Bruckner's Symphonies: Analysis, Reception and Cultural by Julian Horton

By Julian Horton

Regardless of major advances in Bruckner scholarship, many difficulties persist. even supposing the connection among Bruckner's track, post-Wagnerian ideology and, eventually, Nazism has been rigorously reconstructed, questions of ways such issues may still our responses to the track stay unaddressed. this crucial examine isolates tricky problems with interpretation, research, reception, and historic situation, and provides power options via case reviews of person works.

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Thus, whilst the social resonances of the 12 13 The textual situation of the Third Symphony is perhaps more complex than that of any other work by Bruckner. It underwent two major revisions, in 1877 and 1889, in addition to which Bruckner also provided an extra version of the Adagio. For a detailed study of the early development of this work, see Thomas R¨oder, Auf dem Weg zur Bruckner Symphonie: Untersuchungen zu den ersten beiden Fassungen von Anton Bruckners Dritte Symphonie (Stuttgart, 1987).

Hans Grunsky’s analysis of the Ninth Symphony, which made extravagant claims for the dialectical logic of the work, was based on Ferdinand L¨owe’s edition, with which Bruckner had no contact at all, having died seven years before its publication. The reception of Bruckner in its critical or apologetic aspects is not tied to the resolution of philological problems. Coherence, incoherence, competence and incompetence have been detected regardless of the editions used. Comprehension of these matters is better served by looking beyond the individual issues comprising the ‘Bruckner problem’ to the philosophical contexts from which they emerge.

Simpson also considered Bruckner’s basic difficulty to be his attempt to make a fundamentally anti-classical style accord with classical forms, and Lionel Pike’s detection of a conflict of types of symphonic logic in the Fourth Symphony invokes the same dichotomy. Appropriations of Schenker and Schoenberg have followed a similar path. 70 Yet it is precisely this rejected philosophical context that has proved instrumental in making sense of Bruckner, especially the application of dialectics as an analytical or music-historical method.

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