Bruckner – the travelling virtuoso

Howie, Crawford

doi:10.4324/9781315089881-14

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“…For instance, in his 1886 review of a performance of the Seventh Symphony, Gustav Dömpke remarked: ‘Bruckner lacks the feeling for the basic elements of any musical structure and for the combination of a series of integral harmonic and melodic parts’ (trans. Howie 2002, p. 508) 1. Similarly, Heinrich Schenker (1908) made the criticism that in Bruckner's music, ‘the sense of sonata form is merely to present ideas in succession, no matter how and wherefore a potpourri could not also possess the value of an organic whole’ (trans.…”

Section: Introductionmentioning

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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Section: Introductionmentioning

confidence: 99%

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

KIM

2024

Music Analysis

View full text Add to dashboard Cite

show abstract

Bruckner – the travelling virtuoso

Cited by 1 publication

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

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