Buch, Englisch, 450 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 679 g
Buch, Englisch, 450 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 679 g
ISBN: 978-1-138-26334-5
Verlag: Routledge
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.
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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 Röder; 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 Dvorák, 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 Brüstle; Ludwig Wittgenstein’s remarks on Bruckner, Peter Palmer; Richard Wetz (1875-1935): a Brucknerian composer, Erik Levi; Index.
