Brahms and Bruckner as Artistic Antipodes Studies in Musical Semantics 1st Edition by Constantin Floros 3631660340 9783631660348

Brahms and Bruckner as Artistic Antipodes Studies in Musical Semantics 1st Edition by Constantin Floros – Ebook PDF Instant Download/Delivery: 3631660340, 9783631660348

Full download Brahms and Bruckner as Artistic Antipodes Studies in Musical Semantics 1st Edition after payment 

Product details:

ISBN 10: 3631660340 

ISBN 13: 9783631660348

Author: Constantin Floros

In the last third of the 19th century Brahms and Bruckner were regarded as antipodes. Is this perception really true to the historical reality or had their contemporaries overestimated the «dimension of their distance», as argued later? Both wrote autonomously conceived music, both held on to traditional forms, and both rejected program music. To find an answer to this question, part I tries to elucidate Brahms’ relation to Bruckner in its biographic, historical, artistic and art-theoretical aspects. At the center of the second part, whose subject is Brahms’ early work, is the question whether Brahms was indeed an autonomously working composer. The topic of the third part is a taboo of Bruckner research: Bruckner’s relation to program music. «The second and third part of the study achieve new insights. With a consistent analysis of biographic data and, simultaneously, a careful scrutiny of musical facts (increased experience in assessing the music of the 19th century), Floros gains convincing interpretations.» (Friedrich Heller about the German edition of the book) «The book is the result of Floros’s intensive study of Mahler, during which he found hitherto undiscovered clues to the interpretation of Brahms’s and Bruckner’s work. Most of the borrowings discussed confirm differences between the two composers in both ideologies and musical heritage. Long thought to be ‘absolute’ music, Bruckner’s compositions carry significant semantic meaning when the composer desired.»

Table of contents:

Part One: Brahms and Bruckner: A Radical Historical, Art-Theoretical and Artistic Contrast

I. Aspects and Issues
II. Art and Personality
III. The Conflict
IV. Art-Theoretical Controversies

1. “Zukunftsmusik” vs. Absolute Music

2. Heteronomic vs. Autonomic Aesthetics

3. Apologetics of Invention vs. Apotheosis of Execution

4. Progressivism vs. Traditionalism
   V. On Historical Classification
   VI. Parallelisms and Antitheses
   VII. The Relation to Historicism
   VIII. “Heirs” of Beethoven

5. A Common Model: Beethoven’s Ninth Symphony

6. About the Middle Movements of Brahms’ and Bruckner’s Symphonies
   IX. Parallelisms and Antitheses Once More
   X. Richard Wagner

Part Two: The Unknown Brahms

XI. Brahms: An Autonomous Composer?
XII. “Young Kreisler”

1. Documentation

2. Brahms’ Identification with E. T. A. Hoffmann’s Chrysostomus-Kreisler
   XIII. Schumann’s Essay “Neue Bahnen”: A New Interpretation

3. Genetic Documents

4. “Johannes as the True Apostle”: the Essay as a Messianic Prophecy

5. The Essay as Lehrbrief for the “Young Kreisler”

6. “A Secret Alliance of Kindred Spirits”: The Essay as Musico-Political Manifest
   XIV. Schumann and Brahms: Brahms’ Schumann Variations (op. 9) and Schumann’s “Davidsbündlert”

7. Biographic Backgrounds: “The Portentous Days: Clara, Aurora, Eusebius”

8. Schumann as a Technical Model

9. Schumann as a Spiritual Model: Brahms-Kreisler and Eusebius-Florestan
   XV. The Piano Variations Op. 23: A Monument to Robert Schumann
   XVI. “Benedictus qui venit in nomine Domini”: On the “Mass quotation” in the Adagio
   XVII. A Special Kind of Father-Son Relationship

Part Three: The Unknown Bruckner

XVIII. Bruckner – “the most Absolute of Absolute Musicians”?
XIX. Bruckner and the Program Symphony

1. Relations to Liszt

2. Relations to Berlioz
   XX. On Bruckner Exegesis: The “Tone Symbol of the Cross” (Liszt)
   XXI. The Program of the “Romantic” Symphony

3. Bruckner’s Explanations, Especially in the Letter to Paul Heyse

4. Bruckner’s Conception of the “Romantic.” Affinity with “Lohengrin”

5. The Program Particulars and the Music

6. Conclusion
   XXII. The Program of the Eighth Symphony: Musical Semantics and Historical Contexts

7. The Letter to Weingartner (1891) and Stradal’s Account (1886)

8. The Program of the First Movement and the Dutchman’s Aria

9. The “German Michel” (Scherzo)

10. The Adagio and Joseph Schalk’s Commentary (1892)

11. Finale

Afterword
Notes
Selective Bibliography

1. General

2. Literature about Brahms

3. Literature about Bruckner

4. Literature about Brahms and Bruckner

5. Literature about Clara und Robert Schumann
   Register of Works

People also search:

brahms and arensky

brahms and tchaikovsky

anton bruckner analysis

anton bruckner books

anton bruckner best

Tags: Constantin Floros, Brahms, Bruckner, Artistic