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, finally, Nazism has been conscientiously reconstructed, questions of the way such issues should still situation our responses to the track stay unaddressed. this significant examine isolates frustrating problems with interpretation, research, reception, and ancient situation, 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
Thus: bars 367 to 374 develop a2 sequentially; bars 375 to 398 combine a1 with a rhythmic form of c1; bars 399 to 414 combine a1 and b1; bars 415 to 418 combine a1 with c1. Once more, the topical discourse is supported by motivic processes: the conflict of topics is part of a coherent motivic process, which proceeds through two phases of expansion for the first-theme motives to a combination of first-, second- and third-group motives.
Finally, the structure of b1 is retrieved at bar 193, and leads to an extended cadential continuation. 1. 8, is varied with each strain of the chorale. At the same time, motive b5 consistently forms the basis of the accompaniment. Significantly, aside from the accompanimental form of b5, which persists until its liquidation by augmentation in bars 145 to 146, references to these motives become more diffuse with the appearance of the Tristan quotations. After the reprise at bar 161, which reinstates these motives in their original form, the polka departs even further from the motivic content of the statement.
Bruckner’s symphonic style, however . . 63 For Dahlhaus, the root of Bruckner’s special status is a tendency to invert the relationship of rhythm and pitch. Whereas developing variation, which Dahlhaus identifies in Schoenbergian terms as the ‘musical logic’ of ‘the classical–romantic tradition’, treats interval content as the defining factor of the symphonic theme, for Bruckner the ‘ground level’ of thematic identity was rhythm, with pitch and interval content being malleable around an invariant rhythmic pattern.