Music and ideology: Thoughts on Bruckner

Musical Quarterly

Volumn 80, Issue 1, 1996, Pages 1-11

  Botstein, Leon ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 60949759017     PISSN: 00274631     EISSN: None     Source Type: Journal    
DOI: 10.1093/mq/80.1.1     Document Type: Editorial

References (12)

1. See U. Dibelius, et al., eds. Karl Amadeus Hartmann (Tutzing: Hans Schneider, 1995)
2. Karl Amadeus Hartmann, Klagegesang (1944-45), Studien-und Dirigierpartitur ED 7887, ed. A. D. McCredie (Mainz: Schott, 1990)
3. See Anton Bruckner, V. Symphonie (Originalfassung), vol. 5 of Sämtliche Werke: Kritische Gesamtausgabe, ed. Robert Haas (Leipzig: Musikwissenschaftlicher Verlag, 1935)
4. and V. Symphonie B-Dur, vol. 5 of Anton Bruckner, Sämtliche Werke: Kritische Gesamtausgabe, ed. Leopold Nowak (Vienna: Musikwissenschaftlicher Verlag, 1951)
5. See, among others, Margaret Notley, "Brahms as Liberal: Genre, Style, and Politics in Late Nineteenth Century Vienna," 19th-Century Music 17, no. 2 (Fall 1993): 107-23
6. See, for example, Edward Timms, Karl Kraus, Apocalyptic Satirist (New Haven: Yale University Press, 1986). It is ironic that all three individuals Wagner mentions were not, strictly speaking, Jewish since they converted (Kraus and Schoenberg) or were ultimately not Jewish at birth (Wittgenstein)
7. The literature on this subject is obviously quite extensive. A good place for non-specialists to start is an impressive new one-volume history with a fine bibliography; see Ernst Hanisch, Der lange Schatten des Staates: Öesterreichische Gesellschaftsgeschichte im 20. Jahrhundert (Vienna: Ueberreuter, 1994)
8. Often the way in which Bruckner's contribution to the German sensibility was distinguished from Richard Wagner's in Austrian cultural criticism was through the use of the notion of naiveté and Bruckner's "childlike" quality. See Friedrich von Hausegger, "Anton Bruckner," in Gedanken eines Schauenden: Gesammelte Aufsätze ed. Siegmund von Hausegger (Munich: Bruckmann, 1903), 240-43
9. There are many other variations on the theme of Bruckner's special Austrian contribution to the German spirit. See Max Morold, Anton Bruckner (Leipzig: Breitkopf und Härtel, 1912), 9-10. After 1871 the distinction between the political, urban, and calculating Northern Germany and the rural, apolitical, and spiritual Austrian German became increasingly useful
10. See Friedrich C. Heller and Peter Revers, Wiener Konzerthaus: Geschichte und Bedeutung, 1913-1983 (Vienna: Konzerthaus, 1983), 213-22
11. and Franz Grasberger and Lothar Knessl, "Statistik," in Hundert Jahre Goldener Saal (Vienna: Gesellschaft der Musikfreunde, 1960)
12. See Bryan Gilliam, "Perspectives on Bruckner," Current Musicology 57 (1995): 95-100