Von den »Schularbeiten« bis zur Zweiten Sinfonie

Steinbeck, Wolfram

doi:10.1007/978-3-476-00345-4_10

Cited by 1 publication

(2 citation statements)

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“…This P-based zone is distinguished from those in the exposition and recapitulation by its steady process of goal-directed textural, dynamic, and harmonic intensification (Steigerung). 52 Dramatically speaking, the P-based insertion as a whole, and its climax or apex in particular, are central to Bruckner's mature slow-movement formal conception. In WAB 103/II-1873Z, for example, the recapitulation, despite engaging S modules, is unable to secure the tonic, let alone attain ESC.…”

Section: Early Stage: 1873z[nowak]mentioning

confidence: 99%

“…53 The 51 The main exception is the Sixth Symphony, whose recapitulatory P-theme nonetheless draws on rhetorical aspects characteristic of this post-recapitulatory thematic iteration. 52 The only exception is WAB 102/II, which exhibits the process in an early, incompletely realized variant. Here the two P-modules are treated separately (P In the midst of a triumphant tutti fortissimo, the immediate impression created is that of finally having attained the movement's long-delayed dramatic completion; a moment of revelation, in which the sonorous splendor of the redemptive brass choir leads the orchestral body's sublime breakthrough into the light.…”

Section: Early Stage: 1873z[nowak]mentioning

confidence: 99%

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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: Early Stage: 1873z[nowak]mentioning

confidence: 99%

Section: Early Stage: 1873z[nowak]mentioning

confidence: 99%