Music Theory Online. Mar2018, Vol. 24 Issue 1, p28-49. 22p.
SYMPHONY and CHROMATICISM (Music theory)
Because of their novel harmonic and formal tendencies, Bruckner's symphonies are often subjected to extravagant analytical practices. Schenker, himself a Bruckner student, viewed them as sublime, but ultimately unworkable, harmonic jumbles: "a potpourri of exaltations." Darcy has argued that Bruckner's second themes are largely presented in the "wrong" key, creating a nontraditional "suspension field ... [isolated] from the main line of ... symphonic discourse." Taking this view as a point of departure, I show (1) that Bruckner's second theme key choices do not break from tradition--they have precedent in earlier, more canonic literature; and (2) that distinct "profiles" emerge from them: I-to-V in opening movements, I-to-III-to-V in finales. These profiles suggest both that Bruckner conceived of deep structure as chromatically saturated, and that he varied the degree of saturation to differentiate between types of movements. Thus, Bruckner's chromatic second themes--far from "suspending" a movement's trajectory--represent powerful, energizing events en route to the dominant. [ABSTRACT FROM AUTHOR]
German Quarterly. Fall2018, Vol. 91 Issue 4, p460-472. 13p.
COMPOSERS, SYMPHONY, MUSIC & politics, and POLITICS & culture
In the 1930s, the symphonies of the Austrian composer Anton Bruckner (1824–1896) became the subject of intense discussion, often in ways that engaged with the most loaded issues in cultural politics of the time. Much of this discussion debated the effort to publish his symphonies in new, "unverfälscht" editions that removed the supposed taint of textual contamination from these works. While seemingly concerned with objective issues of musical scholarship, the rhetoric that supported this project was imbued to a remarkable extent with nationalist, anti‐Semitic, "völkisch," and fascistic subtexts. This article explores the roles played by ideological language, notably what Victor Klemperer dubbed "the language of the Third Reich," and ideological modes of thought, notably the system of values Claudia Koonz identified as "the Nazi conscience," in shaping and deciding this debate. It will conclude by considering the lingering influence of this legacy on postwar Bruckner reception. [ABSTRACT FROM AUTHOR]
MYSTICISM in music, CHRISTIAN spiritual life, and SYMPHONY
An essay is presented which explores the mystery and mysticism of the music "Eighth Symphony in C Minor" by composer Anton Bruckner. Topics discussed include the various recordings of "Eight Symphony," the connection of the music to Bruckner's Western Christian heritage and spiritual life and its finale combined with woodwinds and strings and brass and drums, which form a rousing monumental crescendo.