Anton Bruckner, Sein Leben und Werk

Reich, Willi; Auer, Max

doi:10.2307/931726

Acta Musicologica

1935

DOI: 10.2307/931726

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Anton Bruckner, Sein Leben und Werk

Willi Reich¹,

Max Auer²

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1983

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Cited by 3 publications

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“…11The original source of Dömpke's review is the Wiener Allgemeine Zeitung , 30 March 1886, quoted in Göllerich and Auer ([1922–37] 1974), vol. 4, pt.…”

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confidence: 99%

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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“…11The original source of Dömpke's review is the Wiener Allgemeine Zeitung , 30 March 1886, quoted in Göllerich and Auer ([1922–37] 1974), vol. 4, pt.…”

mentioning

confidence: 99%

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

KIM

2024

Music Analysis

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Kurth's "Bruckner" and the Adagio of the Seventh Symphony

Parkany¹

1988

19th-Century Music

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The Date of Bruckner's "Nullified" Symphony in D Minor

Hawkshaw¹

1983

19th-Century Music

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th-Century Music. In 1895, about a year before his death, Anton Bruckner sorted through his manuscripts, organizing those he wished to preserve and destroying the remainder.1 In the process, he came across the autograph score of a Symphony in D Minor which, to the best of our knowledge, he had neglected for more than twenty years. Although the work did not belong to the corpus of nine numbered symphonies for which the composer is best remembered, he included the score among those that he felt worthy of preservation.2 Reluctant to destroy it, yet hoping, perhaps, to ensure that future generations would assess the symphony in what he considered its proper perspective, he wrote annotations at various places in the manuscript. These annotations include

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Anton Bruckner, Sein Leben und Werk

Cited by 3 publications

References 0 publications

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

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

Kurth's "Bruckner" and the Adagio of the Seventh Symphony

The Date of Bruckner's "Nullified" Symphony in D Minor

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