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.
"There is a wealth of material here, and the depth and breadth of learning make this a book to return to for information and stimulation. The fruit of close study, it repays close study and sheds more light on an endlessly fascinating composer." The Bruckner Journal 'Musical examples and charts are clearly printed, while the seven manuscript plates included are superbly reproduced on art paper. Footnotes, included at the end of each chapter, are as relevant and scholarly as one would expect from a publication of this importance. For an in-depth, technical and only rarely abstruse volume on all aspects of Bruckner, this can be confidently recommended' International Record Review '…the volume is immensely valuable in its new insights into his approaches to composition.' The Organ 'Anyone with a scholarly interest in Bruckner will certainly want to search this book out and music libraries should add it to their collection.' American Record Guide
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 RÃ¶der; 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 DvorÃ¡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 BrÃ¼stle; Ludwig Wittgenstein’s remarks on Bruckner, Peter Palmer; Richard Wetz (1875-1935): a Brucknerian composer, Erik Levi; Index.