Anton Bruckner: Symphony No. 8

Korstvedt, Benjamin M.

doi:10.1017/cbo9780511605918

Cited by 31 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…One of Bruckner's most salient motivations to compose the second version was Herman Levi's (the most famous conductor in the Bavarian Court) judgment that the 1887 version was impossible to perform. Robert Haas, one of the main editors of Bruckner's symphonies, regarded the second version as inauthentic because Bruckner's revisions were influenced by external pressure to simplify the technical difficulties of the earlier version, sacrificing thus “the work's organic ‘life‐essentials’” (see Korstvedt , 69, 104). In opposition, Benjamin Korstvedt considers the second version as authentic because the changes introduced by Bruckner “exhibit a compelling musical logic and it is wholly understandable that Bruckner felt that they improved the work” (, 72–76).…”

Section: The Standard View On Versions Versus Inspired Workmentioning

confidence: 99%

“…8. However, this would be a mistaken interpretation of Haas's judgment, shown by the evidence that, in the 1939 edition of the symphony, Haas introduced passages of the 1887 version into the 1890 version in an attempt to “restore the authentic sound and sense” (cited in Korstvedt , 104). This fact suggests that, in Haas's view, neither the 1887 nor the 1890 versions offer an adequate approach per se to Bruckner's Symphony No.…”

mentioning

confidence: 99%

“…Accordingly, only a combination of both versions would provide an adequate way of presenting the work, Bruckner's Symphony No. 8 (see Korstvedt , 69).…”

mentioning

confidence: 99%

See 2 more Smart Citations

The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types

Puy

2019

The Journal of Aesthetics and Art Criticism

View full text Add to dashboard Cite

This article explores the ontological nature of musical versions. I assume the widespread view that type/token ontologies offer the best explanation of the repeatable nature of works of music. However, I show that traditional type/token theories, which distinguish only between two levels of objects, face two problems when applied to the phenomenon of musical versions. First, they are not able to accommodate the familiar intuition of our musical practices that the work versioned is repeated in its versions’ performances. Second, they are not able to distinguish between two different phenomena of our practices: the phenomenon of a work's versions and the phenomenon of works inspired by, or derived from, other works. These undesirable consequences are entailed, under traditional two‐level type/token theories, by the nature of types as ontologically thin entities. I defend that the hypothesis of nested types, a multiple‐level type/token theory, can avoid these two problems while preserving the theoretical virtues of traditional two‐level type/token theories and structural monism—the most widely shared view about the individuation of musical works, according to which musical works are individuated by one, and only one, sound structure.

show abstract

Section: The Standard View On Versions Versus Inspired Workmentioning

confidence: 99%

mentioning

confidence: 99%

See 1 more Smart Citation

The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types

Puy

2019

The Journal of Aesthetics and Art Criticism

View full text Add to dashboard Cite

show abstract

“…See as exceptions Korte (), Gülke (), Floros () and Horton (). The most well‐known example of Bruckner's students’ attempts to explain his music to the public programmatically is Josef Schalk's programme for the Viennese premiere of the Eighth Symphony, on which subject see Korstvedt (), pp. 49–51.…”

mentioning

confidence: 99%

Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony

Horton¹

2018

Music Analysis

View full text Add to dashboard Cite

This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.

show abstract

“…For a list of supporters of the two camps for the recapitulation location in VIII/1, see Brooks (), pp. 15–16 and Korstvedt (), p. 118, n. 13. For additional views and analysis related to the two locations, consult Brooks (), pp.…”

mentioning

confidence: 99%

The Formal Ramifications of Bruckner's Bipartite Sonata Form

Lai¹

2018

Music Analysis

View full text Add to dashboard Cite

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.

show abstract

Anton Bruckner: Symphony No. 8

Cited by 31 publications

References 0 publications

The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types

The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types

Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony

The Formal Ramifications of Bruckner's Bipartite Sonata Form

Contact Info

Product

Resources

About