Perspectives on Anton Bruckner

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Perspectives on Anton Bruckner

edited by Crawford Howie, Paul Hawkshaw, and Timothy Jackson

Ashgate, c2001

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Includes index

Description and Table of Contents

Description

A century after his death Anton Bruckner still remains one of the most complex and enigmatic creative personalities of the nineteenth century. A leading avant-garde figure of his generation, he was an accomplished performer and teacher in addition to being a great composer; few people in the history of western music can boast his level of achievement in all these areas combined. This book, a collection of essays written by an international group of scholars, offers diverse theoretical and musicological perspectives on Bruckner the composer-teacher-performer. Facets of his formidable theoretical training and his application of it as part of the compositional process are explored. A variety of analytical methodologies is used to examine the Second through to the Ninth Symphonies, the heart of the composer's mature repertoire. Finally, aspects of Bruckner's career as a teacher and performer, his complex personality, his influence and dissemination of his music are considered.

Table of Contents

  • Contents: Introduction
  • Theoretical Perspective and Compositional Practice: A composer learns his craft: lessons in form and orchestration, 1861-63, Paul Hawkshaw
  • Bruckner's Oktaven: the problem of consecutives, doubling and orchestral voice-leading, Timothy L. Jackson
  • Symphonist: Analytical Considerations: The early version of the Second Symphony, William Carragan
  • Master and disciple united: the 1889 finale of Bruckner's Third Symphony, Thomas RAder
  • Continuity in the Fourth Symphony (first movement), Edward Laufer
  • The expressive role of disjunction: a semiotic approach to form and meaning in the Fourth and Fifth Symphonies, Robert S. Hatten
  • 'Harmonic daring' and symphonic design in the Sixth Symphony: an essay in historical musical analysis, Benjamin Marcus Korstvedt
  • The Adagio of the Sixth Symphony and the anticipatory tonic recapitulation in Bruckner, Brahms and DvorA!k, Timothy L. Jackson
  • Bruckner's free application of strict Sechterian theory with stimulation from Wagnerian sources: an assessment of the first movement of the Seventh Symphony, Graham H. Phipps
  • Musical time in the Eighth Symphony, Joseph C. Kraus
  • The facts behind a 'legend': the Ninth Symphony and the Te Deum, John A. Phillips
  • Man, Musician and Reception: On unity between Bruckner's personality and production, Constantin Floros
  • Bruckner - the travelling virtuoso, Crawford Howie
  • Students and friends as 'prophets' and 'promoters': the reception of Bruckner's works in the Wiener Akademische Wagner-Verein, Andrea Harrandt
  • Anton Bruckner and 'German music': Josef Schalk and the establishment of Bruckner as a national composer, Thomas Leibnitz
  • Siegmund von Hausegger: a Bruckner authority from the 1930s, Christa BrA1/4stle
  • Ludwig Wittgenstein's remarks on Bruckner, Peter Palmer
  • Richard Wetz (1875-1935): a Brucknerian composer, Erik Levi
  • Index.

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