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In Reply to: The first problem with Bruckner is Bruckner posted by Feanor on April 21, 2007 at 08:09:22:
"Bruckner's stuff is the worst sort of pompus, self-important, over-blown Romantic Era musical BS." While I for the most part share your doubt about Bruckner,Bruckner was actually humble to a fault. One of the most pertinent comments I've ever read pertaining to Bruckner was (I believe) observed by Bruno Walter: With Bruckner, the battle is already won, (or something like that).
If you think about it, that creates quite a problem when one is trying to write a symphony, especially in the "German" or "Romantic" tradition of consonance conquering dissonance, major conquering minor, etc., and I hasten to add I'm painting with extrememly broad brush-strokes. One could immediately point out Tchaikovsky's 6th as an example of the opposite, and one could easily point out moments of dissonance in Bruckner
If you were Bruckner, how would you go about writing a symphony in the Romantic era while believing that it would be blasphemous to fetishise despair, dissonance and conflict in your writing? I guess you would write like Bruckner: repetition, more emphasis on rhythm, elemental (humble) tunes... well, time for a beer.
Follow Ups:
... I would have no idea how one would " write a symphony, especially in the "German" or "Romantic" tradition of consonance conquering dissonance, major conquering minor, etc. ".I admit ashamedly that I'm musically untutored. To coin a phrase, "I don't know what's good, I only know what I like", and presently it isn't Bruckner. Nevertheless I will listen to his work from time to time. Sometimes perseverance pays off: for example, I'm beginning to enjoy Beethoven's late string quarters which long eluded me.
Bill Bailey
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See my stereo config
I don't mean to suggest that anyone has to be tutored, it just seems to me that Bruckner was in an awkward position of having to write "happy" "noble" music, not hard-won; though the results seem hard-won to my ears.I'm also taking time to listen to the late Beethoven quartets. One thing I've found is that the Hollywood Quartet surpasses my Italian and Hungarian versions in matters of intonation--it's superhuman. I don't know if you've heard them or not, but it's been really helpful in following the line in the Grosse Fugue.
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