Bruckner's Symphonies: Analysis, Reception and Cultural by Julian Horton

By Julian Horton

Regardless of major advances in Bruckner scholarship, many difficulties persist. even if the connection among Bruckner's song, post-Wagnerian ideology and, eventually, Nazism has been rigorously reconstructed, questions of the way such issues may still our responses to the tune stay unaddressed. this crucial examine isolates problematical problems with interpretation, research, reception, and ancient place, and provides capability strategies via case stories of person works.

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51. 10 Moreover, Floros can only deploy Bruckner’s comments as a basis for understanding the whole work by linking aspects of the programme to specific motivic materials, and then extrapolating extra-musical meanings from motivic processes about which Bruckner said nothing. Thus, although the aesthetic context through which music was comprehended cannot be dismissed, the use of the remaining fragments of programmatic explanation as a hermeneutic starting point often requires the analyst to supply interpretations that have little basis in historical information.

5 Third Symphony (1873), Finale Topical combinations in third-group recapitulation elements, the flutes and clarinets contain a version of the plainchant motive, the trombones intone the rhythm of the first theme, and the trumpets allude to the chorale-prelude associations of the second group by asserting the first theme of the first movement, in augmentation and after the manner of a cantus firmus. The thematic organisation of the Finale is also concerned with disintegration rather than consolidation: before the synthetic events of the coda, the material is presented in its most stable form in the exposition.

24 B r u c k n e r ’s s y m p h o n i e s thought relied heavily on diluted appropriations of the central European Formenlehre tradition, deploying its normative concepts of the classical formal patterns, whilst abandoning its overtly Hegelian motivations. Tovey’s 1911 essay on sonata form drew on the formalistic aspects of A. B. Marx’s theories, as perhaps filtered through their reception by Prout. It advanced a concept of the form that was not agreeable to the main characteristics of Bruckner’s music as Tovey perceived them.

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