Bruckner's Fourth: The Biography of a Symphony is a detailed account of the music and history of the most well-known symphony by the great Austrian composer Anton Bruckner (1824-1896). This book presents the first accurate, complete account of the history of this symphony based on extensive new research and critical analysis.

This 1997 book presents musicological and theoretical research on the life and music of Anton Bruckner.

This Companion provides an overview of the composer Anton Bruckner (1824-1896). Sixteen chapters by leading scholars investigate aspects of his life and works and consider the manner in which critical appreciation has changed in the twentieth century. The first section deals with Bruckner's Austrian background, investigating the historical circumstances in which he worked, his upbringing in Upper Austria, and his career in Vienna. A number of misunderstandings are dealt with in the light of recent research. The remainder of the book covers Bruckner's career as church musician and symphonist, with a chapter on the neglected secular vocal music. Religious, aesthetic, formal, harmonic, and instrumental aspects are considered, while one chapter confronts the problem of the editions of the symphonies. Two concluding chapters discuss the symphonies in performance, and the history of Bruckner-reception with particular reference to German Nationalism, the Third Reich and the appropriation of Bruckner by the Nazis.

The New Bruckner provides a valuable study of Bruckner's music, focusing on the interaction of biography, textual scholarship, reception history and analysis. Dr Dermot Gault conveys a broad chronological narrative of Bruckner's compositional development, interpolating analytical commentaries on the works and critical accounts of the notoriously complex and editorial issues. Gault corrects longstanding misconceptions about the composer's revision process, and its relationship with the early editions and widely-held critical opinions. Bruckner's constantly evolving engagement with symphonic form is traced by taking each revision in due order, rather than by taking each symphony on its own, and by relating the symphonies to other mature works such as the Te Deum, the three great Masses, and the Quintet, and argues that Bruckner's music became more organic and less schematic as the result of his revisions. The book will be essential reading for those studying Bruckner's compositions, the complex history of their reception, and late Romantic music in general.

A bold, deeply researched, and long-needed debunking of the platitudes and prejudices that have long clouded our view of the personality and compositional habits of Anton Bruckner. Bruckner was, and continues to be, among the most divisive figures in the history of nineteenth-century music, in large part owing to the complexities and contradictions of his personality and the amalgam of differing stylistic features that characterize his musical language. Miguel J. Ramirez's insightful book scrutinizes the stereotypes about Bruckner's personality that loom large in the public imagination, the controversial editorial policies behind the publication of his collected works, and the trends in the reception of his music that were set early on by a handful of Viennese journalists. Working to undo the platitudes and prejudices that cloud our view of Bruckner's true personality and compositional habits, this study debunks the entrenched misconception that he was a helpless victim of "the Viennese press"-a notion contradicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.adicted by the pugnacious exchange in which pro- and anti-Bruckner critics invariably engaged after the premiere of each of his works. Ramirez demonstrates that, from the mid 1880s onward, only Eduard Hanslick, Max Kalbeck, and a few other critics persisted in their opposition to the Brucknerian symphonic oeuvre and that their caustic and denigrating reviews were vastly outnumbered by those of more appreciative critics who heard what performers and listeners cherish now: the music's coherence, grandeur, and emotional sweep.ence, grandeur, and emotional sweep.

This volume contains the symphonies of Brahms, Bruckner, Dvorák and Mahler, covering the period from roughly 1860 to 1930. Other contemporaries are discussed including Goldmark, Zemlinsky and Berg.

Few works in the nineteenth-century repertoire have aroused such extremes of hostility and admiration, or have generated so many scholarly problems, as Anton Bruckner's symphonies. In this 2004 book, Julian Horton seeks fresh ways of understanding the symphonies and the problems they have accrued by treating them as the focus for a variety of inter-disciplinary debates and methodological controversies. He isolates problematic areas in the works' analysis and reception, and approaches them from a range of analytical, historical, philosophical, literary, critical and psychoanalytical viewpoints. The symphonies are thus explored in the context of a number of crucial and sometimes provocative themes, including the political circumstances of the works' production, Bruckner and post-war musical analysis, issues of musical influence, the problem of editions, Bruckner and psychobiography, and the composer's controversial relationship to the Nazis.