the main theme, though the Bruckner rhythm that accompanied it in the exposition is absent. Instead, the development is propelled throughout by the triplet motif that first appeared in the third subject of the exposition. Harmonically, the development encompasses a myriad of modulations, abruptly traversing between E and A major, seemingly signaling the beginning of the recapitulation. The beginning of the recapitulation is, in fact, a climax, serving as both the end of the development and the beginning of the recapitulation, marking the first time in symphonic literature that this has occurred. If not for this climactic moment, one could have trouble identifying the exact moment of recapitulation as the return of the tonic and the return of the primary theme do not coincide (in fact, there are 15 bars in between the two events). In true Bruckner form, it encompasses a complete restatement of the theme groups from the exposition and is otherwise uneventful, setting the stage for the coda which Donald Tovey described as one of Bruckner's greatest passages. In the Coda, Bruckner passes through the entire spectrum of tonality, leaving no key unsuggested; however, he establishes no tonal center except for A major. The opening phrase of the first theme appears throughout, joined (bar 345) by the rhythmic motive from the beginning. An exultant final statement of that theme and the completion of a massive plagal cadence signal the end of the first movement. II. Adagio: Sehr feierlich (Very solemnly) The second movement is in obvious sonata form, the only example of a sonata structure Adagio in Bruckner's symphonies, apart from that of the "nullified" Symphony in D minor and the early draft of the Adagio of the First Symphony, dating from 1865. Simpson went so far as to describe the movement as the most perfectly realized slow sonata design since the Adagio of Beethoven's Hammerklavier sonata The movement opens with a theme in the strings, a yearning love song that is joined (bar 5) by a mournful lament on the oboe: Simpson points out that the frequent Neapolitan inflections of the first movement are expanded here, beginning with the B and F in the primary melodic line that make it natural that the movement should be in F major, though the opening initially ambiguously suggests B minor. After a brief transitional passage, there is a modulation to E major that marks the introduction of the second