A composer learns his craft: lessons in form and orchestration, 1861–3*

Hawkshaw, Paul

doi:10.4324/9781315089881-1

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“…In accordance with the proposed scope of textual sources, two text-state types are discerned on the basis of the text-critical distinction between source and edition: textual states found in 1) the various kinds of manuscripts prepared by Bruckner, his copyists, and other collaborators; and 2) the editions (published and unpublished) based on these manuscripts. 20 A textual state belonging to the first type (i.e., manuscripts) will be identified through the name prefix and call number given by the institution that, at present, owns the physical document containing the textual state. For example, the textual state found in the 1866 autograph score that Bruckner left incomplete when working on the Adagio of WAB 101 (today preserved at the Österreichische Nationalbibliothek in Vienna), is identified as Mus.…”

Section: Text-critical Issues: Organizing and Labeling System 19mentioning

confidence: 99%

“…This organizing and labelling system is an abridged version of that found in Venegas 2017, p. 80-82, here adapted to account only for the textual characteristics displayed by the examples used in the article's second part 20. Since these are not facsimile editions of the source documents, type 2 textual states cannot be equated with the type 1 textual states on which they are based.…”

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Bruckner Problem and The Study of Musical Form

Carro

2022

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This study proposes an analytical methodology and theoretical framework that seeks to turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential. Because textual multiplicity does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a two-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a brief comparison of two renditions of the slow movement of Bruckner’s First Symphony, WAB 101 and a detailed consideration of each of the surviving realizations of the slow movement of his Third Symphony, WAB 103.

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Section: Text-critical Issues: Organizing and Labeling System 19mentioning

confidence: 99%

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Bruckner Problem and The Study of Musical Form

Carro

2022

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“…5151Along with the practice of blurring the boundary between the development and recapitulation previously discussed (see n. 44 above), this tonal narrative can also be associated with Bruckner's bipartite sonata conception, which regards the exposition as the first part and the rest of the movement as the second part. For a discussion of how Bruckner's educational background might have influenced this two‐part sonata conception, see Hawkshaw (2001). …”

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Sonata Form as Temporal Process: the First Movement of Bruckner's Sixth symphony

KIM

2024

Music Analysis

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The timeworn view that Bruckner's sonata form is a motionless architecture devoid of dynamic processes has long contributed his isolation from the mainstream post‐Beethovenian tradition. Taking inspiration from August Halm's (1914) and Ernst Kurth's (1925) approaches, which were aimed at overcoming this view, this article seeks to elucidate the processual aspects of Bruckner's symphonic form in light of recent theoretical developments in musical form. Specifically, it combines William Caplin's form‐functional theory (1998), especially its beginning–middle–end paradigm, with Matthew Arndt's (2018) reconception of formal functionality to construct a new framework for the analysis of Bruckner's symphonic forms.By way of an analytical case study of the first movement of Bruckner's Sixth Symphony, the article reveals that the expression of continuous motion occurring across discrete formal entities, often further dramatised by ‘wave dynamics’ (Kurth 1925), is fundamental to Bruckner's reinvigoration of sonata form's inherent temporal process in a post‐Romantic context. In the exposition, the inter‐thematic beginning, middle and end paradigms are redistributed to the three thematic groups, which express their unique temporal domain while delineating a continuous tonal journey from the home key to the subordinate key. The remainder of the movement articulates a gradual journey of homecoming, with each subsequent large‐scale part addressing previously suggested tonal implications. Ultimately, the modified form‐functional approach adopted in this study sheds light on Bruckner's exceptional care for formal syntax on various levels of structure, and its close association with an overarching, though unconventional, tonal plot.

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“…19–20]), nor had he ever used the term Durchführung , the German equivalent of ‘development’ (Korstvedt , p. 204, n. 26). For a chronological record of Bruckner's study of Richter and Lobe as reflected in the Studienbuch , see Hawkshaw (), pp. 20–1.…”

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The Formal Ramifications of Bruckner's Bipartite Sonata Form

Lai¹

2018

Music Analysis

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As a composer who had received intensive training in music theory, notably through Simon Sechter and Otto Kitzler, Bruckner's understanding of sonata form as a bipartite design as addressed in Formenlehre manuals is no secret to us. By taking as its point of departure an examination of the treatises of Ernst Friedrich Richter and Johann Christian Lobe, which Bruckner had consulted, this paper broadens our understanding of Bruckner's treatment of form and content in the sonata discourse by exploring his compositional approaches within a specific formal area – the music surrounding the onset of the recapitulation – in order to show how the perception of the development plus recapitulation as a unified formal space is reinforced. Analyses of opening movements and finales of his symphonies have revealed three major strategies of projecting the binary construction: ‘false recapitulation’, Type 2 sonata (Hepokoski and Darcy 2006), and what I call ‘enclosure’; the third strategy provides an additional means of evading the boundary between the development and recapitulation. At a time when composers such as Berlioz and Liszt had already discarded sonata form and were experimenting with new formal criteria, tonal‐harmonic options and alternative aesthetics, Bruckner remained faithful to it and expressed his belief in its potential for the symphonic medium.

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A composer learns his craft: lessons in form and orchestration, 1861–3*

Cited by 3 publications

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Bruckner Problem and The Study of Musical Form

Bruckner Problem and The Study of Musical Form

Sonata Form as Temporal Process: the First Movement of Bruckner's Sixth symphony

The Formal Ramifications of Bruckner's Bipartite Sonata Form

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