0 Anton Bruckner s Slow Movements: Dialogic Perspectives Gabriel Ignacio Venegas University of Arizona / Universidad de Costa Rica gabovenegas@email.arizona.edu Society for Music Theory 40th Annual Meeting Arlington, Virginia November 5, 2017
1 Work / Movement Composition Version / Editor 1 Form Date WAB 111, String Quartet in mid-july July 28, (single version) / Large Ternary C minor / II 1862 Nowak 2 WAB 97, Three Orchestra mid-october mid- (single version) / Small Ternary Pieces / I and II November, 1862 Jancik and Bornhöft 3 WAB 99, Symphony in F March 13 April (single version) / Hybrid Form: Exposition-Interior Thememinor / II 10, 1863 Nowak 4 Recapitulation (with Coda) WAB 101, Symphony no.1 second half of Early fragment / Type 3 Sonata 1865 early 1866 Grandjean 5 WAB 101, Symphony no.1 early 1866 April Unrevised Linz Type 1 Sonata 14, 1866 version / Carragan 6 WAB 100, Symphony in D Early July 21 Revised version / Type 3 Sonata (with Coda) minor / II August, 1869 Nowak 7 WAB 102, Symphony no.2 July 18 25, 1872 1 st concept version / I (unedited) 8 Type 4 1-exp. Sonata WAB 102, Symphony no.2 ca. August mid- Revised 1 st concept October, 1872 version / Carragan 9 Type 4 1-exp. Sonata (with added P Voll ) WAB 102, Symphony no.2 ca. late 1872 1 st concert version / Carragan 10 Type 4 1-exp. Sonata (with added P Voll ) WAB 103, Symphony no.3 February 24 May 1873 version / Type 3 Sonata (with P Voll /Coda Complex) in D minor / II 24, 1873 Nowak 11 Table 1. Bruckner s slow movements composed between 1862 and1873 12 1 Unless otherwise noticed, all versions are published by Musikwissenschaftlicher Verlag on behalf of the Internationalen Bruckner-Gesellschaft. 2 Nowak s edition is based on the autograph, which is found in pages 165 196 of the so-called Kitzler- Studienbuch (Vienna, Österreichische Nationalbibliothek, Mus. Hs. 44706). 3 Jancik and Bornhöft s edition is based on the autograph (Kitzler-Studienbuch, 266 277, see footnote 2 above) and its score copy (Vienna, Wienbibliothek im Rathaus, Mus. H 3794/c). 4 Nowak s edition is based on the autograph (Kremsmünster, Stift Kremsmünster, Musikarchiv C 56, 7) and a manuscript copy (Vienna, Wienbibliothek im Rathaus, Mus. H 3795c). 5 Grandjean s edition is a reconstruction of the 154-bar fragment written by Bruckner in 1865. The pages of this fragment are now distributed in two autographs: Vienna, Österreichische Nationalbiliothek, Mus. Hs. 40.4000/5, folios 109 118 (i.e., mm. 41 154); and Mus. Hs. 40.4000/2, folios 39 42 (i.e., mm. 1 40). 6 Carragan s (unpublished) edition is based on the extant orchestral parts (Vienna, Gesellschaft der Musikfreunde, XIII 38029) used during the work s premiere in 1868. 7 Nowak s edition is based on the autograph (Linz, Oberösterreichisches Landesmuseum, Mus. HS 517), its copy (Vienna, Österreichische Nationalbibliothek, Mus. Hs. 3189) and a set of manuscript orchestral parts (Vienna, Gesellschaft der Musikfreunde, XIII 45468). 8 Unedited version found in the early form (i.e., that which disregards modifications, deletions and additions made after July 25, 1872) of the autograph (Vienna, Austrian National Library, Mus. Hs. 19.474). 9 Carragan s edition is based on the revised form of the autograph (Vienna, Austrian National Library, Mus. Hs. 19.474), its copy (Vienna, Österreichische Nationalbiliothek, Mus. Hs. 6035), and the set of orchestral parts (St. Florian, Stift St. Florian, Bruckner-Archiv 19-14) used at a trial run sometime between October 23 26, 1872. 10 Carragan s (unpublished) edition is based on the revised form of the autograph, its copy and orchestral parts prepared shortly after the trial run (see footnote 9); and a second score copy (Vienna, Österreichische Nationalbiliothek, Mus. Hs. 6034 and 6059/2) and a page for violin solo (Vienna, Österreichische Nationalbiliothek, Mus. Hs. 6061), both of which were prepared in late 1872 and include the changes made after the trial run. Together, these sources comprise the extant material used at the work s premiere on 1873. 11 Nowak s edition of this version is based on the 1874 signed copy (Bayreuth, Nationalarchiv der Richard- Wagner-Stiftung, II C o 2) that Bruckner presented as a gift to Richard Wagner. 12 Except for the Adagio of the lost first version of WAB 100 (composed before July 1869).
2 Large Ternary WAB 111, II (1862) A B A (Interior Theme) Small Ternary WAB 97, I-II (1862) a b a Hybrid Form WAB 99, II (1863) Exp. B Recap. Coda (Interior Theme) Type 3 WAB 101, II (1865) Exp. [episode] Dev. Recap. Type 1 WAB 101, II (1866) Exp. Recap. Type 3 WAB 100, II (1869) Exp. Dev. Recap. Coda Type 4 1-exp. WAB 102, III (mid 1872) R1 (Exp.) R2 (Recap.) R3 (Coda) [P/TR S/RT ] [P{expansion}/TR S/RT ] [P] Type 4 1-exp. WAB 102, II (late 1872) R1 (Exp.) R2 (Recap.) R3(Voll.) R4 (Coda) [P/TR S/RT ] [P{expansion}/TR S/RT ] [P Voll + RT] [P] Type 3 WAB 103, II (1873) Exp. Dev. Recap. P Voll /Coda Complex Example 1. Paths of formal experimentation in Bruckner s early instrumental slow movements (1862 1873)
3 1865 version: Type 3 Sonata Exposition Development Recapitulation First Part Second Part Episodic Opening Full Rotation First Part Second Part P TR S X P S P TR S EEC ESC V:PAC I:PAC 1866 version: Type 1 Sonata Exposition Recapitulation First Part Second Part First Part Second Part P TR S 1.1 X = S 1.2 P TR S 1.1 Evaded EEC ESC I:PAC Example 2. Module X s form-functional transformation via temporal relocation (Symphony no. 1/II) Table 2. Textual sources of Bruckner s WAB 103/II
4 Example 3. Bruckner s WAB 103/II (1889 and 1890): Exposition Example 4. Bruckner s WAB 103/II (1889 and 1890): overall outward form Example 5. Bruckner s WAB 103/II (1873): overall form Example 6. Recapitulatory disintegration in Bruckner s WAB 103/II
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