlGr Schlussgruppe/Final, or conclusive Group
St Stollen
Th Thema/Theme
ÜL Überleitung/Transition
Zus Zusatz /addendum
‘R2’ also ‘R1’, ‘R3’, ‘R4’: ritmo di due (tre, quattro) battute
√ Auslassung/ellipsis
∪ ‘mit Ring’, bar not counted where end is either cut or integrated into the
next bar group. e.g.: (2∪) is counted as 1 bar
∫ Sign for a stretto in a counterpoint situation, e.g.: 3∫3 with 3 bars each
- 107 -
Annex II: ‘Solfeggio’ of Constantin Bugeanu
Table of Constantin Bugeanu’s system of ‘Solfeggio’
x Di Ro Mu Fu Ga Le Si Di
# De Ri Mo Fo Gu La Se De
Da Re Mi Fi Go Lu Sa Da
b Du Ra Me Fe Gi Lo Su Du
bb Do Ru Ma Fa Ge Li So Do
- 108 -
Annex A: Egon Wellesz, Symphony No. 1, 1st Movement

© Mit freundlicher Genehmigung/By permission of
SCHOTT MUSIC, Mainz – Germany
-A-
Annex B: Egon Wellesz, Symphony No. 5, 1st Movement

© Mit freundlicher Genehmigung/By courtesy of
MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG, Hamburg
-B-

Bierhance - The Observation of Form

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The Observation of Form

The form analysis method of

in reference to the 1st and 5th Symphonies of

Egon Wellesz: SYMPHONY No. 1, Opus 62 (1945), 1st Movement

Egon Wellesz: SYMPHONY No. 5, Opus 75 (1956), 1st Movement

Credits of Photos and Figures:

©Jörg Bierhance, 2018

Hoping for and dedicated to all world’s seconds

Ana and Aitana

and my parents, Ulla and Peter

For many different reasons, my heartfelt thanks also go to:

from once: Sergiu Celibidache, Stefan Gheorghiu, Günther Theuring,

Index of Photos and Figures

Notre nature est dans le mouvement

2 Nils-Eric Ringblom: Jean Sibelius, Olten, 1950, 125

University, 1930-1945, OUP 2017

Man muss seinen Weg gehen, ohne zu suchen

Forgotten Modernist, in: https://forbiddenmusic.org/2014/06/04/egon-wellesz-1885-1974-the-forgotten-

13 Robert Schollum, l.c. 7

In a speech he held on 26 June 1960 in commemoration of Gustav Mahler’s centennial at the

17 Quoted in: Amanda Holden, l.c. para. 3

C. The Music Historian

19 Quoted after Robert Schollum, l.c. 12

25 Robert Schollum, l.c. 15: Urgründe: ‘primordial grounds’

29 cf. reference in footnote 20

32 cf. Robert Schollum, l.c. 48, Hartmut Krones, l.c. para. 2

Fig. 1: Egon Wellesz, Portrait

Symphony No. 1 op. 62 1945

It was then his 9th Symphony. Wellesz died in Oxford in 1974.

36 Amanda Holden, l.c. para. 12

In der Musik ist das Höchste an Einsicht musikalischer Natur.

It is very difficult to touch the core of a truly creative work.

Henning Ritter, long-standing chief editor of the humanities section at Frankfurter

40 George Steiner: Von realer Gegenwart, München/Wien, 1990, 34

Wir denken in rhythmischer Logik. Unsere Kraft ist,

In this method, the appearance of the composition is condensed in a ‘Präsenzstrecke’ (‘range of

45 Cahiers de Bugeanu: transcripts from his classes by the author.

‘The real cause of a melodic line is its quest to become form.’52

Therefore, methodically, the actual composition is observed, since a method cannot be

‘to try to find the essence of the musical act.’59

Fig. 2: Constantin Bugeanu, Portrait

world premiere in Berlin, 14 March 1948

Hegel, Ästhetik III

heißt Gestalten, das künstlerische Resultat Gestalt.’

‘There is no alternative to music, and therefore, there is no interpretation.’75

69 Quoted after Alfred Brendel, in: http://derstandard.at/2000028344248/Alfred-Brendel-Ich-bin-nie-ein-

With Pascal in mind,79 Constantin Bugeanu is quoted here:

The constitutive element of the method of Observation of Form as Movement is thus

77 As explained by von Canal, l.c. 67

82 Sergiu Celibidache, Lehmhaus, l.c. 26

Lorenz refers here to the second Stollen as a repetition of the exposition

84 Lorenz: Meistersinger, 184

• Gegenbar (‘Counter-bar’): m-n-n, or: Aufgesang, erster Nach-Stollen, zweiter Nach-Stollen

A very good example of its application can be found in the first

b) Potenzierte Formen (‘Exponentiated Forms’)

86 Lorenz: Meistersinger, 186

Landon, Volume X, revised edition, Wien-London, 1981

Bugeanu deduces the basic forms as follows:

a) Basic Form Types

• Barform: Stollen – Stollen – Abgesang (1St, 2St, Abg)

Es war die aufregendste Arbeit meines Lebens, und

The method of Observation of Form as Movement demands ex rerum naturam an approach in

5th October – 14th December 1945, Oxford

27 HS (163) 1St-1Th (70)