Perspectives on Anton Bruckner

Crawford Howie, University of Manchester, UK, Paul Hawkshaw, Yale University, USA, and Timothy Jackson, University of North Texas, USA Paul Hawkshaw, Timothy L. Jackson, William Carragan, Thomas Roder, Edward Laufer, Robert S. Hatten, Benjamin Marcus Korstvedt, Timothy L. Jackson, Graham H. Phipps, Joseph C. Kraus, John A. Phillips, Constantin Floros, Crawford Howie, Andrea Harrandt, Thomas Leibnitz, Christa Brustle, Peter Palmer, Erik Levi.

"There is a wealth of material here, and the depth and breadth of learning make this a book to return to for information and stimulation. The fruit of close study, it repays close study and sheds more light on an endlessly fascinating composer." The Bruckner Journal 'Musical examples and charts are clearly printed, while the seven manuscript plates included are superbly reproduced on art paper. Footnotes, included at the end of each chapter, are as relevant and scholarly as one would expect from a publication of this importance. For an in-depth, technical and only rarely abstruse volume on all aspects of Bruckner, this can be confidently recommended' International Record Review '...the volume is immensely valuable in its new insights into his approaches to composition.' The Organ 'Anyone with a scholarly interest in Bruckner will certainly want to search this book out and music libraries should add it to their collection.' American Record Guide

• Contents: Introduction; Theoretical Perspective and Compositional Practice: A composer learns his craft: lessons in form and orchestration, 1861-63, Paul Hawkshaw; Bruckner’s Oktaven: the problem of consecutives, doubling and orchestral voice-leading, Timothy L. Jackson; Symphonist: Analytical Considerations: The early version of the Second Symphony, William Carragan; Master and disciple united: the 1889 finale of Bruckner’s Third Symphony, Thomas Röder; Continuity in the Fourth Symphony (first movement), Edward Laufer; The expressive role of disjunction: a semiotic approach to form and meaning in the Fourth and Fifth Symphonies, Robert S. Hatten; ’Harmonic daring’ and symphonic design in the Sixth Symphony: an essay in historical musical analysis, Benjamin Marcus Korstvedt; The Adagio of the Sixth Symphony and the anticipatory tonic recapitulation in Bruckner, Brahms and Dvorák, Timothy L. Jackson; Bruckner’s free application of strict Sechterian theory with stimulation from Wagnerian sources: an assessment of the first movement of the Seventh Symphony, Graham H. Phipps; Musical time in the Eighth Symphony, Joseph C. Kraus; The facts behind a ’legend’: the Ninth Symphony and the Te Deum, John A. Phillips; Man, Musician and Reception: On unity between Bruckner’s personality and production, Constantin Floros; Bruckner - the travelling virtuoso, Crawford Howie; Students and friends as ’prophets’ and ’promoters’: the reception of Bruckner’s works in the Wiener Akademische Wagner-Verein, Andrea Harrandt; Anton Bruckner and ’German music’: Josef Schalk and the establishment of Bruckner as a national composer, Thomas Leibnitz; Siegmund von Hausegger: a Bruckner authority from the 1930s, Christa Brüstle; Ludwig Wittgenstein’s remarks on Bruckner, Peter Palmer; Richard Wetz (1875-1935): a Brucknerian composer, Erik Levi; Index.