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This page intentionally left blank    Bruckner:Symphony No.8 Anton Bruckner’s Eighth Symphony (1890),one ofthe great Romantic sym- phonies, is a grandly complex masterpiece. Its critical reception has been fascinatingly contentious.Its music,at once extensive and distilled,directly confronts the problem of the symphony after Beethoven and after Wagner. This book explores this many-faceted work from several angles.It documents the complicated and often misunderstood history ofthe symphony’s composi- tion and revision and offers an accessible guide to its musical design.It demon- strates,by means ofa study ofwell-known recordings,how performance styles have evolved in this century.It also revisits the conventional wisdom about the various versions and editions ofthe symphony and comes to some provocative new conclusions.  is Assistant Professor ofMusic at the University of St.Thomas,St.Paul,Minnesota.He is currently writing a book on Bruckner and musical culture in the decades around 1900. CAMBRIDGE MUSIC HANDBOOKS   Julian Rushton Recent titles Bach:The Brandenburg Concertos   Bartók:Concerto for Orchestra   Beethoven:Eroica Symphony   Beethoven:Pastoral Symphony    Beethoven:The “Moonlight”and other sonatas,Op.27 and Op.31   Beethoven:Symphony No.9   Beethoven:Violin Concerto   Berlioz:Roméo et Juliette   Brahms:Clarinet Quintet   Brahms:A German Requiem   Brahms:Symphony No.1   Britten:War Requiem   Bruckner:Symphony No.8  .  Chopin:The Piano Concertos   Debussy:La mer   Dowland:Lachrimae (1604)   Dvorák:Cello Concerto   Elgar:“Enigma”Variations   Gershwin:Rhapsody in Blue   Haydn:The “Paris”Symphonies   Haydn:String Quartets,Op.50 .   Holst:The Planets   Ives:Concord Sonata   Liszt:Sonata in B Minor   Mahler:Das Lied von der Erde  .  Mahler:Symphony No.3   Mendelssohn:The Hebrides and other overtures .   Messiaen:Quatuor pour la fin du Temps   Monteverdi:Vespers (1610)   Mozart:Clarinet Concerto   Mozart:The “Haydn”Quartets   Mozart:The “Jupiter”Symphony  .  Nielsen:Symphony No.5   Sibelius:Symphony No.5   Strauss:Also sprach Zarathustra   The Beatles:Sgt.Pepper's Lonely Hearts Club Band   Tippett:A Child ofour Time   Verdi:Requiem   Vivaldi:The Four Seasons and other concertos,Op.8   Anton Bruckner:Symphony No.8 Benjamin M.Korstvedt           The Pitt Building, Trumpington Street, Cambridge, United Kingdom    The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org ©Cambridge University Press 2004 First published in printed format 2000 ISBN 0-511-03588-8 eBook (Adobe Reader) ISBN 0-521-63226-9 hardback ISBN 0-521-63537-3 paperback For Paula and Sam Contents Preface and acknowledgments pageix A note on editions and terminology xi Introduction 1 1 Placing the Eighth Symphony 3 2 The genesis and evolution ofthe Eighth Symphony 10 3 The musical design and symphonic agenda ofthe Eighth 27 4 The Adagio and the sublime 54 5 The 1887 version and the 1890 version 68 6 The 1892 edition,authorship,and performance practice 86 Appendix A:Haas’s edition ofthe Eighth Symphony 104 Appendix B:Textual differences between The Finale in the 1890 version and the the 1892 edition 107 Notes 111 Select bibliography 129 Index 132 vii

Description:
Anton Bruckner's Eighth Symphony (1890), one of the last of the great Romantic symphonies, is a grandly complex masterpiece. Its critical reception has been fascinatingly contentious. Its music, at once extensive and distilled, directly confronts the problem of the symphony after Beethoven and after
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Anton Bruckner, Symphony no. 8 PDF

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This page intentionally left blank    Bruckner:Symphony No.8 Anton Bruckner’s Eighth Symphony (1890),one ofthe great Romantic sym- phonies, is a grandly complex masterpiece. Its critical reception has been fascinatingly contentious.Its music,at once extensive and distilled,directly confronts the problem of the symphony after Beethoven and after Wagner. This book explores this many-faceted work from several angles.It documents the complicated and often misunderstood history ofthe symphony’s composi- tion and revision and offers an accessible guide to its musical design.It demon- strates,by means ofa study ofwell-known recordings,how performance styles have evolved in this century.It also revisits the conventional wisdom about the various versions and editions ofthe symphony and comes to some provocative new conclusions.  is Assistant Professor ofMusic at the University of St.Thomas,St.Paul,Minnesota.He is currently writing a book on Bruckner and musical culture in the decades around 1900. CAMBRIDGE MUSIC HANDBOOKS   Julian Rushton Recent titles Bach:The Brandenburg Concertos   Bartók:Concerto for Orchestra   Beethoven:Eroica Symphony   Beethoven:Pastoral Symphony    Beethoven:The “Moonlight”and other sonatas,Op.27 and Op.31   Beethoven:Symphony No.9   Beethoven:Violin Concerto   Berlioz:Roméo et Juliette   Brahms:Clarinet Quintet   Brahms:A German Requiem   Brahms:Symphony No.1   Britten:War Requiem   Bruckner:Symphony No.8  .  Chopin:The Piano Concertos   Debussy:La mer   Dowland:Lachrimae (1604)   Dvorák:Cello Concerto   Elgar:“Enigma”Variations   Gershwin:Rhapsody in Blue   Haydn:The “Paris”Symphonies   Haydn:String Quartets,Op.50 .   Holst:The Planets   Ives:Concord Sonata   Liszt:Sonata in B Minor   Mahler:Das Lied von der Erde  .  Mahler:Symphony No.3   Mendelssohn:The Hebrides and other overtures .   Messiaen:Quatuor pour la fin du Temps   Monteverdi:Vespers (1610)   Mozart:Clarinet Concerto   Mozart:The “Haydn”Quartets   Mozart:The “Jupiter”Symphony  .  Nielsen:Symphony No.5   Sibelius:Symphony No.5   Strauss:Also sprach Zarathustra   The Beatles:Sgt.Pepper's Lonely Hearts Club Band   Tippett:A Child ofour Time   Verdi:Requiem   Vivaldi:The Four Seasons and other concertos,Op.8   Anton Bruckner:Symphony No.8 Benjamin M.Korstvedt           The Pitt Building, Trumpington Street, Cambridge, United Kingdom    The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org ©Cambridge University Press 2004 First published in printed format 2000 ISBN 0-511-03588-8 eBook (Adobe Reader) ISBN 0-521-63226-9 hardback ISBN 0-521-63537-3 paperback For Paula and Sam Contents Preface and acknowledgments pageix A note on editions and terminology xi Introduction 1 1 Placing the Eighth Symphony 3 2 The genesis and evolution ofthe Eighth Symphony 10 3 The musical design and symphonic agenda ofthe Eighth 27 4 The Adagio and the sublime 54 5 The 1887 version and the 1890 version 68 6 The 1892 edition,authorship,and performance practice 86 Appendix A:Haas’s edition ofthe Eighth Symphony 104 Appendix B:Textual differences between The Finale in the 1890 version and the the 1892 edition 107 Notes 111 Select bibliography 129 Index 132 vii

Description:
Anton Bruckner's Eighth Symphony (1890), one of the last of the great Romantic symphonies, is a grandly complex masterpiece. Its critical reception has been fascinatingly contentious. Its music, at once extensive and distilled, directly confronts the problem of the symphony after Beethoven and after
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