Perspectives on Anton Bruckner

Contents

• 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 RAder
• 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 DvorA!k, 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 BrA1/4stle
• Ludwig Wittgenstein's remarks on Bruckner, Peter Palmer
• Richard Wetz (1875-1935): a Brucknerian composer, Erik Levi
• Index.