Bruckner, Anton

The Cambridge Companion to Bruckner (Cambridge Companions to Music)

Sixteen essays by leading experts introduce the lay reader to issues that have concerned scholars over the past twenty years regarding Anton Bruckner (1824-1896). They provide an introduction to the composer's life and works, covering such problematic areas as his relationship to Vienna; the numerous editions of his symphonies; performing styles; and his appropriation by the Nazis during the Third Reich. They also consider the extent to which his Catholicism shaped not just his religious music but his symphonies as well.

This Companion provides an overview of the composer Anton Bruckner (1824 1896). Sixteen essays by leading experts introduce the lay reader to issues that have concerned scholars over the past twenty years. They provide an introduction to Bruckner's life and works in all genres, covering such problematic areas as his relationship to Vienna, the numerous editions of his symphonies, performing styles, and his appropriation by the Nazis during the Third Reich. They also consider the extent to which his Catholicism shaped not just his religious music but also his symphonies.

Bruckner, Mahler, Schoenberg

Text extracted from opening pages of book: Bruckner Mahler Schoenberg DIKA NEWLIN KING'S GROWN PRESS MORNINGSIDE HEIGHTS : NEW YORK COPYRIGHT 1947 BY DIKA NEWLIN Printed in the United States of America by Vail-Ballou Press, Inc. King's Crown Press is a division of Columbia University Press organized for the purpose of making certain scholarly material available at minimum cost. Toward that end,, the publishers have adopted every reasonable economy except such as would interfere with a legible format. hms First Printing: 1947 Second Printing: 1947 To my friends MARIAN PASCHAL and HENRIETTE VOORSANGER whose interest has made this work possible Acknowledgments Both author and publisher gratefully acknowledge the following per missions to use quotations, both of words and of music; without the amiable cooperation of those listed here, it would have been difficult indeed to have concluded this study. Associated Music Publishers, Inc., New York, for various quotations from works by Bruckner, Mahler and Schoenberg, Boosey and Hawkes, Inc., New York, for quotations from works by Mahler, reprinted by permission of the copyright owners, Boosey and Hawkes, Inc., New York; and also for the quotation from the Preface to Mahler's Das Lied von der Erde. Dodd, Mead and Co., New York, for quotation from Franz Grill parzer, by Gustav Pollak. ' E. P. Button and Co., Inc., New York, for quotations from Johannes Brahms, by Richard Specht, and from Arnold Schoenberg, by Egon Wellesz. The Greystone Press, New York, for quotation from Gustav Mahler, by Walter and Krenek, John W. Luce & Co., Boston, for quotation from Masks and Min strels of New Germany, by Percival Pollard. G. Schirmer, Inc., New York, for quotations from works by Beethoven and Bruckner, used by permission of the publisher, G. Schirmer, Inc. Arnold Schoenberg, for quotations from various works. Charles Scribner's Sons, New York, for quotation from Ivory, Apes and Peacocks, by James Huneker. The Macmillan Company, New York, for quotation from Thus Spake Zarathustra, by Friedrich Nietzsche ( translated by Alexander me.)* Preface . HE IDEA of this book originally came to me during my years of study with Arnold Schoenberg in Los Angeles ( 1938-1941). At that time I was first introduced to the most radical works of Schoenberg works virtually unknown in this country so far as public performances are concerned. I felt the need of a historical background which would explain the origins of the new style. It was this which brought me to a study of the works of Mahler and Bruckner; for Schoenberg's oft expressed indebtedness to Mahler plainly indicated that the roots of Schoenberg's style might be found in Mahler's scores ( however different Mahler's music might be in texture from Schoenberg's), and the re lationship between Mahler and Bruckner seemed well established. Thence, it was but a step to the conclusion that Schoenberg is not only the heir of Bruckner and Mahler but also the heir of the great Viennese classical tradition, which they transmitted to him. It is this conclusion which I have tried to prove in the following pages; it has been my desire to portray Schoenberg's works as the culmination of several centuries of historical development, rather than as the products of a wilful icono clasm. To this end, I have attempted to place Schoenberg in the Vien nese cultural scene by analyzing, not only the musical background, but also the literary, artistic, and political background of his generation a task which I have likewise performed for the period of Bruckner and of Mahler. Such an extensive project could never have been carried out without the assistance and cooperation of those who were familiar at first hand with the milieu which I wished to reconstruct. Though space forbids detailed acknowledgments, I would like to express here some measure of my gratitude to all who helped me in any capacity to Professor Paul Henry Lang and Dr. Erich Hertzmann, of the Department of Music, Columbia

