direct everything towards the Finale and its ending... and continually keep something in reserve for the conclusion." Jochum also detailed tempo and its relationships and modifications as an element in achieving overall direction and unity, and regarded the quarter notes in the first-movement introduction as "the fundamental tempo". Also, he wrote that in the Finale's double fugue, "it is not enough to bring out themes as such [because] subsidiary parts would be too loud." To get the desired contrapuntal clarity, he detailed dynamic subtleties required. First movement The work begins with a majestic slow introduction which, although beginning in B major, traverses several keys: This is the only one of Bruckner's symphonies to begin with a slow introduction, but all the others, except Symphony No. 1, begin with sections that are like introductions in tempo, easing into the main material, like the opening of Beethoven's Ninth. It eventually leans heavily toward D major without actually tonicizing it. The introduction progresses into a main movement in sonata form. After a climax in A major, the texture is thinned until only a violin tremolo remains. This tremolo, starts on A, then moves to D, suggesting that D will become a tonal focal point. Instead, the opening theme is in B minor: Like much of Bruckner's music, this movement's exposition contains three main key regions instead of the usual two. The second theme group is in F minor, and comprises a small ternary form, with sections in F minor, D major, and F minor: Bruckner introduces the third theme in an unprepared tonality (D major): In the recapitulation, the themes' tonality progresses from B minor to G minor to E major. The coda begins in B minor, but eventually shifts to the parallel major mode. Second movement The main material of the Adagio and Scherzo movements is similar, although heard of course at different tempos and launching different developments. The Adagio primarily relies upon the alternation of two thematic sections, the first of which contains a metrical superimposition of six against four: The second features a chorale on the strings: Third movement The Scherzo of this symphony is unique in all of Bruckner's scherzi; the scherzo is in a three-theme sonata form instead of the usual binary form. The movement opens at a high tempo before slowing down for the second theme (note the bassline is the same as the one that opens