Limited Two-Dimensional Form and Orbital Tonality in Nielsen's Fourth Symphony

This article applies two concepts in recent music theory – Steven Vande Moortele’s notion of ‘two-dimensional form’ and my notion of ‘orbital’ tonality – to explicate the relationship between form, movement cycle and progressive tonal planning in Nielsen’s Fourth Symphony. It pays special attention to the relocation of the first movement’s second-theme recapitulation as the coda of the entire work and the resulting embedding of the symphonic movement cycle within an overarching sonata form. In tandem, it explains the Symphony’s directed tonal scheme in terms of the interplay of three tonal ‘orbits’ – C, D and E – the conflict between which underpins the work’s formal drama. The analysis is framed by a consideration of how these practices evidence Nielsen’s modernism, couched in dialogue with the views of Robert Simpson, David Fanning and Daniel Grimley.