By Julian Horton
Regardless of major advances in Bruckner scholarship, many difficulties persist. even if the connection among Bruckner's song, post-Wagnerian ideology and, eventually, Nazism has been conscientiously reconstructed, questions of ways such issues should still our responses to the track stay unaddressed. this significant examine isolates problematical problems with interpretation, research, reception, and historic position, and provides power strategies via case reviews of person works.
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Extra info for Bruckner's Symphonies: Analysis, Reception and Cultural Politics
Two further attempts to install a textural and structural stability are also emphatically negated. The four bars of chorale prelude in 423 to 426 are immediately interrupted by a further intervention of the third subject, and this once again leads to an abruptly imposed general pause. There is furthermore no sense of continuity or structural necessity relating the variant of the chorale prelude in bars 433 to 468 to the preceding climax; rather the chorale prelude is simply resumed after its disruption in bars 426 to 427.
32 B r u c k n e r ’s s y m p h o n i e s new styles of the early nineteenth century – notably the monumental public gestures of the symphony, the domestic contexts of the Lied and the piano miniature, the affectations of bel canto and French grand opera and their pianistic transplantation into the salon and concert hall – have clear social significance, ramification within the kind of stylistic and social totality that Ratner implies is no longer possible. At best, these affiliations cohabit with a fund of reified topical references that fulfil functions within retained classical forms and genres, of which the symphony was the most prestigious example.
144. 24 B r u c k n e r ’s s y m p h o n i e s thought relied heavily on diluted appropriations of the central European Formenlehre tradition, deploying its normative concepts of the classical formal patterns, whilst abandoning its overtly Hegelian motivations. Tovey’s 1911 essay on sonata form drew on the formalistic aspects of A. B. Marx’s theories, as perhaps filtered through their reception by Prout. It advanced a concept of the form that was not agreeable to the main characteristics of Bruckner’s music as Tovey perceived them.
Bruckner's Symphonies: Analysis, Reception and Cultural Politics by Julian Horton