Bruckner: Symphony No. 8 (Cambridge Music Handbooks)

Anton Bruckner's Eighth Symphony (1890), one of the last of the great Romantic symphonies, is a grandly complex masterpiece. This book explores this many-faceted work from several angles. It documents the complicated and often misunderstood history of the symphony's composition and revision and provides an accessible guide to its musical design. It demonstrates, by means of a study of well-known recordings, how performance styles have evolved in this century. It also revisits the conventional wisdom about the various versions and editions of the symphony and comes to some provocative new conclusions.

Bruckner's Eighth Symphony (1890), one of the last of the great Romantic symphonies, is a grandly complex masterpiece. This book explores this many-faceted work from several angles. It documents the complicated and often misunderstood history of the symphony's composition and revision and provides an accessible guide to its musical design. It demonstrates, by means of a study of well-known recordings, how performance styles have evolved in this century. It also revisits the conventional wisdom about the various versions and editions of the symphony and comes to some provocative new conclusions.

Bruckner (Master Musicians)

Celebrating its 100th anniversary, this extraordinary series continues to amaze and captivate its readers with detailed insight into the lives and work of music's geniuses. Unlike other composer biographies that focus narrowly on the music, this series explores the personal history of each composer and the social context surrounding the music. In a precise, engaging, and authoritative manner, each volume combines a vivid portrait of the master musicians' inspirations, influences, life experiences, even their weaknesses, with an accessible discussion of their work-all in roughly 300 pages. Further, each volume offers superb reference material, including a detailed life and times chronology, a complete list of works, a personalia glossary highlighting the important people in the composer's life, and a select bibliography. Under the supervision of music expert and series general editor Stanley Sadie, Master Musicians will certainly proceed to delight music scholars, serious musicians, and all music lovers for another hundred years.
This particular volume contains a vivid account of Bruckner's struggles and achievements both in his personal life and in his creative career. The later chapters cover each of his works in detail, from the mighty span of the mature symphonies to the smallest of his undeservedly neglected motets. As well, the characteristic features of his art and his strikingly individual conception of mass and symphony are discussed and set alongside the works of his contemporaries.

The Wind and Wind-Chorus Music of Anton Bruckner (Contributions to the Study of Music and Dance)

This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his current reputation rests, was marked by his experimental approaches to harmony and tonality. Many of his early compositions exhibit landmarks of his later style. The wind instrument pieces incorporate the best aspects of both of Bruckner's styles and reflect the progress of his professional life. Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.

The life and symphonies of Anton Bruckner

Bruckner's Symphonies: Analysis, Reception and Cultural Politics

Despite significant advances in Bruckner scholarship, many problems persist. Although the relationship between Bruckner's music, post-Wagnerian ideology and, ultimately, Nazism has been carefully reconstructed, questions of how such matters should condition our responses to the music remain unaddressed. This important study isolates problematic issues of interpretation, analysis, reception, and historical location, and offers potential solutions through case studies of individual works.

Despite signficant advances in Bruckner scholarship, many problems persist. Research into the manuscripts and editions has emphasised an increasing plurality of texts, but the consequences for interpretation and analysis have not been extensively explored. Similarly, although the relationship between Bruckner's music, post-Wagnerian ideology and ultimately Nazism has been carefully reconstructed, questions of how such matters should condition our responses to the music remain unaddressed. This important new study isolates problematic issues of interpretation, analysis, reception, and historical location, and offers potential solutions through case studies of individual works.

Anton Bruckner: Stationen eines Lebens

Zu Bruckners IX. Symphonie: Die Krakauer Skizzen = Bruckner's 9th Symphonie [sic] : the Cracow sketches

Bruckner: Ein Reisefuhrer ins Innere : 64 Prosagedichte