Bruckners Musik

Schubert, Giselher

doi:10.1007/978-3-476-00345-4_7

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“…This approach is partly foreshadowed by Bruckner's two most influential early twentieth‐century apologists, August Halm and Ernst Kurth, who also identified a more processual logic in Bruckner. As Giselher Schubert points out, Halm approaches Bruckner's music basically as an ‘expressive temporal art’ (2010, p. 65), deliberately distancing himself from the schematic understanding of form. He recognises that the seemingly episodic elements of Brucknerian form are unfolded in what he calls ‘epic succession’ (‘die epische Aufeinanderfolge’ [Halm 1914, p. 56]), which retains a high degree of ‘consequentiality’, as is especially evident in ‘the overarching dynamic shapes arising mostly from harmonic but also thematic processes that carry the music through its epic succession of escalatory and balancing de‐escalatory phases’ (Rothfarb 2009, p. 121) 3.…”

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

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Bruckners Musik

Cited by 1 publication

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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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