Perspectives on Anton Bruckner

449 Pages·2001·122.662 MB·English

by  Crawford Howie, Paul Hawkshaw, Timothy Jackson

PERSPECTIVES ON ANTON BRUCKNER
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Perspectives on Anton Bruckner
Edited by
Crawford Howie, Paul Hawkshaw
and Timothy Jackson
First published 2001 by Ashgate Publishing
Published 2016 by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © Crawford Howie, Paul Hawkshaw and Timothy Jackson, 2001.
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1988.
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British Library Cataloguing-in-Publication data
Perspectives on Anton Bruckner
1. Bruckner, Anton, 1824-1896-Criticism and interpretation
I. Howie, Crawford II. Hawkshaw, Paul III. Jackson, Timothy L.
780.9'2
Library of Congress Cataloging-in-Publication data
Perspectives on Anton Bruckner I edited by Crawford Howie, Paul Hawkshaw, and
Timothy Jackson.
p.cm.
Includes index.
1. Bruckner, Anton, 1824-1896 - Criticism and interpretation. I. Howie, Crawford,
II. Hawkshaw, Paul III. Jackson, Timothy L.
ML410.B88 P45 2000
780' .92-dc21
00-029309
Typeset in Sabon by Express Typesetters, Farnham, Surrey
ISBN 13: 978-0-7546-0110-4 (hbk)
Contents
List of Plates viii
Acknowledgements ix
Abbreviations x
Notes on contributors xi
Introduction xv
Part One Theoretical Perspective and Compositional Practice
1 A composer learns his craft: lessons in form and
orchestration, 1861-3 3
Paul Hawkshaw
2 Bruckner’s Oktaven: the problem of consecutives,
doubling, and orchestral voice-leading 30
Timothy L. Jackson
Part Two Symphonist: Analytical Considerations
3 The early version of the Second Symphony 69
William Carragan
4 Master and disciple united: the 1889 Finale of
the Third Symphony 93
Thomas Röder
5 Continuity in the Fourth Symphony (first movement) 114
Edward Läufer
V
vi Perspectives on Anton Bruckner
6 The expressive role of disjunction: a semiotic
approach to form and meaning in the Fourth
and Fifth Symphonies 145
Robert S. Hatten
7 ‘Harmonic daring’ and symphonic design in the Sixth
Symphony: an essay in historical musical analysis 185
Benjamin M. Korstvedt
8 The Adagio of the Sixth Symphony and the
anticipatory tonic recapitulation in Bruckner,
Brahms and Dvofák 206
Timothy L. Jackson
9 Bruckner’s free application of strict Sechterian
theory with stimulation from Wagnerian sources:
an assessment of the first movement of the
Seventh Symphony 228
Graham H. Phipps
10 Musical time in the Eighth Symphony 259
Joseph C. Kraus
11 The facts behind a ‘legend’: the Ninth Symphony
and the Te Deum 270
John A. Phillips
Part Three Man, Musician and Reception
12 On unity between Bruckner’s personality
and production 285
Constantin Floros
13 Bruckner - the travelling virtuoso 299
Crawford Howie
14 Students and friends as ‘prophets’ and ‘promoters’:
the reception of Bruckner’s works in the Wiener
Akademische Wagner-Verein 317
Andrea Harrandt
Contents vii
15 Anton Bruckner and ‘German music’: Josef Schalk
and the establishment of Bruckner as a
national composer 328
Thomas Leibnitz
16 Siegmund von Hausegger: a Bruckner authority
from the 1930s 341
Christa Briistle
17 Ludwig Wittgenstein’s remarks on Bruckner 353
Feter Palmer
18 Richard Wetz (1875-1935): a Brucknerian composer 363
Erik Levi
Index 395
List of plates
(between pages 68 and 69)
1 Piano piece in E flat major (WAB 119). Wn Mus. Hs. 3169, fol. lr.
2 Mass in F minor, Gloria, autograph score. Wn Mus. Hs. 2106, fol. 36v.
3 1866 composing score of Symphony No. 1. Wn Mus. Hs. 40.400, fol. 77r.
4 Autograph corrections to Symphony No. 3. Wn Mus. Hs. 6081, fols.
81v-82r.
5 Revision of Symphony No. 3, part autograph. Wn Mus. Hs. 6081, fol. 72v.
6 Copy of the score of Symphony No. 3. Wn Mus. Hs. 6029, fol. 16v.
7 Schenker’s first sketch of Brahms’s Fourth Symphony, third movement. New
York Public Library, Ernst Oster Collection, file 34, fol. 289v.
vin
Acknowledgements
The original versions of many of the chapters in this book were presented at the
second international conference Perspectives on Anton Bruckner: Composer;
Theorist, Teacher; Performer (1-4 April 1996) at The University of Manchester,
Great Britain, organized by Crawford Howie and Timothy L. Jackson. The
editors wish to express their gratitude to the faculty, staff, and students at the
University of Manchester and Connecticut College, USA, especially: John
Casken (Professor of Music, University of Manchester); Keith Elcombe (Head of
Music Department, University of Manchester); Professor Katharine Perera (Pro-
Vice-Chancellor, University of Manchester); the members of the Artemis String
Quartet (University of Manchester and Royal Northern College of Music,
Manchester); Claire Gaudiani (President of Connecticut College); Lucas Held
(Director of College Relations, Connecticut College); Roxanne Althouse
(Adjunct Professor of Voice, Connecticut College); Patricia Harper (Adjunct
Professor of Flute, Connecticut College); Kecia Ashford (Assistant Professor of
Voice, Hardin Simmons University, formerly Connecticut College); and Paul L.
Althouse (Professor of Musicology, Connecticut College), without whose help
and encouragement the conference could never have taken place. Hofrat Dr
Günter Brosche of the Music Collection of the Austrian National Library,
Vienna, granted permission for the facsimiles, and the score of Erinnerung is
reproduced by authority of the Musikwissenschaftlicher Verlag, Vienna. Richard
Schauer, the London representative of N. Simrock, granted permission to
reproduce excerpts from Wetz’s First Symphony (Berlin, 1924).
IX