Saint-Saens wrote it in 3 weeks, and it is scored for a classical orchestra (1 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals and strings). More of a homage to Beethoven and Mozart, the work has three movements, but with a small twist on the tempo of the work. Typically, classical three movement sonata form is fast, slow, then very fast. In this case, Saint-Saens opens the piece with a melody that is in the style of Bach, but much more chromatic and harmonic than a baroque concerto. The basic them is introduced by the piano, and then taken up by the orchestra. The piece is lively, with even the slower movement making sense in that the propel the ear forward styles seem to change from this opening Baroque, through a mostly Classical treatment, with a bit of the romantic of the late 19th century piece. There are not many chromatic surprises, and the piece leaves on with a reaction of being satisfied -- of the ear being rested instead of tested, pleasant and content without unnecessary fanfare and flair (Kief, ed., 2005, pp.109-30). Part 4- Symphony #6 in a Major -- Anton Bruckner (1881). Of all the pieces in this particular setting, Bruckner's a Major Symphony was the longest and most complex. Some of Bruckner's pieces have the reputation of being incredibly complex and cerebral, but the 6th Symphony in its 4 movements is rather classical in structure, using late romanticism as a harmonic base -- much like Mahler and Richard Strauss. When listening to the piece as a whole, one cannot help but note that rather than longer themes, Bruckner seems to use small motifs that appear throughout the work. He also used the dominant seventh chord and cadences to single different parts of the movements, along with what is known as the Bruckner Rhythm, which...

186).
This piece went through several versions, including one by Gustav Mahler that cut out a great deal of the piece. The audience hears classical form and rhythm, but also new techniques that Bruckner used to push the envelope (Phrygian themes, Neapolitan sounds and textures, and the ability to simply change tempo, timbre and feeling based on a new tune (motif) introduced. The piece alternates between solo and tutti sections and ends with a brass choir swelling the sounds so that by the end, one feels like they have been taken on an emotional journey (Gault, 2011).

Sources:

Adorno, T. (1996). Mahler: A Musical Physiognomy. Chicago, IL: University of Chicago Press.

Keefe, S. (2004). The Cambridge Companion to the Concerto. Cambridge: Cambridge

Gault, D. (2011). The New Bruckner. Burlington, VT: Ashgate Publishing.

Korstvedt, B. (2004). Aspects of Bruckner's approach to Symphonic form. In John Williamson,

ed. The Cambridge Companion to Bruckner. Cambridge: Cambridge University Press.

Melograni, P. (2007). Wolfgang Amadeus Mozart: A Biography. Chicago, IL: University of Chicago Press.

Listening Guide:

Overture to Die Entfuhrung aus dem Serail -- Mozart http://www.youtube.com/watch?v=aue8bSn8e3o

Adagietto from Symphony No. 5 -- Mahler

http://www.youtube.com/watch?v=VWPACef2_eY

Piano Concerto in G minor, Op. 22 Saint-Saens

http://www.youtube.com/watch?v=j4Q3-DSlDtU

Symphony No. 6 in a Major, WAB 106 Bruckner

http://www.youtube.com/watch?v=AaYTGXKC-4U

Common phrases or terms; not plagiarism