Perspectives on Anton Bruckner

Cover -- Half Title -- Title -- Copyright -- Contents -- List of Plates -- Acknowledgements -- Abbreviations -- Notes on contributors -- Introduction -- Part One Theoretical Perspective and Compositional Practice -- 1 A composer learns his craft: lessons in form and orchestration, 1861-3 -- 2 Bruckner's Oktaven: the problem of consecutives, doubling, and orchestral voice-leading -- Part Two Symphonist: Analytical Considerations -- 3 The early version of the Second Symphony -- 4 Master and disciple united: the 1889 Finale of the Third Symphony -- 5 Continuity in the Fourth Symphony (first movement) -- 6 The expressive role of disjunction: a semiotic approach to form and meaning in the Fourth and Fifth Symphonies -- 7 'Harmonic daring' and symphonic design in the Sixth Symphony: an essay in historical musical analysis -- 8 The Adagio of the Sixth Symphony and the anticipatory tonic recapitulation in Bruckner, Brahms and Dvořák -- 9 Bruckner's free application of strict Sechterian theory with stimulation from Wagnerian sources: an assessment of the first movement of the Seventh Symphony -- 10 Musical time in the Eighth Symphony -- 11 The facts behind a 'legend': the Ninth Symphony and the Te Deum -- Part Three Man, Musician and Reception -- 12 On unity between Bruckner's personality and production -- 13 Bruckner - the travelling virtuoso -- 14 Students and friends as 'prophets' and 'promoters': the reception of Bruckner's works in the Wiener Akademische Wagner-Verein -- 15 Anton Bruckner and 'German music': Josef Schalk and the establishment of Bruckner as a national composer -- 16 Siegmund von Hausegger: a Bruckner authority from the 1930s -- 17 Ludwig Wittgenstein's remarks on Bruckner -- 18 Richard Wetz (1875-1935): a Brucknerian composer -- Index