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Where Brahms and Bruckner really antipodes, as believed in the late 19th century or had their contemporaries overestimated the «dimension of their distance»? This book seeks an answer to this question. It is based on the principles of intermediality and on a method of semantic analysis, developed by the author and applied to numerous musical works.
A bold, deeply researched, and long-needed debunking of the platitudes and prejudices that have long clouded our view of the personality and compositional habits of Anton Bruckner. Bruckner was, and continues to be, among the most divisive figures in the history of nineteenth-century music, in large part owing to the complexities and contradictions of his personality and the amalgam of differing stylistic features that characterize his musical language. Miguel J. Ramirez's insightful book scrutinizes the stereotypes about Bruckner's personality that loom large in the public imagination, the controversial editorial policies behind the publication of his collected works, and the trends in the reception of his music that were set early on by a handful of Viennese journalists. Working to undo the platitudes and prejudices that cloud our view of Bruckner's true personality and compositional habits, this study debunks the entrenched misconception that he was a helpless victim of "the Viennese press"-a notion contradicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.ence, grandeur, and emotional sweep.
Bruckner's Fourth: The Biography of a Symphony is a detailed account of the music and history of the most well-known symphony by the great Austrian composer Anton Bruckner (1824-1896). This book presents the first accurate, complete account of the history of this symphony based on extensive new research and critical analysis.
Examines in detail the contexts of Brahms's masterpiece and demonstrates that, contrary to recent consensus, it was performed and received as an inherently Christian work during the composer's life.
Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation.
Johannes Brahms was until now widely regarded as the archetype of the «absolute musician». Based on new research, the study shows how close autobiographic and poetic elements are in fact linked to his oeuvre. Like Robert Schumann, Brahms subscribed to an aesthetic of «poetic» music. In many of his compositions he got his inspiration from personal experiences, poems or images, as is shown by hitherto unpublished documents, letters, and diary entries, as well as from close analyses of individual works. Brahms's personality, too, is seen in a new way. He adopted Joseph Joachim's motto «Frei, aber einsam», «Free but Alone». The tonal code F - A - E, the musical symbol of this, recurs frequently in his works. Not least, the English version of the book, originally published in German in 1997, includes four additional chapters that investigate novel aspects by dealing in detail with the First Symphony, the German Requiem, Nänie and the Four Serious Songs. The American Brahms Society stressed the importance of the study for all those who want to come to know the unknown Brahms.
Each discussion contributes to a portrait of these three composers as musical storytellers, each in his own way simulating the structure of lived experience in works of art."--BOOK JACKET.
While unappreciated and controversial during most of his life, Anton Bruckner is today regarded as the greatest symphonist between Beethoven and Gustav Mahler - in terms of originality, boldness and monumentality of his music. The image of Bruckner the man, however, is still extreme instance of the tenacious power of prejudice. No less a figure than Gustav Mahler coined the aperçu about Bruckner being «a simpleton - half genius, half imbecile». The author is out to correct that misperception. His thesis in this study is that contrary to what has hitherto been asserted, there is an intimate relation between Bruckner's sacred music and his symphonies from multiple perspectives: biographical data, sources and influences, the psychology of creation, musical structure, contemporary testimony and reception history. Additional chapters assess important Bruckner recordings and interpreters and the progressiveness of his music.