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my husband was much occupied with an analysis of the Adagio of Bruckner's Ninth Symphony. He had begun the project in January of 1995, and it was very near completion when he died, though unfortunately he had written little of the text. (It was his habit to do the writing quickly at the end.) He claimed to have written it up 'a couple of times' and then destroyed it because it 'wasn't right' and he didn't want it to be used in that form after his death. What I found later was the beginning of an article on the computer (seven singlespaced pages), tapes of a lecture he had given to graduate students on the subject, his music examples, a 'period outline' of the Adagio, notes for a 'chronological journey' through the movement, several short outlines of the projected paper, notes and ideas scattered throughout his diary, and all his (handwritten) graphs and reductions. I cannot be certain that these latter are complete, but from the way he talked about them I think that essentially they are. Notes he had written to himself in brackets on the graphs made it clear that he intended to include one or two additional things: these I have added in notation. I have also added the tempo indications from the score. Otherwise the graphs/reductions are as he left them. In addition we had talked about various aspects of the analysis on many occasions. I have tried to piece together the materials he left with a minimum of intervention, though I have changed the notes for his 'chronological journey' into prose. I have used only a small portion of the lecture. What I have used I have left in its original (spoken) form; thus it is not in the style in which he would have written it had he got that far. All the text that I have written myself is either in italic typeface or enclosed in square brackets, and the author of notes is identified as my husband, myself or William Drabkin. I wish to express my deepest gratitude to Anthony Pople and William Drabkin for their advice concerning the best way of arranging the materials, and especially to the latter for his very careful reading of both the original materials and my edited version, for his invaluable help in analytical matters and for sharing with me his knowledge of original sources. Preamble For a long time, in what might be called the dark ages of Bruckner receptionwhen the symphonies were little performed outside Austria, when the state of editions and manuscript sources constituted the next best thing to musicological chaos and when, apart from the fact that emulating Schubert in his final Music Analysis, 18/i (1999) 6 DERRICK PUFFETTyear Bruckner once sought the instruction of Simon Sechter, little was known about Bruckner's music-theoretical attitudes (this was at a time when not even Sechter's writing was widely known) -knowledge of these attitudes was confined to two remarks, remarks which, though there was no reason to doubt their veracity, were of a highly informal nature and were presented in a way which might seem to make them even more questionable than was actually the ...
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